Lux Radio Theatre - The Seventh Veil

Summary

Lux Radio Theatre – The Seventh Veil

Podcast: Harold’s Old Time Radio
Date: July 13, 2026
Cast Highlights: Ingrid Bergman (Francesca Cunningham), Robert Montgomery (Nicholas Brandt)
Producer: William Keeley
Source: Lux Radio Theatre adaptation of the Academy Award-winning film, originally based on the screenplay by J. Arthur Rank.

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Episode Overview

This episode of Lux Radio Theatre revives the acclaimed psychological drama "The Seventh Veil." Set against the backdrop of pre-war Europe, the story follows Francesca Cunningham, a gifted pianist whose life and autonomy are heavily shaped by Nicholas Brandt—a distant relative and dominating guardian. Through a series of flashbacks and psychological intervention, Francesca's journey explores themes of trauma, obsession, love, and self-liberation. Ingrid Bergman and Robert Montgomery deliver compelling performances in this emotionally charged adaptation.

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Key Discussion Points & Story Progression

1. Opening Scene: The Psychiatric Setting

Timestamp: 03:57–04:29

• Francesca Cunningham is in a London sanitarium after an apparent suicide attempt.
• Doctors Kendall and Larson discuss her case: Francesca is unresponsive, locked away from the world.
• Dr. Larson introduces the metaphor of the "seventh veil" — the deepest protective layer shielding one’s most secret mental wounds.

  "The mind is like Salome. At the beginning of her dance, she conceals herself beneath seven veils..." – Dr. Larson (03:19)

2. Francesca’s Childhood and the First Trauma

Timestamp: 04:30–06:14

• Regressive therapy brings Francesca back to age 14 at boarding school.
• She recounts being punished by the headmistress, who canes her hands, jeopardizing her hope for a piano scholarship.
• This instills an obsession with protecting her hands—a motif that recurs throughout her traumas.

3. Life with Nicholas Brandt

Timestamp: 06:17–13:00

• After her father’s death, Francesca lives with Nicholas, a controlling and emotionally distant relative.
• Nicholas is revealed as a perfectionist and taskmaster, driving her through arduous piano practice and eventually arranging formal music training for her.
• Their relationship is fraught: Francesca is grateful but fears him.

Notable Quotes:

• Nicholas: "Do you know what that means? This is my home. It’s a bachelor’s establishment. When I came here, I promised myself no woman would ever enter it... You’re the first." (06:59)
• Francesca: "I wanted so much to play. Suddenly, I seemed to lose my fear of him..." (09:44)

4. Young Love and Suppressed Independence: Peter Fulton

Timestamp: 12:04–18:39

• At college, Francesca meets and falls for Peter, an amiable American musician.
• Nicholas returns, and Francesca, seeking independence, proposes to Peter.
• Nicholas exerts legal and emotional control, forbidding Francesca to marry and removing her to Paris.

  "[Nicholas:] Until you’re 21, I’m your legal guardian. If you do, I can have you brought back by the police. My duty is to see that you behave yourself properly and don’t make a fool of yourself. Is that clear?" (18:39)

5. The Paris Years: Artistry and Confinement

Timestamp: 22:29–28:50

• Francesca becomes a celebrated pianist—but at the cost of isolation and a singular focus on music, with Nicholas managing her every move.
• An encounter with a childhood friend, Susan, before a concert in Venice, triggers crippling anxiety over her hands—a manifestation of her early trauma.
• Francesca’s public performance is a success but comes with visible emotional breakdown.

6. Maxwell Layton and the Hope of Escape

Timestamp: 32:08–38:23

• Back in London, Francesca meets Max Layton, an artist who paints her portrait.
• A gentle romance blossoms, and Max asks Francesca to marry him. She agrees, hoping to finally escape Nicholas’s influence.
• Upon learning her intent, Nicholas reacts violently, beating Francesca’s hands with his cane.

  "Nicholas: If you won’t play for me, you’ll never play for anyone else ever again." (38:09) "Francesca: Nicholas had beaten my hands with his cane. Over and over he struck them... I knew then I would never play again." (38:23–39:37)

7. Final Breakdown and Psychiatric Release

Timestamp: 45:31–47:41

• Francesca’s belief that her hands are permanently damaged precipitates a suicide attempt.
• Dr. Larson hypnotizes her at the sanitarium, successfully guiding Francesca to play the piano and break her psychological barrier.

  "There is nothing wrong with your hands. You are playing now of your own free will." – Dr. Larson (47:33)

8. Resolution: Choosing Her Own Path

Timestamp: 51:25–59:25

• Francesca’s guardians (Nicholas, Max, and Peter) gather, each hoping she will choose them.
• Dr. Larson warns that Francesca must decide for herself whom, if anyone, she truly needs.
• In the final moments, Francesca—free from her psychological ‘veils’—chooses Nicholas, suggesting a complex and ambiguous bond.

  "Nicholas. Oh, Nicholas. Nicholas." – Francesca’s declaration at the denouement (59:25)

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Memorable Moments & Notable Quotes

• Dr. Larson (on the mind’s protection):
  “The mind is like Salome... the seventh veil that shields the innermost secrets of the mind. Very rarely is that voluntarily removed.” (03:00)

• Nicholas (on guardianship and control):
  “Until you’re 21, I’m your legal guardian… you can’t marry without my consent.” (18:39)

• Francesca (after Nicholas’ violence): “Nicholas had beaten my hands with his cane... I knew then I would never play again.” (38:23–39:37)

• Dr. Larson (breaking through trauma): “Francesca, you are playing now of your own free will. Your hands are not injured. There is nothing wrong with your hands.” (47:33)

• Dr. Larson (on Francesca’s recovery): “She will want to be with one of you three men—the one she loves, the one she has been happiest with, or the one she cannot do without.” (58:01) Resolution:
  “Nicholas. Oh, Nicholas.” (59:25)

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Important Timestamps

• 03:00: Dr. Larson introduces the "seven veils"
• 06:17: Francesca moves in with Nicholas
• 11:28: Nicholas arranges Francesca’s musical education
• 17:00: Francesca proposes to Peter Fulton
• 18:39: Nicholas asserts his legal guardianship
• 22:29: Francesca’s years of artistic growth—and control—in Europe
• 26:09: Anxiety returns before Francesca’s concert
• 32:08: Entry of Max Layton
• 38:23–39:37: The violent climax with Nicholas
• 47:33: Francesca plays piano during hypnosis
• 59:25: Francesca’s final choice: “Nicholas. Oh, Nicholas.”

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Tone & Language

The episode retains the melodramatic, emotionally intense tone of classic 1940s radio drama, with a rich, layered script—balancing moments of tenderness, trauma, and suspense. Dialogues are sophisticated and period-appropriate, often laden with subtext about power, dependency, and psychological resilience.

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Conclusion

This Lux Radio Theatre adaptation of "The Seventh Veil" stands out for its psychological depth and the interplay of performance and control in Francesca’s life. Through outstanding performances and a carefully structured script, listeners are taken on a journey of trauma, love, and self-rediscovery—a journey that, true to the form of classic radio drama, leaves as many questions as answers about the heart’s true desires.

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Transcript

[Narrator/Announcer]

Most people would rather attend a corporate team building workshop than search for auto and home insurance.

[Francesca Cunningham]

Go team.

[Narrator/Announcer]

Feel that synergy. That's why the zebra searches for you. Comparing over 100 insurance companies to find savings no one else can Compare. [e-mail] who's ready for the trust fall? Lux presents Hollywood. Lever Brothers Co. The makers of Lux Flakes bring you the Lux Radio Theater starring Ingrid Bergman and Robert Montgomery in the seventh veil. Ladies and gentlemen, your producer, Mr. William Keeley. Greetings from Hollywood, ladies and gentlemen. Tonight is a very rare occasion. The marquee of the Lux Radio Theater the proudly blazes out the names of two great stars, Ingrid Bergman and Robert Montgomery. And a play that's ideally suited to these world renowned artists. It's the Seventh Veil. The story of a great musician and the man who loves and dominates her. Our play is adapted from J. Arthur Ranks motion Picture which was released here by Universal International Studios and won an Academy Award for the best original screenplay of the year. Names like Ingrid Bergman and Robert Montgomery would mean standing room only in any theater in the world. But Lux Flakes makes it possible for you to enjoy their genius in the comfort of your own home. Everyone in our radio audience has the best seat in the house. And that familiar luxe box is your ticket to this distinguished dramatic event. Here's the curtain for it now. The Seventh Veil. Starring Robert Montgomery as Nicholas and Ingrid Bergman as Francesca. The Kendall Sanitarium, London in his office, Dr. Kendall is discussing a patient with an eminent psychiatrist, Dr. Albert Larson. Well, Dr. Larson, now that you've seen Ms. Cunningham, you said she was admitted here following an automobile accident. Yes. Her injuries were not serious, as you undoubtedly observed. But yesterday evening she got out of bed, slipped away from here and attempted suicide by jumping off a bridge. Why, I Wish I knew. Ms. Cunningham hasn't spoken in days. It is as if she couldn't hear. But we know she can hear. That's only one of several indications that she needs you rather than a medical doctor. Ms. Cunningham will talk, Dr. Kendall. I've given her an injection to produce a mild narcosis. Enough to induce a light slumber. I'd hope we could avoid that. The drug is perfectly harmless. But it will make her talk. Of course. Still, if you'll forgive me, it savors a little of prying. Definitely it is prying, Dr. Kendall. A surgeon doesn't operate without first removing the patient's clothes. Nor do we with the mind. The mind is like Salome. At the beginning of her dance, she conceals herself Beneath seven veils. People, too, have veils. Veils of reserve, shyness, fear, shame. Some they can be persuaded to cast off. But the seventh veil that shields the innermost secrets of the mind. Very rarely is that voluntarily removed. That is why I say narcosis. With it, we can really be of help. I think our patient is ready for us, Doctor. The drug seems to have taken effect. Yes, but she can hear me perfectly. This is Dr. Larson. Ms. Cunningham. I'm so happy you've been able to go to sleep. How wonderful it is to relax, to rest. You do hear me, don't you? Nod your head, Miss Cunningham. Then I'll know for sure. Thank you. Now you can do whatever you please. What would you like to do? Would you like to go back to school? You were happy when you were a little girl, weren't you? Wouldn't you like to be happy again? Back to school. Back to school.

[Francesca Cunningham]

School.

[Narrator/Announcer]

Tell me about school. You are 14 years of age now. How old are you?

[Francesca Cunningham]

I'm 14.

[Narrator/Announcer]

And what's going on at school today? Tell me, Francesca.

[Francesca Cunningham]

We've been fishing for minnows before chapel, Susan and I.

[Narrator/Announcer]

Fishing for minnows? Yes, that's great fun.

[Francesca Cunningham]

Oh, but we're going to be late for chapel, and I must get back to school. I must. Oh, what's your hurry, Francesca? Please, Susan. We'll be terribly late. What if we are? All we'll get is a black mob. Oh, but I've been late once before this week already. Mr. Lawson sure to send me to Miss Duncan. Oh, tell her you were sick or something. Oh, she'll never believe me I said that. Don't you say, oh, pooh. Then tell her you lost your way. I hadn't wanted to fish for minnows, but Susan could persuade me to do anything, and I'd always get caught and get punished. In Miss Duncan's office, a willow cane hung on the wall.

[Narrator/Announcer]

Well, don't stand there, Cunningham.

[Francesca Cunningham]

Hand me the cane. Yes, Miss Duncan.

[Narrator/Announcer]

Hold out your hands.

[Francesca Cunningham]

Oh, please, Miss Duncan. I know I must be furnished, but not on my hands, please. Today's the music scholarship for piano.

[Narrator/Announcer]

And if you.

[Francesca Cunningham]

Oh, please, please. My hands, my hands. By afternoon, my hands were still swollen and raw. I played so badly I hadn't the chance. And I'd set my heart on that scholarship. Music was the only thing I really cared for even then.

[Narrator/Announcer]

But next time you sat for it, you passed easily.

[Francesca Cunningham]

I never sat for it again. That year my father died, and I went to live with my uncle, Nicholas Brandt. He wasn't really? My uncle. I believe he was my father's second cousin. He was rich and the only relative I had in the world. He was slightly lame. He walked with a cane.

[Narrator/Announcer]

Well, let's have a look at you. Francesca, isn't it?

[Francesca Cunningham]

Yes, Uncle Nicholas.

[Narrator/Announcer]

Don't call me uncle. I'm not your uncle. If you must call me anything, call me Nicholas. And look at me when I'm speaking.

[Francesca Cunningham]

Yes, sir.

[Narrator/Announcer]

Now listen to me carefully. This is my home. It's a bachelor's establishment. Do you know what that means?

[Francesca Cunningham]

It means that you're not married as.

[Narrator/Announcer]

It also means that when I came here I promised myself no woman would ever enter it. So far, none ever has. You're the first.

[Francesca Cunningham]

I. I see.

[Narrator/Announcer]

What do you see?

[Francesca Cunningham]

That I'm to do my best not to. To intrude upon your privacy.

[Narrator/Announcer]

Yeah. Parker. Yes, sir. Take her upstairs. You know where to put her. Yes, sir. This way, miss, please.

[Francesca Cunningham]

Parker. Whose portrait they sat on the wall?

[Narrator/Announcer]

Mr. Brent's mother.

[Francesca Cunningham]

Oh. Is she dead?

[Narrator/Announcer]

I don't believe so.

[Francesca Cunningham]

Then what happened to her?

[Narrator/Announcer]

I can't tell you, miss.

[Francesca Cunningham]

Then I shall ask him.

[Narrator/Announcer]

I wouldn't if I were you.

[Francesca Cunningham]

Why not?

[Narrator/Announcer]

Because if you must know, she left his father, ran off with another man.

[Francesca Cunningham]

No. Oh, I don't believe.

[Narrator/Announcer]

There was a divorce and Mr. Brandt had to give evidence. He was only 12 years old at the time.

[Francesca Cunningham]

How dreadful.

[Narrator/Announcer]

Yes, miss. You will find my master is a strange, dark man. But not unkind. No. In his way, not unkind.

[Francesca Cunningham]

Those first few months for the loneliest I ever spent, the whole house seemed to resent my presence. Nicholas would limp about leaning on his cane and looking right through me as if I weren't there. On rare occasions he'd send for me this letter.

[Narrator/Announcer]

Francesca. It's from the school you attended. From a Ms. Duncan.

[Francesca Cunningham]

Oh.

[Narrator/Announcer]

Do you know what she has to say about you? Perhaps you opened the letter yourself?

[Francesca Cunningham]

Oh, no, no, no, I didn't.

[Narrator/Announcer]

Well then, let me tell you. She says your intelligence is above average. You agree?

[Francesca Cunningham]

I, I don't know.

[Narrator/Announcer]

She goes into some length about your shyness. Are you shy of me, Francesca?

[Francesca Cunningham]

A little.

[Narrator/Announcer]

Why? I won't eat you.

[Francesca Cunningham]

I know, but I, I.

[Narrator/Announcer]

But what?

[Francesca Cunningham]

Nothing.

[Narrator/Announcer]

No. Francesca has an extraordinary talent for music. She plays the piano extremely well and has an appreciation of music far beyond her years. Why haven't you told me that?

[Francesca Cunningham]

I, I didn't think it would interest you.

[Narrator/Announcer]

Indeed? Well, there's the piano. Sit down. Play something.

[Francesca Cunningham]

Oh, I can't.

[Narrator/Announcer]

Why not?

[Francesca Cunningham]

Oh, please don't ask me Do. I can't.

[Narrator/Announcer]

Play something.

[Francesca Cunningham]

No, I can't. I won't.

[Narrator/Announcer]

Very well. I'll play for you.

[Francesca Cunningham]

I wanted so much to play. Suddenly I seemed to lose my fear of him. I sat beside him. I started to play. As I played, I thought I saw Nicholas smile. Then he walked from the room and I could hear the tap of his cane even above the music. After that, Nicholas made me practice five and six hours a day. He was always beside me now, listening to everything I did. Month after month, he hammered at me. He was a slave driver. But a wonderful teacher. He knew instinctively how to get the best out of me. And he knew more of the spirit of music than anyone I'd ever met. For two years he taught me. One night after dinner.

[Narrator/Announcer]

All right, all right, all right. That's enough.

[Francesca Cunningham]

Yes, yes. Nicholas.

[Narrator/Announcer]

Time you had some proper training. I've arranged for you to start at the Royal College of Music.

[Francesca Cunningham]

Oh, Nicholas.

[Narrator/Announcer]

You'll report at 10 o' clock tomorrow morning. I've arranged.

[Francesca Cunningham]

Oh, dear. Nicholas.

[Narrator/Announcer]

What do you think you're doing? Don't ever do that again. What had you done, Francesca? What made him so angry?

[Francesca Cunningham]

In my gratitude, I. I'd put my arms around him. Oh, Dr. Larson, why am I telling you this?

[Narrator/Announcer]

Because you feel better having said it.

[Francesca Cunningham]

Yes. Yes.

[Narrator/Announcer]

You. You went to college the next morning.

[Francesca Cunningham]

But even before I left the house, Nicholas had gone. Parker said it was a business trip. He would be away for months. I was far too busy at college to worry about Nicholas. I met Peter.

[Narrator/Announcer]

Who was Peter? Where did you meet him?

[Francesca Cunningham]

At a little Italian cafe where most of us went for lunch. I had just finished eating when I felt someone staring.

[Narrator/Announcer]

You know, you're working much too hard.

[Francesca Cunningham]

I like work.

[Narrator/Announcer]

I like ravioli, but I don't eat it all the time. Now, come on, put that book away and we'll go for a walk.

[Francesca Cunningham]

Oh, no, no, thank you. I.

[Narrator/Announcer]

Come on. Come on.

[Francesca Cunningham]

It was like that. He was an American working his way through college by playing with a dance band at night. The next evening, he took me to the nightclub. I sat at the table, and whenever he could get away, he would come over to me.

[Narrator/Announcer]

You know, Francesca, there's practically nothing wrong with you.

[Francesca Cunningham]

Thank you.

[Narrator/Announcer]

You're a bit of a prig, but that's just the way you've been brought up.

[Francesca Cunningham]

Oh, you're extremely rude. I suppose that's the way you've been brought up.

[Narrator/Announcer]

I was dragged up. I know it.

[Francesca Cunningham]

I think I better go, Peter. I can get a cab.

[Narrator/Announcer]

You always run away.

[Francesca Cunningham]

Well, it's late, and I have some important things to do.

[Narrator/Announcer]

Now, how often do you take the evening off and go to the movies?

[Francesca Cunningham]

Oh, never. I don't like films.

[Narrator/Announcer]

Oh, but you should. They take you out of yourself. For instance, a movie about a poor struggling musician. That's me. He meets a rich girl.

[Francesca Cunningham]

Snooty.

[Narrator/Announcer]

That's you. You know what happens?

[Francesca Cunningham]

What?

[Narrator/Announcer]

She's cold, unattainable. But underneath it all, she's really falling for him. See?

[Francesca Cunningham]

No.

[Narrator/Announcer]

No. Oh, well, that's because you never go to the movies. You know what happens next?

[Francesca Cunningham]

No.

[Narrator/Announcer]

He just leans forward and kisses her.

[Francesca Cunningham]

Why did you do that?

[Narrator/Announcer]

You know what she does? She walks right out of the place, leaving him looking like a dummy.

[Francesca Cunningham]

Well, that's exactly what.

[Narrator/Announcer]

But that's only in the movies. In real life, it's different. He just leans forward and kisses you like. Like this. Oh, you know what you do.

[Francesca Cunningham]

I? I certainly do. Good night.

[Narrator/Announcer]

But you saw Peter again, Francesca?

[Francesca Cunningham]

Yes, of course. I avoided him for a week. And then in the same little Italian cafe.

[Narrator/Announcer]

You know, this happens in the movies, too. After the rich girl walks out and the poor musician. They're both awfully unhappy. And after a few days, they both take to haunting the spot where they first met.

[Francesca Cunningham]

Why?

[Narrator/Announcer]

Because by now they're getting pretty hungry. Mariani. Hey. Two ravioli.

[Francesca Cunningham]

But I am not hungry.

[Narrator/Announcer]

Raviolis are for me. Don't you realize I've been so miserable? I haven't eaten for days?

[Francesca Cunningham]

I wish I could be angry with you. I wish I could.

[Narrator/Announcer]

You can smile. It's a beautiful smile. Francesca.

[Francesca Cunningham]

We saw a great deal of each other. He took me to so many wonderful places. I forgot about Nicholas. He was still away. I was quite unprepared for his sudden return home.

[Narrator/Announcer]

Good evening, Francesca.

[Francesca Cunningham]

Oh, Nicholas.

[Narrator/Announcer]

Why should you be surprised to see me?

[Francesca Cunningham]

I. I just didn't know you were back.

[Narrator/Announcer]

Parker says you dined out this evening.

[Francesca Cunningham]

Yes. Yes, I did.

[Narrator/Announcer]

You look pale. Perhaps if you stayed at home more often, you'd have better color. Have you been working too hard?

[Francesca Cunningham]

No, I don't think so.

[Narrator/Announcer]

Well, aren't you going to play for me?

[Francesca Cunningham]

Yes, of course. If you'd like.

[Narrator/Announcer]

Are you mad? Stop it.

[Francesca Cunningham]

But would you ask me to play?

[Narrator/Announcer]

I asked you to play. If you can't think of anything better, play a chromatic scale. Only spare me that trash.

[Francesca Cunningham]

Yes, yes. Nicholas,

[Narrator/Announcer]

Why did you want me to meet you here in the park? Francesca, what's the matter?

[Francesca Cunningham]

Oh, nothing. Peter, do you know why I broke our date yesterday?

[Narrator/Announcer]

Uncle Nicholas again?

[Francesca Cunningham]

No, no. I. I went to the movies.

[Narrator/Announcer]

Who with?

[Francesca Cunningham]

By myself.

[Narrator/Announcer]

Oh.

[Francesca Cunningham]

It was very interesting, Peter. It's all about a girl who knew that a boy loved her but hadn't the courage to ask her to marry him. So. So she decided. Are you listening?

[Narrator/Announcer]

I sure am listening.

[Francesca Cunningham]

Well, she decided she would have to ask him herself.

[Narrator/Announcer]

And did she?

[Francesca Cunningham]

No. At the last minute, her courage failed her. Peter, my courage hasn't failed me. I want you to marry me, Francesca. Well?

[Narrator/Announcer]

Well, what do you know? Well, Francesca, what happened that night?

[Francesca Cunningham]

Dr. Larsen, as I waited for Nicholas to come home, I told myself, there's nothing to be frightened of. He cannot do anything. And then I heard the click of the latch and the tapping of his cane.

[Narrator/Announcer]

Still up, Francesca? Isn't it rather late?

[Francesca Cunningham]

Nicholas, I. I must talk to you.

[Narrator/Announcer]

Can't wait till morning?

[Francesca Cunningham]

It. It's important. Well, I. I don't know how to start, Nicholas. I'm engaged to be married.

[Narrator/Announcer]

Oh. Well, good night. Francesca.

[Francesca Cunningham]

Did you hear what I said?

[Narrator/Announcer]

Perfectly. And now, if you'll excuse me, I'll look at my mail.

[Francesca Cunningham]

Oh, but you don't understand. I found a man I love and I'm going to marry him.

[Narrator/Announcer]

Go to bed. Wait. Pack your bags. We're leaving for Paris in the morning. Yes, but.

[Francesca Cunningham]

No, I can't go. I won't go. What could I do in Paris?

[Narrator/Announcer]

Carry on with your studies.

[Francesca Cunningham]

I don't care whether I ever play again or not. Do you hear? I won't ever play again. Why can't you be nice to me? Why must you always treat me as if I were a child?

[Narrator/Announcer]

Because you are. I am not.

[Francesca Cunningham]

I'm grown up. I know what I want, and you're just trying to take it away from me. Do you understand? I'm in love.

[Narrator/Announcer]

How old are you?

[Francesca Cunningham]

I won't go, I tell you. I won't. I won't.

[Narrator/Announcer]

I won't, I said. How old are you? And until you're 21, I'm your legal guardian. Do you understand what that means? No. It means that you can't marry without my consent. You can't leave this house without my consent. If you do, I can have you brought back by the police. Now stop crying. My duty to see that you behave yourself properly and don't make a fool of yourself. Is that clear? Is that clear?

[Francesca Cunningham]

Yes.

[Narrator/Announcer]

Yes. And get upstairs.

[Francesca Cunningham]

Too fast, Trevor. Too fast.

[Narrator/Announcer]

Here at the Zebra, research shows people would rather teach their kids to drive than search for auto and home insurance.

[Francesca Cunningham]

I know what I'm doing, Mom.

[Narrator/Announcer]

Or attend a corporate team building workshop.

[Francesca Cunningham]

Go, team.

[Narrator/Announcer]

Feel that synergy or be regaled by Uncle Frank's conspiracy theories. They're listening to us right now. That's why the zebra searches for you. Comparing over 100 insurance companies to find savings no one else can Compare. [e-mail] we do the searching. You do the saving. Shh.

[Commercial/Advertisement Voice]

They're here.

[Narrator/Announcer]

You can't predict the future, but you can prepare for it. Arizona State University is building degrees for what's ahead. Programs designed around emerging fields, taught by faculty whose research is shaping our future, not just teaching about it. It's why we've been ranked number one in innovation for more than a decade. Your future is worth preparing for, and you don't have to prepare alone. Future proof your career. Explore more than 350 programs at ASUonline. ASU. EDU. That's a degree better. Our stars will return with Act 2 of the Seventh Veil. In a moment. Libby, maybe you could settle a private bet. I say Betty Grable wears stockings in her new picture When My Baby Smiles at Me. And a friend of mine says, no, it's a slick makeup job.

[Francesca Cunningham]

Well, you collect, John.

[Narrator/Announcer]

Good.

[Francesca Cunningham]

Betty had a dozen super sheer nylons especially made for the picture. They were so fragile, they looked just like a puff of mist.

[Narrator/Announcer]

Betty's legs certainly looked trim in those dancing scenes with Dan Daly. Aren't those two a swell team?

[Francesca Cunningham]

Oh, one of my favorites. Dan is wonderful as a charming, lovable, undependable hoofer. And Betty gets a chance at real drama, too, in this picture and what

[Narrator/Announcer]

costume she wears in When My Baby Smiles at Me.

[Francesca Cunningham]

Aren't they fabulous?

[Narrator/Announcer]

Yes.

[Francesca Cunningham]

Yet even expensive washables like those dreamy nylons were cared for the same easy way girls everywhere care for nice things with gentle luxe flakes.

[Narrator/Announcer]

Those new tiny diamonds of lux are perfect for stockings, aren't they? They suds up fast and make wonderfully thick suds. Richer suds that get stockings clean in a jiffy.

[Francesca Cunningham]

And they're so mild and gentle, they're safe for the most delicate nylons.

[Narrator/Announcer]

But what girls really love is the way these tiny diamonds make nylons last longer. Strain tests have actually proved they do. Stockings washed with luxe flakes lasted twice as long as those washed with a strong soap or rubbed with a cake soap.

[Francesca Cunningham]

So take a tip from Hollywood. Give your Christmas nylons luxe flakes. Care if you want to get the wear of an extra pair from every pair under the Christmas tree.

[Narrator/Announcer]

Back now to our producer, William Keeley. Act 2 of the Seventh Veil, starring Ingrid Bergman. As Francesca and Robert Montgomery as Nicholas. 24 hours ago, Francesca Cunningham attempted to take her own life. Now, under the influence of a drug, she continues to bear the secrets of her much troubled mind. So Nicholas took you to Paris.

[Francesca Cunningham]

Yes, Dr. Larson. It was seven years before I saw Peter again. Seven years of music. Paris, Vienna, Rome. Seven years of Nicholas planning my life, turning me into his dream of a concert pianist. Wherever we went, we were always alone. When I longed for some sort of diversion.

[Narrator/Announcer]

Of course, you can't play tennis. It would ruin your hands.

[Francesca Cunningham]

He was always reminding me. My hands.

[Narrator/Announcer]

You're not careful enough, Francesca. Just remember, your hands are your only real asset.

[Francesca Cunningham]

My hands.

[Narrator/Announcer]

Never risk harming your hands. Take care of them.

[Francesca Cunningham]

My precious hands.

[Narrator/Announcer]

Take care of your hands. Your hands. Your hands.

[Francesca Cunningham]

At last, Nicholas decided I was ready for my first concert. It was in Venice. Nicholas had bought me the gown I was to wear. He had hired the maid who hovered over me. And now he was teaching me how to bow.

[Narrator/Announcer]

No, no, no, no, no, no. Spread your skirt, Francesca. Let the knee drop right down. Now try it again. And for heaven's sake, smile.

[Francesca Cunningham]

Yes. Yes, Nicholas.

[Narrator/Announcer]

And remember that first you bow to the conductor, then to the audience. Do you have a handkerchief?

[Francesca Cunningham]

Yes, Nicholas.

[Narrator/Announcer]

Too much to hope that you'll be calm. But you'll ruin your chances if you rush. Take your time, and when you're quite ready, nod to the conductor.

[Francesca Cunningham]

Yes.

[Narrator/Announcer]

Turn around. Now let me. Third gown, Anna.

[Francesca Cunningham]

Yes, sir.

[Narrator/Announcer]

Look at the way that hem is hanging. Fix it at once.

[Francesca Cunningham]

Yes, Mr. Brandt.

[Narrator/Announcer]

I. I ordered some flowers for you, Francesca. You may like to wear them. A small corsage of yellow roses. You may think that roses are. How dare you barge in this dressing room.

[Francesca Cunningham]

Oh, nonsense. I don't know who you are, but I happen to be an old friend of Miss Cunningham's. Francesca. Susan. Susan Brooks. My dear. How clever of you to remember me after all these years. Only it's not Brooks anymore. It's Krabotowicz. Horrid name, isn't it, darling? I'm Marri. Oh, excuse me. Mr. Nicholas Brandt. Mrs. Robotowitch. Francesca and I were at school together.

[Narrator/Announcer]

Yes. In 20 minutes, Ms. Cunningham is giving a concert.

[Francesca Cunningham]

Darling, imagine you a concert pianist. I saw your name on the billboards, and I said to my husband, he's my second. I said, why? I was at school with that girl. And I told him that screamingly funny story about how you failed to get the scholarship. Remember? We were out catching frogs or butterflies or something. You came back late for chapel. Of course, it was all my fault. But Duncan insisted on caning your hands most frightfully. Imagine you failing to play the piano well enough.

[Narrator/Announcer]

Well, what's the matter, Francesca? Something wrong?

[Francesca Cunningham]

No, no, it's nothing, Nicholas. Did I say something I shouldn't? Oh, well, I mustn't interrupt. Goodbye, darling. Astonishing luck. Don't forget to call. The concert. That night terrified me. Seeing Susan again, reminded again of that day in school. And my hands, how raw and clumsy they were. I wondered how I could possibly get through my final number. My hands. I could almost feel my fingers swelling as I played. And Nicholas staring at me from the wings.

[Narrator/Announcer]

What's the matter with her? That look on her face.

[Francesca Cunningham]

I.

[Narrator/Announcer]

Perhaps. Perhaps she is a little nervous. Mr. Brad, that's ridiculous. She's been playing beautifully. She's crying.

[Francesca Cunningham]

Look. Tears.

[Narrator/Announcer]

Tears on her face. She must be ill. It's her final number. We'll forego the encores. But she must finish. She must be a success. There will be no on call, Francesca. But you had better bow again. Go back on stage.

[Francesca Cunningham]

No, I can't. I can't.

[Narrator/Announcer]

Ms. Cunningham. Oh, Mr. Ben. Mr. Bradshaw's fake it.

[Francesca Cunningham]

The concert was a success, Dr. Larson. As for my behavior, I. I can't account for it. There was nothing wrong with my hands, and I had played well.

[Narrator/Announcer]

Tell me, all this time, you never saw Peter?

[Francesca Cunningham]

No. I managed to write to him from Paris, but the letters came back marked gone away. Somehow I didn't mind. I knew that one day I'd be back in London again. And that I'd find Peter waiting for me. A few months later, I was giving a concert in Copenhagen. During intermission, Nicholas opened the door of my dressing room. He always came in without knocking.

[Narrator/Announcer]

I neglected to tell you at dinner, Francesca, that a cable's come from London. They want you next month. Albert Hall. Do you want to go?

[Francesca Cunningham]

Why ask me, Nicholas? You usually settle these things yourself.

[Narrator/Announcer]

If I do, it's only to spare you the trouble. You know you can do exactly as you please.

[Francesca Cunningham]

Can I, Nicholas? Can I refuse this offer then?

[Narrator/Announcer]

If you wish. Certainly.

[Francesca Cunningham]

No, I. I think I should like to go.

[Narrator/Announcer]

Then I'll let them know you've accepted.

[Francesca Cunningham]

That same night after the concert, when Nicholas came for me, he knocked at my door. Oh, it was the first time I ever remember his doing so.

[Narrator/Announcer]

It was a magnificent performance, Francesca. Magnificent. Now, if you're ready, we. We could have some supper at the

[Francesca Cunningham]

Viking, if you like, Nicholas.

[Narrator/Announcer]

We could go to the Rotunda, if you prefer.

[Francesca Cunningham]

No, no. The Viking will be fine.

[Narrator/Announcer]

Francesca. You told me before I I never consulted you on any.

[Francesca Cunningham]

Oh, it doesn't matter.

[Narrator/Announcer]

Yes, it does. It does. If I haven't done so, it's only because I've wanted your life to be a smooth and as easy as possible. Let me finish, please. I've devoted years to converting a very ordinary girl in pigtails into a first class artist. I've given up everything to help your career, and yet I make no demands on you at all.

[Francesca Cunningham]

Yes, Nicholas.

[Narrator/Announcer]

You're completely free to come and go as you please.

[Francesca Cunningham]

Yes, Nicholas.

[Narrator/Announcer]

That's understood then.

[Francesca Cunningham]

Good.

[Narrator/Announcer]

Now, I've invited the Baron Von Ullman to dine with us. He'll meet us at the Viking. Oh, tomorrow after luncheon, there'll be a little reception at the Burger Masters. I told them you will play one selection and no encores.

[Francesca Cunningham]

Yes, Nicholas.

[Narrator/Announcer]

We'll leave for London on Saturday. Come along, Francesca. We shouldn't keep the guard waiting.

[Francesca Cunningham]

London again, Pete? Peter. How stupid of me. Thinking with such assurance that he would be there. He wasn't even listed in the phone book. Maybe he would be. We would still be playing with that. That orchestra. I went from nightclub to night club. What else could I do? People seemed to know his name, but where he was, they couldn't say. It was very late when I got into a taxicab to go home. Then suddenly the cab stopped for a traffic signal. I looked out the window and there was. In front of a cafe was his picture here for a limited engagement. Peter Fulton and his orchestra.

[Narrator/Announcer]

You found him then? You saw Peter that night?

[Francesca Cunningham]

Yes, I found him. Dr. Larson. I don't want to talk about it. You're listening to this podcast, so I

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[Francesca Cunningham]

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[Narrator/Announcer]

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[Francesca Cunningham]

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[Narrator/Announcer]

Queen Carvania stood haloed by the morning sun. An army hung on her every word.

[Francesca Cunningham]

My champions, I have sold my chariot on Carvana. Twas a lovely suv, an inexplicably queenly offer. They're even coming to the castle to

[Narrator/Announcer]

Collect it Tonight we feast. An offer you can feast on. Sell your car today on Carvana. Pick up. Fees may apply. You can tell me.

[Francesca Cunningham]

I don't want to talk about it.

[Narrator/Announcer]

Will you tell me about Max then?

[Francesca Cunningham]

Max?

[Narrator/Announcer]

Yes. Maxwell Layton.

[Francesca Cunningham]

Max. We were still in London, Nicholas and I. I was standing outside the door of his study, listening. You didn't know I listened at keyholes, did you, Dr. Larson? That's what Nicholas did for me.

[Narrator/Announcer]

Let me come to the point, Mr. Layden. In my opinion, you're the finest painter in London. I'd like you to paint a portrait of my ward. I'm flattered, Mr. Brand, but I don't paint portraits anymore. Besides, I've never met your ward. That can be remedied. She's not unattractive. I'm sure she's lovely. But no portrait. It would interfere with my serious work. Ah. I'm greatly disappointed. I. I had my heart set on it.

[Francesca Cunningham]

Good evening.

[Narrator/Announcer]

Oh, Francesca, this is Maxwell Laydon, my ward. Miss Cunningham.

[Francesca Cunningham]

How do you do?

[Narrator/Announcer]

How do you do? I've often heard you play, Miss Cunningham. You see, I have all your records.

[Francesca Cunningham]

How kind of you.

[Narrator/Announcer]

I was just suggesting that Mr. Layton do your portrait, Francesca.

[Francesca Cunningham]

Oh. But I don't care to have my portrait painted.

[Narrator/Announcer]

I beg your pardon. Why not?

[Francesca Cunningham]

It would interfere with my serious work, Mr. Layden. Good night.

[Narrator/Announcer]

But Maxwell Layden did paint your portrait. I'm sure I saw it reproduced in some magazine.

[Francesca Cunningham]

Yes, you did, Dr. Larsen. At the start, I was rather coy about the whole idea. Finally, after Max persisted, I consented to let him sketch me while I practiced. His interest in me was very satisfying. Soon I discovered I'd become quite fond of him. Max, what was our bargain?

[Narrator/Announcer]

That I could come here and sketch you, so long as it didn't interfere with your work.

[Francesca Cunningham]

But you would much prefer if I sat for you properly, wouldn't you?

[Narrator/Announcer]

Naturally.

[Francesca Cunningham]

But my hands and arms and head. All arranged in a striking form.

[Narrator/Announcer]

Yes.

[Francesca Cunningham]

Are the strict orders not to move a muscle unless you say so?

[Narrator/Announcer]

Yes.

[Francesca Cunningham]

Would you still like me to do that, Max?

[Narrator/Announcer]

I would love you to do that.

[Francesca Cunningham]

Well, then I will. Max came to the house day after day. One afternoon, after I had posed for hours, he said.

[Narrator/Announcer]

Well, I think you can rest now, Francesca.

[Francesca Cunningham]

Thank you. Would you like some tea?

[Narrator/Announcer]

No. No tea. You'd much rather get back to your piano.

[Francesca Cunningham]

I doubt if I'll ever be able to play again. My neck is so stiff, I couldn't see the keyboard.

[Narrator/Announcer]

It's a lovely neck, Francesca. Everything about you is lovely.

[Francesca Cunningham]

Oh, I thought I was the ugly duckling in your gallery, beauties.

[Narrator/Announcer]

No, you're not. You're. Well, must you really know?

[Francesca Cunningham]

Of course.

[Narrator/Announcer]

You're the most beautiful woman I've ever painted. Not because you're beautiful, but because I'm in love with you.

[Francesca Cunningham]

Oh, you shouldn't have said that.

[Narrator/Announcer]

That's the most natural thing in the world.

[Francesca Cunningham]

No. I hate love. I hate being in love. I never want it to happen to me again.

[Narrator/Announcer]

You might as well be dead then.

[Francesca Cunningham]

I'd rather be dead than go through what I've been through all over again. I thought I put a fine high wall of music around me. That I was safe and secure. And now you come along and knock it all down. I hate you for doing that.

[Narrator/Announcer]

On the contrary. You love me.

[Francesca Cunningham]

Maybe I do. I. I don't know.

[Narrator/Announcer]

In any event, you won't have to pose anymore. The portrait's finished.

[Francesca Cunningham]

Finished? Oh, let me. It. It's very good. I. I hate to think of Nicholas having it.

[Narrator/Announcer]

Why?

[Francesca Cunningham]

Because it looks right through me. And I don't want to think of Nicholas being able to do that.

[Narrator/Announcer]

You're frightened of him, aren't you?

[Francesca Cunningham]

Now you'll say it's absurd, but Nicholas has some extraordinary power over me.

[Narrator/Announcer]

Then why do you stay with him?

[Francesca Cunningham]

I don't know. I don't. Let's not talk about it. What are you going to do now?

[Narrator/Announcer]

Take a holiday. Italy, I suppose. Got an old tumble down villa there, down a bay. Very quiet, very restful.

[Francesca Cunningham]

It sounds lovely.

[Narrator/Announcer]

Will you paint, Francesca? Must we keep on pretending? Come with me. I'm in love with you and you love me. I'm asking you to marry me.

[Francesca Cunningham]

I'd be a poor wife, Max.

[Narrator/Announcer]

I don't believe it. Let me risk that.

[Francesca Cunningham]

I like to marry you very much.

[Narrator/Announcer]

So for the second time. Francesca. You went to Nicholas. You told him you were going to be married.

[Francesca Cunningham]

Yes, Dr. Larson.

[Narrator/Announcer]

But how can you think of such a thing? I won't listen to another word.

[Francesca Cunningham]

I don't care if you listen or not, Nicholas. I don't care what you say or what you do. Francesca, it's no use. I am grateful to you for some of the things you've done for me. Yes, but I'll never forgive you for some of the others. Anyway, I'm going away with Max next week. Please don't try to stop me or make me change my mind. Is that clear?

[Narrator/Announcer]

Quite. I have nothing more to say.

[Francesca Cunningham]

What is it, Nicolas?

[Narrator/Announcer]

Your bags are packed. You're leaving soon. With him?

[Francesca Cunningham]

Yes.

[Narrator/Announcer]

Stop playing anastomia.

[Francesca Cunningham]

No, I don't want to.

[Narrator/Announcer]

Listen, Francesca, I haven't deserved this up. I've given you everything I have. My love and sympathy. My life hasn't been a happy one. You are the one beautiful thing that has come into it. Please listen, Francesca. Please stop playing. You're a great artist. You're my life's work. And now you want to throw it all away. Listen to me. You'll do as I say, and I demand you give this man up. Francesca, this happened once before, remember? You didn't love that boy, and you don't love Leighton. And I'll tell you why. You belong to me. We must always be together. Promise you'll stay with me. Always. Promise me.

[Francesca Cunningham]

I'm leaving this house tonight.

[Narrator/Announcer]

Very well. If that's the way you want it. Very well. But if you won't play for me, you'll never play for anyone else ever again.

[Francesca Cunningham]

Nicholas had beaten my hands with his cane. Over and over he struck them. Till finally I found the strength to rush out of the house. Max had just driven up. I got in his car. We drove for what seemed to be ours. Through the cold, starless night, one thought alone kept stabbing through my mind. I'm free of Nicholas. I'm free at last. Nothing can touch me again. Nothing. And then suddenly, in the road, there was a man on a bike. We were going too fast. All Max could do was swing over into the d. I woke up in this room. In this bed. Dr. Lars. I looked at my hands. They were bandaged and I couldn't move them. I couldn't move my hands. I knew then I would never play again.

[Narrator/Announcer]

Francesca. You're all right. You're going to be all right.

[Francesca Cunningham]

Why didn't you kill me properly, Max?

[Narrator/Announcer]

It was an accident, darling.

[Francesca Cunningham]

Of course. But I. I'd rather be dead.

[Narrator/Announcer]

Dr. Kendall says you'll be up in a day or two.

[Francesca Cunningham]

Look at my hands.

[Narrator/Announcer]

They've been burned, but only slightly.

[Francesca Cunningham]

I don't believe you, Francesca.

[Narrator/Announcer]

Well, ask the nurses. Ask the doctor.

[Francesca Cunningham]

I don't believe them either. They just want me to be quiet. But I know. I know I shall never be able to use my hands again.

[Narrator/Announcer]

Francesca.

[Francesca Cunningham]

No, don't touch me. Don't touch me. I wish I were dead. I wish I were dead.

[Narrator/Announcer]

We pause now for station items identification. This is cbs, the Columbia Broadcasting System. Before we continue with Act 3 of the 7th Veil, I want to introduce a special guest. Attractive, honey blonde, June Fulton, who has just arrived from South Africa, where she won a screen test. What have you been doing since you arrived June?

[Francesca Cunningham]

Well, first of all, I found a place for the lion cub I brought with me. Since then, I've been spending a bit of time in the projection room at Universal International.

[Narrator/Announcer]

And what have you seen that you like?

[Francesca Cunningham]

Well, I loved you. Gotta stay happy. Joan Fontaine and Jimmy Stewart are so wonderful in comedy.

[Narrator/Announcer]

Joan's own company, Rampart Productions, produced the picture, you know.

[Francesca Cunningham]

Yes, I'm amazed that so many American actresses are equally clever. And business.

[Narrator/Announcer]

I'm sure you've toured the studio from end to end.

[Francesca Cunningham]

Oh, yes. And the first thing I asked to see was Joan's original wardrobe for you Got to Stay happy.

[Narrator/Announcer]

A wardrobe that must have impressed you.

[Francesca Cunningham]

It certainly did. Particularly a blue satin lounging robe and matching pajamas that I'd adore to have. But I never dreamed they were practical until the wardrobe mistress told me that they'd actually been luxed.

[Narrator/Announcer]

John Kennedy here can tell you many stories like that.

[Francesca Cunningham]

We have luxe flakes in South Africa, you know.

[Narrator/Announcer]

Ah, but wait till you try these new tiny diamonds of lux, June. They're so much faster. Dissolve the instant water touches them and so much richer the suds last and last. They do more for you, too. Remove kinds of soil which other suds can't, leave things cleaner and fresher.

[Francesca Cunningham]

I must say, the colors in Jones pajamas still look lovely.

[Narrator/Announcer]

Naturally, because luxe things stay color fresh longer, Hollywood studios won't risk strong soaps. They often fade colors. But the same colors stay lovely three times as long as with gentle Lux flakes. Care actual tests prove that.

[Francesca Cunningham]

Then I needn't feel extravagant if I buy lovely things.

[Narrator/Announcer]

Not a bit. If you luxem that way you can have three times as many pretty undies without spending any more. Thank you for coming tonight, June Fulton. Now here's our producer, Mr. Keeley. The curtain rises for the third act of the Seventh Veil, starring Robert Montgomery as Nicholas and Ingrid Bergman as Francesca. Warning the following Zipper ZipRecruiter radio spot you are about to hear is going to be filled with F words when you're hiring.

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[Francesca Cunningham]

This.

[Narrator/Announcer]

This Max Layton, where is he now? At the moment, I can't say. But he's here almost constantly. Well, there's nothing more I can do today. I'll be back in the morning. There'll be no injection tomorrow, Dr. Kendall. No narcosis. You have a solarium here? Why, why, yes. Doctor, this may seem strange, but I'd like a piano brought in the solarium. A good piano and a phonograph. You see, Dr. Kendall, I have hopes that tomorrow morning Ms. Cunningham will play. Where? We're ready for you, Dr. Larson. Ms. Cunningham's in the solarium. And a piano and a Phonograph? I don't mean to be mysterious, Kendall. Now, here is the case history of Francesca Cunningham as a child. The caning at school resulting in her failure at the music examination. And the fear that her hands might be injured. The recent attempt by Nicholas Brandt to smash her hand again with a cane. Finally, the car crash. The shock of waking up in a hospital with her hands bandaged. All these things have built up a barrier. Yes, which led her to attempt suicide. And will continue to prevent her full recovery. And you intend to break down this barrier now? I have hopes. I would put her under hypnosis now, with the phonograph, with the help of music, which we know she loves. I am going to suggest to her a way to break through this barrier. If I can make her play the piano, I shall wake her up. While she is actually playing. Then she will know there is nothing really wrong with her hands. I brought some records here made by Miss Cunningham a few years ago. I propose to play one of them in a few moments. Francesca, can you hear that music? It's beautiful, isn't it? She's hypnotized. Yes. She'll do exactly as I wish. Francesca, would you like to play this music yourself? There's a piano here.

[Francesca Cunningham]

Play. I can't play.

[Narrator/Announcer]

Of course you can, if you want to. Do you? Yes. Good. Now get up from that chair. Give me your arm. We'll walk over to the piano here. That's fine, Francesca. Now sit down. Put your hands on the keys. Your hands. Want to play? Try, Francesca, try. You can stop the phonograph, Kendall. She's playing. By George, he's playing under hypnosis. Now to rouse her, to bring her out of it. Francesca, you are playing now of your own free will. Your hands are not injured. There is nothing wrong with your hands. You are playing. There is nothing wrong with your hands. She's opening her eyes, Doctor. She's. Why have you come here, Dr. Larson? Mr. Layden? Because Dr. Kindle tells me you've removed Ms. Cunningham from the sanitarium. Yes. She's here in my home. And I assure you, under adequate care. I feel it is my duty to go on treating her. Mr. Layden, I know what you did to her at the sanitarium this morning. I insisted that Dr. Kendall tell me. Even you must agree that she suffered enough. She will continue suffering until she is cured. Cured? With drugs, Hypnotism. Your kind of treatment is likely to unhinge your mind altogether. Does Nicholas Brandt know What's happened to Ms. Cunningham? No, he does not. There's been nothing in the newspapers. As far as he knows, she and I are in Italy. How is she now? Very well, thank you. I see. Mr. Leyden, please. This. This is all wrong. I can help. Miss Cunningham, would you object if I saw Mr. Brandt? If I asked his permission? Not at all. Legally, is no longer her guardian. If he thinks he is, you might tell him that Francesca and I are to be married next week. I assume she's agreed to marry you. I think you can assume that she will agree. Mr. Layden, that poor girl is in no condition to make up her mind on anything at the moment. I warn you, what you are doing is very dangerous. Good night, Dr. Larson. Good night, Mr. Layden. And after I left, Leyden, I came directly here. Mr. Brand. What you have told me is a great shock. I thought Francesca was in Italy. I didn't come here to advise you of Francesca's condition or her whereabouts. It's quite possible she'd rather you didn't know. I came to ask a favor. What is it? I have a phonograph record here. It's a piece of music which has assumed some importance in this case. If you'd listen to it, perhaps you could tell me if it has any sentimental association. Any connection with someone she knew. There's a phonograph. Play it if you want. Thank you. Don't expect me to know anything about Ms. Cunningham's private affairs, Dr. Larson. It's always possible. You are familiar with the composition. Hi. Now get out. You dropped your cane, Mr. Brand. Get out. You have helped me after all. I've been aware of the power you had over Miss Cunningham. But now I know why. I know what she means to you. Get out. I don't care if you are her nurse. I demand to see Miss Cunningham. I'm Nicholas Brandt. I'm her gardener.

[Francesca Cunningham]

If Mr. Laydon were at home, sir, I could.

[Narrator/Announcer]

Where is Mr. Laydon?

[Francesca Cunningham]

He'll be back shortly.

[Narrator/Announcer]

If you care to wait, I'm going in that room. Francesca.

[Francesca Cunningham]

I'm terribly sorry, Ms. Cunningham. He just forced his way into here. It's all right. Yes, Miss Cunningham.

[Narrator/Announcer]

Francesca. Whether you forgive me or not is of no consequence. I'm not stupid enough to expect forgiveness from anyone except myself. And I'd never forgive myself if I allowed you to go on like this. You know there's nothing wrong with you, don't you? You can be cured quite easily. You can play again if you want to. No, I don't.

[Francesca Cunningham]

No, I don't think so.

[Narrator/Announcer]

Larson can kill you if you give Him a chance. Bladen doesn't want him to. He knows it would mean he'd lose you.

[Francesca Cunningham]

I'll never play again.

[Narrator/Announcer]

If you don't, it's your own fault.

[Francesca Cunningham]

My fault?

[Narrator/Announcer]

It's no use brooding over the past. It's your future you should be thinking of.

[Francesca Cunningham]

I have no future.

[Narrator/Announcer]

Larsen can give it back to you.

[Francesca Cunningham]

He tried and he failed.

[Narrator/Announcer]

Larsen failed to work a miracle. So he's not to be given another chance as that is.

[Francesca Cunningham]

Yes.

[Narrator/Announcer]

Won't you let him try again?

[Francesca Cunningham]

No.

[Narrator/Announcer]

For me?

[Francesca Cunningham]

No.

[Narrator/Announcer]

You're the most obstinate woman I've ever known. Do you remember the first time I asked you to play for me? You were stubborn as a mule. Even then I was frightened. Am I such a frightening person?

[Francesca Cunningham]

Yes.

[Narrator/Announcer]

You're not frightened now. You're smiling.

[Francesca Cunningham]

Yes. It's funny. It really is. It's so. So different when you're being kind. When you're like this. Nicholas, I do anything for you.

[Narrator/Announcer]

All you've got to do is to make up your mind. Larson will do the rest.

[Francesca Cunningham]

I can't, Nicholas. I have tried.

[Narrator/Announcer]

Look at me. Yes. I tell you, there's nothing to be frightened of ever again.

[Francesca Cunningham]

Nothing to be frightened of ever again.

[Narrator/Announcer]

You really want to play, don't you?

[Francesca Cunningham]

Yes. Yes, I do, Nicholas.

[Narrator/Announcer]

Then you will see Larson.

[Francesca Cunningham]

Yes, I'll see Larson.

[Narrator/Announcer]

I'll. I'll phone for him right away. The phone's just down the hall. Mr. Brand. Mr. Layton. I. I just returned. I overheard. It's all right. I'll phone Larson myself.

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[Narrator/Announcer]

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[Narrator/Announcer]

Of course I'll come, Mr. Layton. I'll be there late this afternoon. You can't come now. No, I have a little checking up to do. Incidentally, I'll see Ms. Cunningham at her own home, Mr. Brans. Home? That's ridiculous. I drive her there. Anytime you wish. Meantime, I'll be trying to track down a man by the name of Peter Fulton. Very glad to meet you, Dr. Larson, but frankly, I can't imagine what you'd want to see me about. How about a patient of mine, Mr. Fulton? Francesca Cunningham? Francesca? She's in great trouble. I. I see. The last time Ms. Cunningham saw you, she hadn't seen you in years. By chance she found you. What happened that night, Mr. Fulton? Nothing. Nothing at all. Something must have happened. I told her I was married, if that's what you mean. How did she take that bit of news? She just walked out on me. She's like that, you know. Had she ever met your wife? Not that I know of. We were divorced two years ago. I'm sorry, Mr. Fulton, there is a tune she seems to have associated with you. A waltz, I believe. It was played in some Italian cafe. Yes, I even had my band recorded a few years ago. I had some wild hope at the time that Francesca would hear it. It might help bring her back to London. You have a copy of the recording? I can get one. Would you bring her to this address, Mr. Fulton? That's Nicholas Brandt's address, isn't it? Yes. Can you be there at five o'? Clock? What? Well, yes. Yes, of course. Mr. Brent will be there. Also a Mr. Layden. I won't detain you long. I'll be there. Doctor. Mr. Brandt. Who is he? Who's that man upstairs with Francesco? He. You think Larson might have told me. His name is Peter Fulton. What's he got to do with Francesca? He's a man she once wanted to marry. Why crack your knuckles, Mr. Layton? It won't help you. What's that music? It's a tune that seems to have some meaning. Whiskey, Mr. Layton, please. Parker, whiskey for Mr. Layton, please. Yes, sir. Wait. Here he comes. Where, Mr. Fulton? Well? What? Did anything happen? But I'm trying to figure out myself. Is she all right? What did Larson say? I guess it all adds up to something. Larson's way ahead of me. What's the good of turning back the clock, anyway? It never did anyone any good. I wouldn't be too sure of that. Have a drink. Thanks. I got two whiskeys. Parker, listen. That music. That's Francesca, isn't it?

[Francesca Cunningham]

Yes.

[Narrator/Announcer]

What record is it? It's not a record. Francesca playing. She always had a piano up in her room. She plays beautifully, doesn't she? Gentlemen. Dr. Larson, I. Francesca. May I go up now, Doctor? It would be a pity to interrupt her. Doesn't she want me with her? Perhaps. What do you mean, perhaps? I mean, I think I can promise you a complete cure. Thank heaven. But you'll have to prepare yourselves for a new Francesca. A new and very different person. In what way? You see, the past is over for her now. Quite over. Her mind is clear, and the clouds have been swept away. She is no longer afraid. Whether you will be entirely satisfied with the change in her, I don't know. It. It might be wise not to expect too much. Are you trying to tell me. I'm trying to tell you she will want to be with one of you three men. The one she loves, the one she has been happiest with, or the one she cannot do without, or the one she trusts. And who is that? It would hardly be fair of me to say she stopped playing. Yes. Look. She's coming down the stairs. She.

[Francesca Cunningham]

Nicholas. Oh, Nicholas. Nicholas.

[Narrator/Announcer]

Mr. Fulton. Mr. Layton. Since you two gentlemen are leaving now, perhaps one of you will give Dr. Larson a lift home. Our stars will return for their curtain calls in a moment. You know, Libby, I. I like this California climate, but I do miss a white Christmas. I get a big kick out of seeing fir trees in the woods with fresh snow on their benches.

[Francesca Cunningham]

Well, if that's all you want, you can have a white Christmas tree right in your own living room. It's easy.

[Narrator/Announcer]

Move in a ton of ice to keep the snow from melting.

[Francesca Cunningham]

No, you make the snow with luxe flakes. Just take a large box of luxe flakes, add gradually about 2 cups of lukewarm Water and beat with an egg beater until it's the consistency of thick whipped cream. Then spread this mixture with your fingers over the branches of the tree. Let the snow dry before you add your lights and other decorations.

[Narrator/Announcer]

Say, I'll bet that's pretty when the tree lights are on.

[Francesca Cunningham]

Oh, it is Once you need put very little else on the tree.

[Narrator/Announcer]

A thrifty idea.

[Francesca Cunningham]

And this special kind of snow won't melt. Lasts as long as the tree.

[Narrator/Announcer]

Well, wouldn't that be a good idea for mantel decorations or table centerpieces, too?

[Francesca Cunningham]

Well, it certainly would look festive and original. Ask your dealer for easy to follow directions for luxe Christmas snow. Even the children can do it. Try this Christmas snow on your tree. This year it'll be the talk of the neighborhood.

[Narrator/Announcer]

We return you now to William Keeley. This is an evening that will be long remembered in the Lux Radio Theater. And returning to the Footlights now are our stars, Ingrid bergman and Robert McDonald. Ingrid, since your last appearance on this stage, one of the most eagerly awaited pictures of our time has reached the screen. And we'd like to add our congratulations to all the others on your magnificent performance in Joan of Arc.

[Francesca Cunningham]

Thank you very much.

[Narrator/Announcer]

Bill, you look so beautiful in army egret that it may start a new style.

[Francesca Cunningham]

I'm afraid it's a little heavy for every wedding day. Wear the Bob. But it's always been the ambition of my life to play Joan of Arc. And it was a tremendous thrill to

[Narrator/Announcer]

have it come true, but a bigger thrill for the people who see the picture. Bob, we're delighted to welcome you back to Hollywood after a summer among the rustic charms of your farm in the East. Just the time of year. I hated to leave, too, Bill. It snowed the day after I left. I know what you mean, but New York won't mind if this means another picture like June Bride. You and Bette Davis made a great comedy team. What about next week's play, Bill? Is that a comedy? It's a comedy, all right, Bob. But more than that, it's one of the finest Christmas stories ever told. In fact, by now it's a classic. The stars are Marino Hala, John Payne and Edmund Gwen. And the play is that prize holiday package, Miracle on 34th Street. This is a story for everyone, but particularly for all the children in America. Because Miracle on 34th street is the story of a gentleman who will be here in person. Santa Claus.

[Francesca Cunningham]

With Santa Claus as the star, you're sure to have a wonderful play, Bill. Good night.

[Narrator/Announcer]

Good night. Good night. And thank you both. Lelever Brothers Company, the makers of Lux Lakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theater presents Marino Hara, John Payne and Edmund Gwen in Miracle on 34th Street. This is William Keeley saying good night to you from Hollywood. The concert pianist heard in the Seventh Veil was Ignaz Hillsberg. Heard in our cast tonight were Bill Johnstone as Dr. Larson, Carlton Young as Max, and George Neese as Peter. Our music was directed by Louis Silvers. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Maureen O', Hara, John Payne and Edmund Gwen in Miracle on 34th Street. Warning the following ZipRecruiter radio spot you are about to hear is going to be filled with F words.

[Commercial/Advertisement Voice]

When you're hiring, we at ZipRecruiter know you can feel frustrated, forlorn, even, like your efforts are futile. And you can spend a fortune trying to find fabulous people, only to get flooded with candidates who are just fine. Fortunately, ZipRecruiter figured out how to fix all that, and right now you can try ZipRecruiter for free at ZipRecruiter.com Zip with ZipRecruiter you can forget your frustrations because we find the right people for your roles fast, which is our absolute favorite F word. In fact, four out of five employers who post on ZipRecruiter get a quality candidate within the first day.

[Narrator/Announcer]

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[Commercial/Advertisement Voice]

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[Narrator/Announcer]

Com Zip Queen Carvania stood haloed by the morning sun. An army hung on her every word.

[Francesca Cunningham]

My champions, I have sold my chariot on Carvana. Twas a lovely suv, an inexplicably queenly offer. They're even coming to the castle to collect.

[Narrator/Announcer]

Tonight we feast. An offer you can feast on. Sell your car today on Carvana. Pick up Fees may apply.