Lux Radio Theatre - Bedtime Story

Summary

Lux Radio Theatre – Bedtime Story
Podcast: Harold's Old Time Radio
Original Broadcast: July 5, 2026 (Podcast Air Date)

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Episode Overview

This episode features a full radio performance from the golden age of radio: Lux Radio Theatre’s “Bedtime Story,” starring Greer Garson as Jane Drake and Cary Grant as Luke Drake. Hosted by Donald Crisp, the production delves into the comedic trials and tribulations of a married couple of Broadway stars as they attempt to retire from the theatre, only to find that their passion—and their marriage—refuses to let them go. The story is a classic backstage/onstage comedy involving creative clashes, romantic entanglements, misunderstandings, and the age-old battle between career and domestic bliss.

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Key Discussion Points & Plot Highlights

1. Setting the Stage: Farewell to Theater

[00:00–03:37]

• The play opens as Jane and Luke Drake, the "first lady and gentleman of the American theater," close out another hit Broadway run and announce their retirement. Only Jane is present to make the speech, as Luke is missing ("That man can disappear quicker than a package of cigarettes." – Jane, [04:31]).
• Friends and colleagues question their decision, with Jane revealing dreams of domestic life in Connecticut, though with her characteristically humorous doubt ("You wouldn't have had time to raise even an objection." – Jane).

2. Conflict: The Unbreakable Hold of the Stage

[06:54–08:08]

• Luke returns, enthusiastically discussing his next play and dropping a bombshell: he’s sold their cherished farm to buy a theater.
• "You sold our farm?... Because I'm leaving you, Luke. Right now." – Jane, [07:54–08:08]
• The couple’s creative and marital tensions erupt, culminating in Jane's decision to leave for Reno to seek a divorce.

3. Separation and Comedy of Errors

[08:47–11:34]

• Luke, crestfallen but unable to abandon theatre, attempts to replace Jane in the play but finds himself continually drawn back to her.
• Several comedic mishaps, including Jane’s suspicion about a secret play in the cabinet drawer and a scene where a friend brings a supposed musician (actually an actress) to the apartment, expose both characters' ongoing jealousy and inability to move on.

4. Reunion Attempts and Miscommunications

[16:19–21:02]

• In Reno, attempts to move forward falter; Jane is courted by Dudley Williams, a staid banker and longtime admirer, while Luke tries to win her back with a new script.
• Their car runs out of gas in the desert, leading to a night spent at a quirky auto court reminiscent of their theatrical journeys.
• "My wife will pay you." – Luke passing off the gas bill to Jane, [25:23], symbolizes their ongoing give-and-take.

5. Divorce, New Partnerships, and Artistic Rivalry

[26:14–31:03]

• News breaks that Jane has been granted a divorce and that Luke’s new play will have a different leading lady. However, both struggle: Jane is not content with Dudley, and Luke can’t duplicate the magic without Jane.
• A satirical scene involves Jane selling their beloved furniture at auction ("Sold to Mr. Dinglehoff... I wouldn't mind so much if it hadn't been a man named Dinglehoff." – Jane, [29:15]).

6. Back to the Stage: A Last Attempt

[32:27–37:04]

• Jane, witnessing a disastrous rehearsal for Luke’s play, reluctantly agrees to fill in "just temporarily," rekindling their onstage chemistry.
• As professional success seems close, personal complications intervene when Dudley, Jane’s new fiancé, gets arrested in a comical misunderstanding at a nightclub.

7. Final Act: Legal and Emotional Stakes

[42:59–49:30]

• After Jane weds Dudley, Luke orchestrates an elaborate legal farce, casting actors as lawyers to cast doubt on the marriage’s legality and win Jane back.
• Comic misunderstandings about the validity of the Reno divorce and multiple accusations of "bigamy" ensue, culminating in Jane realizing her true feelings for Luke.
• "You owe me $4.40, Luke." – Jane, using the receipt from their night at the auto court as both a legal loophole and a symbol of their bond, [48:01].

8. Resolution: Reunited and Compromised

[49:30–58:00]

• With the marriage to Dudley voided, Jane seeks out Luke. In their old apartment—secretly repurchased by Luke under the name "Dinglehoff"—they reconcile.
• "Just call me Dinglehoff." – Luke, [56:53]
• The couple agrees to both their creative and personal future: “We have to compromise, don’t we? Come on, let’s go to work.” – Jane, [57:22]

9. Curtain Call: Curtain Speech and Character Epilogues

[58:00–58:52]

• Jane delivers a tongue-in-cheek curtain speech, promising that this will be the “shortest run” of any of Luke’s plays—humorously alluding to new domestic adventures ("It will be closed in the early spring, and I'm sure that my husband hopes it will be a boy." – Jane, [58:21]).
• Luke swoons, and the company celebrates.

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Notable Quotes & Memorable Moments

• "Something has gone out of me," says Luke Drake (Multiple times as a refrain during his despair, e.g. [10:34]).
• "You sold the farm?... Because I'm leaving you, Luke. Right now." – Jane ([07:54–08:08])
• "You're the most wonderful person in the world." – Jane, after reuniting, [11:20]
• "You owe me $4.40, Luke." – Jane, as the technicality that saves their marriage, [48:01]
• "Just call me Dinglehoff." – Luke, returning all the old furniture and rekindling Jane’s affection, [56:53]
• "It will be closed in the early spring, and I'm sure that my husband hopes it will be a boy." – Jane, curtain speech, [58:21]

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Timestamps for Important Segments

• [03:37] – Jane announces retirement; Luke is missing
• [07:54] – Jane leaves Luke after learning about the farm sale
• [11:00–11:40] – Jane and Luke reconcile but distrust remains
• [18:27–19:11] – On the road, Jane asks if Luke will give up theatre (“Nope.”)
• [26:14] – Divorce is granted; Luke tries to cast new lead
• [29:11] – Jane auctions off the furniture
• [33:07] – Jane critiques a new lead’s rehearsal; onstage chemistry with Luke rekindled
• [36:21–37:18] – Jane agrees to perform to keep the company afloat
• [42:59] – Marriage legal farce unfolds; actors spoof as lawyers
• [48:01] – Jane uses gas station receipt as legal technicality
• [56:53] – Luke reveals himself as Mr. Dinglehoff
• [58:00] – Curtain call; Jane's speech

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Epilogue: Reflections and Social Commentary

[60:52–61:40]

• The cast closes with words about the importance of supporting the war effort and writing to servicemen during WWII, reflecting the context of the original broadcast.
• Closing segment teases the next Lux Radio Theatre episode.

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Summary

This episode showcases the wit, warmth, and charm of Hollywood’s golden age, with a script full of smart banter, endearing character flaws, and heartfelt reconciliation. The story deftly balances humor and serious themes about the tension between artistic devotion and domestic life, ultimately affirming that love—like the best plays—demands compromise, courage, and a little more rehearsal than expected.

Whether you’re a devotee of old-time radio or simply enjoy clever romantic comedies, this episode is a delightful, often laugh-out-loud listen, buoyed by star-power performances from Greer Garson and Cary Grant.

Transcript

[A]

What's going on everyone? It's bluff here and we're driving through the states in the bluffmobile and the best thing that we can do is play our favorite casino style games on Spin Quest. They have over a thousand games including live dealer blackjack and craps. With tons of slots and unlimited options, you can get a 30 coin pack for just $10. For new users. Sign up today, go to spinquest.com right now Spinquest is a free to play social casino void where prohibited. Visit spinquest.com for more details. Lux presents Hollywood. The Lux Radio Theater brings you Bedtime Story starring Greer Garson and Cary Grant. Ladies and gentlemen, your guest producer, Mr. Donald Crisp. Good evening, ladies and gentlemen. Among the many traditions of the American stage is the amiable ability of show people to laugh at themselves. And as a result, some of our most entertaining comedies have been built around the theater. Tonight we bring you one such comedy with two of the screen's best loved stars, Cary Grant and Greer Garson. I have just had the pleasure of making Valley of decision with Ms. Carson at Metro Goldwyn Mayor. Both of our stars, as you know, are nominees for the 1944 Academy Awards. Greer Garson for the fifth time. In addition, Ms. Garson was voted America's favorite screen star in the nationwide Gallup poll conducted for Photoplay magazine. Tonight, Greer and Carrie appear in the screen hit Bedtime Story, produced by Columbia Pictures. Incidentally, the studio has just completed another hit production tonight and every night starring a popular favorite of the Lux Radio Theater, Rita Hayworth. I think you'll agree that the versatile reader was never presented to better advantage on the screen. Now, there's a strong belief supported in our play tonight that once you're stage struck or bitten by the theater, you never lose your addiction to grease, paint and footlights. Well, that could be said of other things too. I think once people are exposed to Lux flakes, they remain loyal devotees for life. One lady tells us of using Lux to wash a piece of Chinese silk embroidery that she was about to discard as hopelessly soiled and failed. She writes, the colors came back just as lovely as they were years ago and did not run at all well. Now, in these days when all fine fabrics are doubly precious, it's nice to know that luxe flakes are helping to preserve their color and charm. Now here's the first act of Bedtime Story starring Greer Garson as Jane and Cary Grant as Luke. Mr. And Mrs. Drake. Jane and Luke are the first lady and gentlemen of the American theater. Every season they've given Broadway a smash hit. Brilliantly written by Luke, magnificently acted by Jane. Tonight, after a solid year's run, their latest offering, Isabella the Great, is closing. The curtain falls. And from the wings comes Jane to make her farewell of speech.

[B]

Thank you, ladies and gentlemen. Thank you. No, no, not ladies and gentlemen. But friends, what I have to say now is. Well, it's not going to be easy. This was not only the last performance of Isabella, but also the last performance of Jane Drake. Yes, yes, my husband and I are retiring from the theater. Oh, I'm sorry, but that was supposed to be Mr. Drake's cue to come out here so that we could say goodbye together. But Mr. Drake seems to have misplaced himself, so I'll have to say it for both of us. Good night. Goodbye and thank you. Eddie. Where is he? Where's Luke?

[A]

I don't know.

[B]

Well, he certainly put me in a nice spot.

[A]

Look, Jane, I'm just a manager, not a medium. Last I saw Luke, he was at the apartment.

[B]

That man can disappear quicker than a package of cigarettes. Oh, it's my own fault. I never should have let him out of my sight.

[A]

Oh, good evening, Jane.

[B]

Oh, come in. Dudley, did you see me making a darn fool of myself out there?

[A]

Well, the only darn fool thing you ever did was to marry Lou Drake instead of me. Jane, I've been waiting for this opportunity for years. How about doing the town with me tonight, huh?

[B]

Oh, I'm sorry, Dudley, but we're giving a farewell party at the apartment. Why don't you join us?

[A]

Oh, but that's for your theater friends.

[B]

Oh, they're broad minded. They don't mind bankers.

[A]

No, no, no, I can't risk it. Some other time, Jane.

[B]

Oh, I'm sorry, Dudley. Well, good night. Eddie. Eddie, start looking for Luke and find him. Find him? Say, where's Luke? Well, that's what I've been trying to find out all night. Jane, I simply can't understand it. Now, why this farewell to the theater? Well, Emma, seven years ago, Luke and I were making an overnight jump from Duluth to Minneapolis. Oh, that's a tough one. Uh huh. Well, right then and there we got to thinking about all the things we were missing. And we decided that before we were too old, we'd take time out to live. And then six weeks later, when we got back to New York, we bought all this furniture. You see that little cabinet over there? Yes. We ate hamburgers for six months to pay for it. So we got it and we knew exactly where it was going in Fact, we bought each piece. We knew exactly where it would stand in the house. House? It was finished last month. Right in the middle of the loveliest farm in Connecticut. Wait a minute. Has this house got a nursery? No, Emma, no. But we have three extra bedrooms. They can all be turned into nurseries very quickly, one at a time. Of course, the idea of leaving the theater to have children. Why, I've raised four children and never missed a cue. My dear Emma, you weren't married to Luke Drake. You wouldn't have had time to raise even an objection. Oh, no. Eight performances a week, week after week, until you're absolutely worn out. And where is Mr. Drake's all this time? Well, I usually find that out the night the show closes. He's been writing another play. He comes bursting in. Sweetheart. He takes. Sir. Best thing I've ever done. Run down to Atlantic City and grab yourself a day's rest and read it. We start rehearsals Monday. Oh, no, Emma. No. We're never going to look at a theater again.

[A]

Well, hello. What's going on here?

[B]

Luke.

[A]

Hello, hello, hello. How are you? How are you? How are you? Hello, Jane.

[B]

Luke, have you been in your room all this time?

[A]

Yes. I'm sorry, darling. I was detained.

[B]

Hi, Luke.

[A]

Oh, Eddie. Listen, I just called Mabel Chadwick. She's coming over here. I don't want you to haggle with her about money. Jane, you know Mabel Chadwick. She'd be good as Elsie, wouldn't she?

[B]

Who?

[A]

Elsie. Elsie. Don't you remember? I named the brunette Ruth and the blonde Elsie.

[B]

Oh, yes.

[A]

Well, the blonde who plays opposite you is Elsie.

[B]

Plays opposite me?

[A]

Yes. Oh, I forgot to tell you, darling. I'll be working on the new play, so get yourself a rest. You can read it while you're resting. Now, run down to Atlantic City for the weekend. We'll start rehearsals Monday.

[B]

Oh, lovely. A whole weekend off.

[A]

Yes. Isn't that wonderful? Now. Now, here's the script. But be careful of it, princess. It's the greatest thing I've ever written. And what's more, dear, it will be our first play in your own theater.

[B]

My own?

[A]

The Jane Drake Theater.

[B]

Where did you get the money to buy a theater?

[A]

Huh? Oh, I sold the farm.

[B]

You sold the farm?

[A]

Yes.

[B]

You sold our farm?

[A]

Yes. Well, wait, wait, wait, wait.

[B]

Don't do that.

[A]

You're tearing my script. Six months of my life and seven

[B]

years of my life. You can write yourself another play and you can get yourself another star. Because I'm leaving you, Luke, Right now.

[A]

What did I do? What did I Say. Oh, my play. Look what she did to it. My beautiful play. Here's the opening of Act 2. Oh, no. Jane couldn't have gone to Reno. This is just a bad dream. This apartment looks like a bad dream, too. What happened? Oh, she threw things at me, Eddie. She broke things. Hey, where's Elsie's second speech? I don't know. Find it? Yeah. Just like a bad dream. I tell you, Eddie, something's gone out of me. I'll never set foot in the theater again. Come in.

[B]

Hello, Luke.

[A]

Hello, Eddie. Hiya. Hello, Mike. Come on in, Bert. Well, Luke, the set worked out fine. Yeah. And here are the sketches for Jane's gun. Oh, yeah? Let me see them. Oh, Mike, what is this? I told you I wanted the stairs in the middle of the set. Well, sure, but I would. Let me see your sketches first. Sure. Oh, dear me. Look at that. You call yourself a designer? Well, I. There's too many ruffles for Jane. I said simple, simple. Luke, just to remind you, Jane is in Reno and you're never gonna set foot in the theater again. Oh, yeah?

[B]

Yeah.

[A]

Oh, but, Eddie, I can't pass this show up. It's got to be done. Now, come on, you two. Don't stand there gawking. Change the stairs. Mike, fix the ruffles. Bird. Hurry up. Get going.

[B]

Okay, Luke.

[A]

I'll have him done tomorrow. Good. Eddie, she's got to play it. Don't you see what happened? I was thoughtless. She was overworked, all keyed up. She wanted a little rest and offered her a few days at Atlantic City. I should have given her at least a week. Hey, Eddie, get that, will you get that? Yeah, okay. Hello. Oh, hello, Kitty. Kitty Morgan of the Globe for you. Oh, what does she want? What do you think? Well, tell her that. Hey, wait a minute. Wait a minute. They print her column in Reno, don't they? If Reno's got a newspaper, they do. Let me have that phone. Hello, Kitty. Yes. Yes, Kitty. Well. Well, naturally, I'm pretty broken up. The show. I wouldn't touch that show now or any other show. I'm through, Kitty. And, well, I don't just know how to put it. Something's gone out of you. Get out of here and don't come back until you bring me an Elsie. Okay?

[B]

Okay.

[A]

Hello, Kitty. Well, let me put it this way. Something has gone out of me.

[B]

Something has gone out of me says Luke Drake.

[A]

Something has gone out of me says Luke Drake.

[B]

Something has gone out of me says Luke Drake. Playwright, abandoned theater. Oh. Oh, Luke. Oh, darling. Hello? Hello? Operator, get me New York Mr. Lucius Drake. Quickly please. Luke.

[A]

Jane. Over here.

[B]

Oh, Luke, darling.

[A]

Princess, you're.

[B]

Oh, darling, darling.

[A]

Oh God. Janie. Janie, darling.

[B]

Oh, Luca, I'm so glad to be home.

[A]

Ah, Princess, I was lost without you.

[B]

Ah, darling. Oh, you had the cabinet. Oh, Darnia cried every time I thought about breaking it. Oh, darling, let's face it. You are the most wonderful person in the world.

[A]

Oh, now, Jamie.

[B]

Taking care of all our beautiful things and giving up the theater.

[A]

Hey everybody. Lady luck here.

[B]

And we're celebrating America's 250th birthday. Now, all summer long I'm going to be celebrating by playing on spinquest.com which is an American owned social casino. It obviously features over a thousand slot games and live blackjack, live craps, live bubble craps. Head on over to spinquest.com. get yourself a $30 coin pack for just 10 bucks.

[A]

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[B]

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[A]

Oh, don't give it a thought, dear.

[B]

Say, what's the matter with this drawer?

[A]

Cabinet drawer, drawer, drawer. Oh, well, it must be locked.

[B]

Well, that's funny. It's never been locked before.

[A]

Oh, well, you know how cabinet drawers are. Now forget all about it. Come on, sit in my lap, huh?

[B]

Luke, have you been working on that play? Is that what's in that drawer?

[A]

Oh, so. So that's what you think. All right, I'll open that drawer if I have to wreck the cabinet doing it. Where's the hammer?

[B]

Oh, no, no, Luke. No, I believe you, darling.

[A]

Well, well, sweet, if you have the slightest suspicion.

[B]

Oh, darling, I haven't, I swear. Now sit down. Oh, darling.

[A]

Come in. Hiya, Luke. In here, Eddie. Well, you told me to find a girl and I. Eddie, the. The. The princess is.

[B]

Why, Jane, when did you.

[A]

Oh, you're back. Yeah. Huh.

[B]

Find a girl for what? Eddie, Just what were you saying?

[A]

Yes, Eddie, a girl for what? Well, you told me. You told me to go out and find a nice girl and and settle down. So I did. Come in, Beulah. Jane, meet Beulah.

[B]

Oh, how do you do? Hello.

[A]

Well, well, Jane. Who'd have dreamed that Eddie would take the big step, huh? What do you know, old sour puss, when you've done it. Well, we haven't exactly done it yet.

[B]

Oh, no, we haven't done it yet.

[A]

Well, we've got to get together sometime. Now, how about tomorrow? Goodbye, children.

[B]

Why, Luke, shame on you. I want to hear all about these lovebirds right now.

[A]

Oh, you do?

[B]

Sit down, Viola.

[A]

Yeah.

[B]

Jane.

[A]

Jane, we can't stay just now. Beulah and I have to catch a show in Brooklyn.

[B]

A show? On Sunday?

[A]

Well, it's a concert.

[B]

Oh, Edie, you going to a concert? They don't come out on a Runway, you know.

[A]

Well, I. I guess it's Beulah's influence. Yeah, it is Beulah. She loves music. Quite a musician.

[B]

Oh, how wonderful. A piano, huh? Oh, yeah. Piano. A musician. You know, that's funny. I'd have sworn she was an actress.

[A]

That's a laugh.

[B]

What do you mean?

[A]

Well. Well, I hope you enjoy the concert, Beulah. Goodbye. Yeah. Come on.

[B]

Wait, gentlemen. Look at her. Whom do you see?

[A]

Whom do we see? Why, Beulah, of course.

[B]

Oh, no, no, no. Elsie.

[A]

Elsie. What's she talking about? Elsie?

[B]

Oh, you know, the character in your play.

[A]

Oh, there. Imagine that. The play. She still thinks Buell is an actress.

[B]

Oh, no, no. Eddie, you said she was a musician. The only. Dear, there's plenty of time before the concert. Wouldn't you like to play something for us, huh? Put it on. Just anything at all. Beulah, I love the piano. Well, look, I don't think I better play. Play something simple. Little shots of Corbich, maybe.

[A]

Jane, please, please.

[B]

Oh, be. Don't be so bashful, Beulah. Can you.

[A]

I mean, would it be all right?

[B]

Well, I, I. That's a girl. Go ahead, dear. Please.

[A]

Please.

[B]

Well, okay. Oh, lovely. Oh, lovely. What technique.

[A]

Jane, Jane, let me explain that.

[B]

Listen. Listen to that cadence. I'm really afraid I don't play very well. Oh, what are you stalking for, Beulah? Play, dear.

[A]

Jane. Jane, please, give me a chance to. Get out of here. Get out.

[B]

The model for the new set. Beautiful night.

[A]

Yeah, I.

[B]

Just.

[A]

Get out.

[B]

Yes, get out. But don't get in my way. I'm getting out too. Goodbye, Luke. Janie, if you want me again, my address is still the Harper Hotel in Reno. Good luck with the place.

[A]

Janie, look, listen, I couldn't help it.

[B]

It's a danger. Shut up.

[A]

And get that woman away from that piano.

[B]

Hello, Harper Hotel? Just a moment. I'll connect you with the room clerk.

[A]

Pardon me. What's Mrs. Drake's room number, please?

[B]

Your name, please?

[A]

Mr. Drake.

[B]

One moment, please. I'll announce you.

[A]

Thank you. Oh, mister, will you call Mrs. Drake's room, please? Tell her Mr. Williams is here. Well, well, well, if it isn't Dudley. Luke, what brings you here? I. I didn't know you were in Reno. I didn't know you were in Reno. Now see here, old man, let's not create a scene. Why not? I enjoy a good scene. Will you be quiet? You may not have any reputation, but I have. You haven't got a chance. But Jane. Can you hear that? You are worth her little finger. Please, quiet. Oh, hello, Jane.

[B]

Oh, good evening, Dudley. How nice of you to ask me to dinner.

[A]

Jane, I'd like to talk to you.

[B]

Shall we go, Dudley?

[A]

Well. Well, should we go then? Well, the world's in a mighty fine state when a man can't talk to his own wife. And a man named Dudley Williams comes courting her before she's even divorced. Quiet, quiet. What are you trying to do, Drake? I am trying to carry on a little private conversation with my wife. Well, for heaven's sakes, Jane, say something to him.

[B]

Hello, Jane.

[A]

Now let's go to your room.

[B]

I'd rather not.

[A]

Well, then take my car. It's right at the curb. Oh, well, that's very sweet of you, Dudley.

[B]

Well, now, Dudley, you. You wait right here for me.

[A]

Good night, Jane. I'm much obliged. Old pal, old kid, old stuffed shirt.

[B]

Well, when are you going to talk?

[A]

And you know, Jane, we. We've come a long way since we stood before that small town preacher, haven't we?

[B]

Yes. Yes. And what have we got out of it?

[A]

Well, I don't know. We've had seven years. The greatest, the most electrifying years of my life.

[B]

Ah, the word is shocking.

[A]

I can't remember any other years. Only the ones I speak now.

[B]

Just keep driving, Luke. Just keep driving.

[A]

Why? What are you afraid of?

[B]

Luke, I want you to tell me something before we go any further in mileage, I mean, are you going to give up the theater?

[A]

Nope.

[B]

Then there's nothing more to be said. Please take me back to the hotel.

[A]

And you won't give it up either. All right. Maybe you'll hook up with somebody like old stuff Shirt, Dudley. But just as sure as today is

[B]

Wednesday, I've got news for you, darling. Today's Thursday night, that wedding.

[A]

Well, all right, all right, Princess. Anyway, will you do one thing for me? Will you read the new play? I've never put on anything without your advice and help. And, well, here, I brought it along.

[B]

Well, I can't read in the dark.

[A]

I'll switch the light on for you.

[B]

All right, give me the play.

[A]

Oh, thank you.

[B]

Hey, what's that?

[A]

Oh, I don't know.

[B]

Well, what's the matter with it?

[A]

Well, I. Get this. Well, what do you know? We're out of gas.

[B]

Oh, that's fine.

[A]

Oh, dear me. I've met characters in my time, but never any like Dudley. Can you imagine that? A man with all his money and what happens? He comes according with an empty tank. Whoever heard of such a silly thing? I'm never out of gas.

[B]

This is one time I wish you were. Well, do something. We can't sit out here all night.

[A]

Well, there must be an auto cart nearby.

[B]

There must also be a gasoline station nearby. Oh, as a matter of fact, there is one. Look, right over there.

[A]

Oh, yeah, so there is. Aren't we lucky

[B]

folks?

[A]

Hello.

[B]

Hello. We'd like some gas, please.

[A]

Nope.

[B]

Sorry.

[A]

What do you mean, nope? Sorry. Can't.

[B]

Why not?

[A]

Rita Hayward.

[B]

Well, look, Pop, what's Rita Hayworth got to do with our dying guests?

[A]

Rita Hayward's picture saying in Reno Son's baddie bud. Rita Hayworth son of picture show. Cue the gas pump and son's pocket. You'll excuse me. What did you say?

[B]

He said, Rita Hayworth's pictures playing in Reno Son's batty about Rita Hayworth Son a picture show key to gas pump in son's pocket. Should we go around again?

[A]

No. It's nice the first time. Well, now, it's just perfect. Did he have to take the key with him? He don't trust me. Like a cabin. You got some nice cabins.

[B]

Oh, no, thanks. No, thanks. We'll wait for your son here.

[A]

Son? Spencer. Night. Reno sometimes won't be back till morning.

[B]

Maybe. Oh, is that a definite maybe?

[A]

Maybe. Sure you don't want a cabin?

[B]

Well, all right, all right. We'll take two cabins.

[A]

Sorry, lady. Only got one.

[B]

Then I'll take it alone.

[A]

Yes, ma'.

[B]

Am.

[A]

This way. Oh, Jane.

[B]

Good night, Luke.

[A]

Now, Jane, I'm going to be cold out here. How can I keep warm?

[B]

Talk to Pop. He tell you about Rita Hayworth? Good night, Luke.

[A]

Janie. Princess, open the door, please.

[B]

Well, hello.

[A]

Hello, Jane. Did you. Did you read the play?

[B]

Yes. Yes, I did.

[A]

Well, all right. Say it, Princess. There's something you don't like.

[B]

Yes, Luke, there is. I. I don't like your quibbling about the custody of the child, because after all.

[A]

Oh, I'm glad you said that. That's one scene that doesn't please me either. But go ahead, Princess. Go ahead.

[B]

Luke, I think it's the greatest play you've ever written.

[A]

You mean that?

[B]

Yes. And I think the Potter Ruth is the greatest feminine role I ever read.

[A]

Well, then.

[B]

Well, I hope you get a fine actress to play it.

[A]

Our stars will be back with Act 2 of Bedtime Story in a moment. Now, Sally, what have you behind your back?

[B]

That's for you to find out, Mr. Kennedy. Which hand will you take?

[A]

Well, I'll take that one. The left.

[B]

Okay. Here.

[A]

Why, it's nothing but a rubber band. Let's see if it's any good. Oops, it broke.

[B]

That's because it's lost its elasticity. Now, that's what happens to stockings too, when they lose their elasticity. You stretch them by bending your knee and they pop a run.

[A]

I see what you mean, Sally. It's important to save the elasticity of your stockings.

[B]

Yes. Now see what I have in my right hand?

[A]

Another rubber band.

[B]

But this one's good.

[A]

Let me see if I can stretch and stretch it even a little more. Hmm. It doesn't break. It still has elasticity.

[B]

Like stockings that have been washed regularly in Lux. Gentle lux flakes save elasticity so stockings give under strain and don't pop into runs so often.

[A]

That's right. Strain tests prove it. A famous laboratory stretched over and over again as you do when you wear them. The ones that had been washed with a strong soap or rubbed with a cake of soap soon lost their elasticity.

[B]

Just like that old rubber band.

[A]

They broke into runs quickly. But the stockings that had been washed with gentle luxe flakes kept their elasticity and lasted twice as long.

[B]

That's just like getting an extra pair every time you buy a pair.

[A]

Yes, Sally. Lux cuts down runs and cuts down stocking bills, too. And remember, always dry rayons. At least 24 hours. We pause now for station identification. This is CBS, the Columbia Broadcasting System, Act two of bedtime story. Starring cary grant as luke and greer garson as jane. What's going on, everyone? It's bluff here. And you know what's more American than America's 250th birthday? Supporting American owned companies like Spinquest, America's number one social casino with over a thousand games like live Dealer, blackjack and craps. They're offering new users a $30 coin package for just $10. Go to spinquest.com and sign up today. Spinquest is a free to play social casino void where prohibited. Visit spinquest.com for more details.

[B]

Grainger knows.

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you're managing all of them.

[B]

And to stay ahead, you need to

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see through walls and around corners. Lights about to fail, filters ready to clog H Vac on its last leg. If you wait until something breaks, you're already behind.

[B]

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[B]

Call 1-800-GRAINGER click grainger.com or just stop

[A]

by Grainger for the ones who get it done. After a sleepless night in the backseat of the automobile, Luke is bleary eyed and rumpled at the wheel of the car, ready to leave the autocorp. He glances appealingly at Jane, who is gazing very interestedly at the scenery. And the attendant waits so patiently for his money. I said my son put in 10 gallons. That'll be $4 and 40 cents with the single cabinet. What? I said 4:40. Oh, I haven't any money. Well, well, no money. My wife will pay you.

[B]

Oh, honestly, Luke, you are a most helpless creature.

[A]

Oh, you're so right, princess. Helpless.

[B]

I'm sorry. I haven't any cash. Here's my credit card.

[A]

I'll make out a receipt. My darling wife, I owe you my

[B]

life and $4.40, and I expect to collect it, see? Then you figure to pay it back.

[A]

Now, stop hounding me. In the meantime, have old 6% Dudley figure up the interest over a period of 20 years. You know it'll double itself. Here you are, lady. Recently seat.

[B]

Oh, thank you.

[A]

Back again sometime. If I ever get back to Nevada, I'll look you up the very first thing. Nevada? You ain't in Nevada. This is California. Don't even know what state they're in. Jane Drake granted divorce. Famous actress gives up Korea. Oh, she can't do this.

[B]

She can. Luke Drake casts new play Virginia. Virginia Cole gets lead dramatic part. Virginia Cole is the medium. Oh, he can't do that. He can't. Now, listen, Luke. I can't play a part intended for Jane Drake.

[A]

Don't be silly, Virginia. Tell her, Luke.

[B]

Look, what is all this?

[A]

Virgie? The part in that play is still intended for Jane Drake.

[B]

Oh, a dual role. I play it, but I don't play it.

[A]

That's right.

[B]

Well, so long.

[A]

L. No, no, no. Wait a minute. Virgie. Please. I want you to pretend you're going to play it. Now, if there's one thing Jane can't stand is to see a good part. A part meant for her, murdered by miscasting.

[B]

Oh, yeah. Now, look, I'm a funny woman, but I have my feelings only. Mr. Drake, Mr. Drake is here.

[A]

What? The princess. She's here. Send her in.

[B]

Yes, sir.

[A]

Well, lady, what do you think of the General now? Okay, General, you win. Virgie, what do you say? Will you say you're playing it?

[B]

Well, at least it's different being fired before you're hired. For you. I'll do it.

[A]

Oh, Virgie, you're a sweetheart. Watch it.

[B]

Morning, Luke.

[A]

Oh, hello, Jane. Now, look, Virginia. On the second act curtain, Ruth slaps her face. See? A backhand blow. Get it?

[B]

Sure, sure. I see.

[A]

Good girl. Oh, Jane, this is Virginia Cole. And this is my. This is Jane Drake.

[B]

How do you do? How do you do? And congratulations, Ms. Cole. It's a wonderful part. Oh, I'm dying to play it. And look so confident. Well, he should be. You're very talented. Oh, thank you. So are you. Many's the time I've cried at your performances. Well, I've laughed a lot at you, so that makes it even. Well, I'll be running. Goodbye, Luke.

[A]

Goodbye.

[B]

So long, Eddie.

[A]

Yeah, I got the makings of a great actress. Aunt Virgie.

[B]

Luke, I.

[A]

Now, Eddie, for the part of the editor, I want Whitbeck.

[B]

Luke.

[A]

Just a second, Jane. The best people for every part, no matter how small Eddie is.

[B]

Luke, I just dropped in here to tell you that I'm selling the furniture.

[A]

Okay, okay. And another thing, Eddie. What?

[B]

Well, I thought you'd like to know. I'm selling the furniture. What?

[A]

You mean. You mean our things?

[B]

Yes.

[A]

Oh, listen, you can't do that. I worked hard to buy that furniture. Many's the time I've given up a meal and just ate hamburgers. What do I get? Nothing.

[B]

You're lucky. I get indigestion. Now, under the circumstances, don't you think we ought to get rid of the furniture?

[A]

Well, yes, I guess so.

[B]

And the quickest way is an auction. Any objections?

[A]

No, no, of course not.

[B]

Very well. I'll attend. Goodbye. Goodbye, Eddie.

[A]

Bye. Where you going?

[B]

How'd you get a hamburger?

[A]

An auction. Well, General, how are things in general? Shut up.

[B]

Sold. Sold everything I had in the world.

[A]

Oh, but Jane, dear, that's what an auction's for.

[B]

Look at this table. Sold to Mr. Dinglehoff. My beautiful vase. Sold to Mr. Dingleoff. Oh, Dudley, I wouldn't mind so much if it hadn't been a man named Dinglehoff.

[A]

Oh, but dear, Mr. Dinglehoff offered a profit. A very comfortable profit. Well, now, let's see. Where are you going to live?

[B]

I'm taking an apartment upstairs. Dinglehoff. A man buys all the things we walked our feet off to find. And where is Luke all this time? He doesn't care enough to show up to buy his own desk. The one I gave him when we were first married. His feet look so distinguished on it.

[A]

Now, now, now, now, Jane, why get upset?

[B]

Upset? Over him? Why, there isn't a drop of real feeling left in him for that precious play of his. He'd. He'd steal the blankets off a shivering orphan.

[A]

Oh, Jane, dear, I wish I could help you.

[B]

Oh, you do, Dudley. You do help. You know something, Dudley? I'm beginning to appreciate you. Your. Your dignity and your dependability. Dudley, I want to see a lot of you. An awful lot.

[A]

Well, come on, Emma. Put some life in the pot. Try that line again, Ruth.

[B]

You've been out over an hour. Where. Where were you? You'd really like to know? Where were you?

[A]

Oh, no, no, no. You're not asleep, Emma, are you? Perhaps my play is boring you.

[B]

Oh, Lou.

[A]

Oh, that's fine. That's fine. I raise my voice above a whisper and she blubbers like a schoolgirl.

[B]

That's not what I'm blubbering about. How can you expect us to rehearse? How can you do it when. When?

[A]

When what?

[B]

Everybody seems to know about it but you, you silly people. Playwright. The papers are full of it. But you're so busy yelling your fool head off.

[A]

Where's the paper at? He got me the paper. There it is, Luke. Picture on page six. Jane Drake to wed socialite, banker, divorced actress announces engagement to Dudley Williams, Jr. Well, rehearsal at 8 tonight. Back at 8, everyone. Well, she served notice on you, pal. Yep. Hi, Eddie. Hi, Mac. Is my car sneaked up on that fire hydrant again?

[B]

No.

[A]

No ticket this time. Hiya, Mr. Drake. Hello, Mac. Say, Eddie, what I dropped in for you Better stay away from Billy's place tonight on account of we're gonna raid it. Billy's? What's that got to do with me? Well, that wouldn't be your grandfather. They pour out of there every other morning, would it? Hey, wait a minute. Wait a minute. Where is this Billy's place, Eddie? How should I know? Stop stalling. What kind of a joint is it? Liquor without a license and a nice Friendly crap game on the side. Yes. Where is it? Don't look at me. I don't know what he's talking. Where is it? Third door down the street. 841. Come on. I've got to get to a phone. Hello, Jane? This is Luke. I just read the news. Congratulations. Listen, dear, I. I'd like you and Dudley to have dinner with me this evening. Oh, no, please. I'll ask Dudley. Really? Yes. I'll tell him to meet us here at the theater and the minute you both get here, we'll go. Oh, that's fine, Jane. Thanks. Okay, I'll call Dudley right now. Goodbye. Hey, Eddie. Yeah? What's that Billy's address again? 8:41. Hey, what are you doing? I am calling Mr. Dudley Williams. I'm inviting him to dinner at Billy's place. But, Luke, there are other places besides Billy's place. This one will do in a pinch. All right. Now we take the scene once more from Virgie's entrance. Places, please. Hey, Luke, Jane's here. Where? Sitting in the last row. Watch me, Eddie. I'll have her up on that stage in five minutes. Just watch me. Well, go on, veggie, go on.

[B]

I didn't get a cue, but take

[A]

it from it doesn't matter what I want and get a little feeling into it. Now, please, go on.

[B]

It doesn't matter what I want. You're telling me what's good for me.

[A]

Oh, hold it, hold it. That's horrible. I want you to bite and scratch and snarl, but like a lady. Now try it again without the yodel.

[B]

It doesn't matter what I want. You're telling me what's good for me, what's proper and what isn't proper. Well, you have scolded me long enough. Now I'll tell you something. No, no, no, no.

[A]

Eddie, what have I done to deserve this? I give my whole life to the theater and what do I get? A hog caller. Oh, you aren't crying. You couldn't cry. You haven't got an emotion in your whole body.

[B]

Look, cut it out. You want to be ashamed of yourself?

[A]

Oh, hello, Jane. I didn't know you were here.

[B]

It's obvious she doesn't know what you want. Why don't you go up there and show her yourself?

[A]

What do I look like, a guinea pig?

[B]

Don't be so self conscious. Here. I don't know what he wants, Ms. Drake. Won't you show me?

[A]

Not even Jane Drake could show you. Alan Terry couldn't. Sarah Barnhart couldn't.

[B]

Why don't you crawl back under your rock? As I was saying before I was interrupted by this.

[A]

This snake, maybe.

[B]

Don't flatter yourself. I'll. I'll try and show you, Ms. Cole. Has anyone got a script? Here, take mine. Thank you. Now, if you'll stick to me a minute to look this over.

[A]

Okay, James. Hey. Hey, listen, Luke. The patrol wagon. Don't look now, Eddie, but I think that's Dudley going. Bye. Bye. Ready, Jane? Ready.

[B]

I take a crack at it.

[A]

Oh, darn that racket. Well, just talk above it, Jane.

[B]

All right, all right. Let's start here. It doesn't matter what I want. You're telling me what's good for me, what's proper and isn't proper. You bullied and scolded me long enough. And now I'll tell you something that you'll never forget. It's a free country. And what I choose to do is none of the town's business. No. And another thing. That gardener's going to stay just as long as I want him to, and that's forever, because I love him. You love him? Yes, I love him. And I'm going to marry him. Curtain. Very nice game. Oh, thank you.

[A]

Well, there you are, Virgie. You see?

[B]

Yeah, I see. I could never play that scene for you, loser. Watch me play this one.

[A]

Go ahead, Virgie, give.

[B]

I can't do it like that. What's more, I won't even try.

[A]

That's the girl. Now, listen, you signed a contract, Ms. Con.

[B]

I didn't sign a contract to make a sucker out of myself.

[A]

You can't run out on me. I'll see that you never get another part on Broadway.

[B]

All right, then I'll go back into burlesque. I won't have to act there. I won't have to say a word. Please.

[A]

No, no, Jane. No. Another go.

[B]

Oh, I'm terribly sorry, Luke. I. I thought it would help her.

[A]

Oh, maybe she's right, Jane. She could never have played the part. Well, I. Well, thanks. Just the thing, James. Well, my friends, I. I hate to tell you this, but there's not a chance for us opening now. You've been very kind and patient with me, and I hope you all get better parts and better plays. Thank you very much. Good night. Come on, Jane. Dudley ought to be along any minute. We'll wait out in the lobby.

[B]

Yes. Yes. Good night, everyone. Luke, there must be somebody who could play that part. You can't give up.

[A]

Well, what if I did find her? It'll take work and time I can't postpone indefinitely. Well, no, I'm going to forget all about. It's tough on the troop, though. They need the job.

[B]

Yes. Yes, I know. Where in the world is Dudley?

[A]

Yes, that's right. Where is Dudley, Eddie? Oh, he'll probably be along pretty soon.

[B]

I don't understand this at all. It isn't like him.

[A]

No, this isn't like Dudley Williams Jr. You said it. No, he probably got held up somewhere. Well, no, now. Now, look, why don't we go to Tony's, huh?

[B]

Wait a minute. What about Dudley?

[A]

Oh, the state door man will tell him. It'll be all right.

[B]

Well.

[A]

Ah, look at that sign. The Jane Drake Theater. Well, Eddie, I guess you can haul the sign away with the scenery.

[B]

Oh, it's an awfully nice sign.

[A]

Yes, it's nice. Big letters, too.

[B]

Yes. Luke. Luke, suppose you had someone to play that part. Just temporarily, I mean, so you could keep the troop together and open as you plan.

[A]

So suppose.

[B]

Suppose, well, you decline to find somebody and work with her until she could take my place.

[A]

Your place? Well, I, I. Princess, would you do that for me?

[B]

Now, don't misunderstand me, Luke. I haven't changed my mind about the theater, but temporary to help out the country.

[A]

Jane, that'll be wonderful.

[B]

Hi, Eddie.

[A]

Oh, hi, Mac. Well, Eddie, we raided Billy's place just like I told you. Well, I'll see you again. Sometimes. Boy, when you tap one of them places, you should see what comes rolling out. Yeah, yeah. See you around, man. Goodbye, Mac. Everything from a boot black to a blue blood. This time we nabbed a Park Avenue banker.

[B]

What?

[A]

Yeah. Did he try to pull a new one?

[B]

He said he thought the place.

[A]

Well, come on, Jane, let's go. Let's go.

[B]

Just a minute. Just a minute, Mac. This Park Avenue banker thought the place was. What?

[A]

He said he thought it was a restaurant. How do you like that?

[B]

Very funny, Luke. Luke, dear, you know that scene in the play where the girl delivers the backhand slap?

[A]

Well, sure. What about it?

[B]

Well, you know, I think it ought to be done like this.

[A]

Now, let's see. Apartment 1004. It's right over our old place. Luke, I don't think we're going to get anywhere with Jane just by bringing her a pump potted plant.

[B]

I think you ought to.

[A]

Oh, stop worrying, Eddie. She promised to do the part, didn't she? Yeah, but that was before she had to get Dudley out of jail last. Don't you worry, Eddie. You just leave it to King Lucius. I, Lucius the Conqueror. Now, here we are Prime Minister. Ring the bell, Eddie. The play in the Drake shall go on for seven more years. For seven times seven more years.

[B]

Oh, Mr. Drake.

[A]

Ah, good day. Good day. Let's see my girl. Inform your mistress that His Majesty and the Prime Minister have come to chew the fat.

[B]

Oh, Mr. Drake.

[A]

What's the matter? What is it? Anything happen to Mrs. Drake?

[B]

Yes, she's Mrs. Williams.

[A]

She's what?

[B]

She just phoned from Greenwich. She and Mr. Williams were married there 10 minutes ago.

[A]

Married? Well, Luke, the king is dead. Yeah. Long live the princess. Our stars will be back with Act 3 of Bedtime Story in a moment. Now, here's a lady who solved a problem. The problem of keeping the house down to 65 degrees to save fuel and still keeping her family warm.

[B]

We do it with sweaters. We all wear them indoors as well as out. This year, of course, it does mean extra washing, but I don't mind.

[A]

And I suspect there's a box of luxe flakes in your kitchen.

[B]

That's right. I started using luxe for the children's woolies when they were small. And, well, I just kept right on. I always do woolens before they're really dirty. That way there's no rubbing and they stay soft.

[A]

Did you know that rubbing actually makes a sweater less warm?

[B]

Why, no. How's that?

[A]

Wool fibers contain tiny air pockets that act as insulators, keep cold out and heat in. But if you rub the wool, the fibers flatten and the air pockets disappear.

[B]

Of course, with Lux, you don't need to rub. I just squeeze the suds through the sweaters ever so gently and use almost cool water.

[A]

Any other special hints?

[B]

Well, yes. I make a master pattern for all of our sweaters.

[A]

One pattern for everybody. I don't see.

[B]

I drew Dad's first. That's the biggest. On a big piece of brown paper, just an outline around the sweater. Then inside this outline, I drew mine and Sister's and then Tommy's. Whenever I luxe a sweater, I pin it to the proper outline and let it dry flat. Of course, I only dry one sweater at a time. This simple plan keeps sweaters fitting perfectly. They look like new all over again.

[A]

Yes, gentle luxe care keeps all washable woolens fluffy and new looking longer. Now Donald Crisp returns to the microphone. After the play, we'll call our stars to the footlights for a brief chat. Now here's Act 3 of Bedtime Story, starring Greer Garson as Jane and Cary Grant as Luke. Happy birthday, America. It's time to celebrate and play Your favorite favorite Las Vegas casino games by American owned spinquest.com what's better than fireworks and American Pie? Hitting a blackjack in the palm of your hand and you won't lose your fingers. Over a thousand games, including slots and live dealers and 30 coin packs are on sale for 10 spinquest.com buy American players. For American players, Spin Quest is a free to play social casino void where prohibited. Visit spinquest.com for more details.

[B]

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[A]

Misses Dudley Williams, a bride of 10 minutes, is on her way back to town. Ah, but King Lucius refuses to acknowledge defeat. Somewhere in his fertile brain is a plan. It is evolving. Eddie, I've got it. Get me two character actors who've never played in New York. What? Two character actors. Now. Get them. One hour later, just 30 seconds after the bride and groom reach their hotel suite, there's a knock on the door. Well, is Mrs. Drake here? No. If you mean Mrs. Williams, yes. Aha. That's exactly what we've come about. Whether she is Mrs. Williams or still Mrs. Drake. What? Oh, come in, please.

[B]

Just a minute. Who are you?

[A]

Collins and Pierce, legal representatives of the Colony Insurance Company. We hold a trust fund in the names of Mr. And Mrs. Drake, jointly.

[B]

Well, what about it?

[A]

Well, if either party remarries, the fund is to be divided.

[B]

Well, I remarried divided. Ah.

[A]

What? That's the question. Is the marriage valid? Is it valid? Why, of course it. I'm Mr. Williams.

[B]

Ah.

[A]

Where were you married? Well, in Greenwich. Did you check to see if a Reno divorce was acceptable in Connecticut? Naturally. We had the bank lawyers advice. Oh, bank lawyers. Harvard, Ben.

[B]

Ah, now look, Mr. R. I'm sure everything was in order. I wouldn't have been married if I hadn't been properly divorced, would I?

[A]

Well, naturally, there's Nevada and there's New York.

[B]

I just told you we were married in Connecticut.

[A]

Then there's Nevada and Connecticut. Now, if we find anything wrong with your divorce, naturally, you will have committed bigamy. Embarrassing, isn't it for just a moment.

[B]

Haven't I. Haven't I seen you somewhere before?

[A]

I doubt it very much, madam.

[B]

A doctor? Haven't you a brother who's a doctor?

[A]

Oh, I haven't even got a brother. I don't know anyone who looks like me.

[B]

That I can believe.

[A]

Jane, look.

[B]

Oh, Dudley, the whole thing's ridiculous.

[A]

But, Jane, if there is a risk

[B]

of being you too.

[A]

No, no, no. Be reasonable, Jane. Look, I'll call Echo, the best divorce lawyer in town.

[B]

No. I don't know a word of law, but I can smell something fishy about this on my law.

[A]

Madam, there is no place in law for a woman's nostrils. Oh, where is Echoes? We've been waiting an hour. Why doesn't he come? Oh, will you please stop saying that?

[B]

There he is. Dudley.

[A]

Oh, I'll get it. Oh, you. Evening, Dudley. Congratulations, Jane.

[B]

I sort of expected you. I dropped my mirror this morning.

[A]

Well, well. Quite a crowd, I must say. You've got a nerve to show your face around here after making me spend a night in jail. Don't knock it. Rooms are hard to get. But I'm not the kind that holds a grudge, Dudley.

[B]

No?

[A]

No. Grieving playwright comes to congratulate ex happy actress.

[B]

You wouldn't happen to know these two? I use the word loosely, gentlemen.

[A]

No, no, I don't think I've had the pleasure.

[B]

And you wouldn't know anything about questioning my divorce either, would you?

[A]

Oh, now, don't tell me that's what they're doing.

[B]

Yes.

[A]

Why? What for?

[B]

Oh, just for the fun of it. These boys like to play Halloween all the year round. In fact, they're. They're still wearing their masks, I think.

[A]

Oh, boys, you ought to be ashamed.

[B]

Luke, I'm sorry, but I'll have to ask you to leave.

[A]

Oh, Jane.

[B]

Eccles.

[A]

It's Eccles. Oh, come in, come in, Quinn. Evening, Dudley. Oh, thank heaven you're here. Darling, this is Mr. Eccles.

[B]

How do you do?

[A]

How do you do? Dudley, this is the most preposterous thing I've ever heard of. I'm sure it won't take a minute. Ah, there, there, there, you see?

[B]

Oh, Dudley, stop. You're acting like a frightened old man.

[A]

Well, I. I won't leave this room with our status up in the. Now, Jane, Dudley knows best. He wants to iron out your status.

[B]

Lucius Drake, author, man of imagination, cooks up a brand new plan to get his play on at any cost. Never mind anyone's happiness, just get the play done.

[A]

Is that what you really think?

[B]

Yes, it is.

[A]

Please, please. Just what is the point in question? It is our contention that while Mrs. Drake was in Reno, she left to join Mr. Drake in New York.

[B]

Yes, yes, I did.

[A]

And therefore broke a required stay in Nevada.

[B]

But I went back. I started all over again. I stayed the full six weeks.

[A]

Jane. Can you prove that?

[B]

Yes. Yes, I can. I have my Reno Hotel receipt. I can account for every day.

[A]

Excellent.

[B]

Now, wait a minute. Yes, yes, here they are. Here, you look at them. Look. Harper Hotel, two weeks. Harbor Hotel, two weeks and so on. Elite Order Court, 10 gallons of gas and lodgings, $4.

[A]

Oh, what's that one, Jane?

[B]

Oh, it's nothing. No, that doesn't belong with these others.

[A]

Will you step over here, gentlemen, and examine them? Certainly. Yes, indeed. Well, come on, Princess, think fast. You know you married Deadly Dudley out of pure spite. Now the answer's in your hands, Jane.

[B]

Yes. Yes, it is, isn't it? Elite Order Court, Glenville.

[A]

What's that got to do with it?

[B]

You owe me $4.40, Luke.

[A]

Jane, be serious.

[B]

Oh, do you know, Luke, I had a dream last night. I dreamed I picked up a knife and stabbed you when you started to bleed. It wasn't blood at all. What came pouring out of you was manuscripts and scenery and footlights. Right now, it isn't me you're thinking of, nor my marriage to Dudley. It's that precious play of yours. You'd see me burned at the stake for it. There isn't anything you could say now that I believe.

[A]

No, No, I guess there's nothing you believe. Well, all right, Hank. All right, Billy, drop the curtain. The show's over.

[B]

Oh, actors, characters.

[A]

You remember Billy Pierce? He played the doctor in the rogue company of Tornado. Hello, James.

[B]

Oh, a doctor. Of course. I should have guessed it by the way he kept saying R. Well, there

[A]

must be something in the criminal code covering this, isn't there? Records? I'm a divorce lawyer. Good night. Thank you, Mr. Drake, for the entertainment. Excellent. Well, thanks a lot, boys. Look up Eddie tomorrow and he'll pay you. It isn't very often you get your teeth into a good park. Good show, but a short run. Oh, now get out of here. Yes, great place for theater. We can play it being anything. Doctors, lawyers, anything we like. It's just a great big make believe world. I. Well, I guess I better get going. Good luck, Princess.

[B]

Elite autocort denver, california. Now listen, Jane, I've got to. Oh, Emma, this is my wedding day. Dudley will be back in a moment. Dudley, you left the swellest guy in the world and went out and picked that dope. Oh, the swellest guy in the world is married to his play. What play? He called it off. He. He called it off? When? This afternoon. Everybody in the cast was paid off with a bonus. He called it off? Yes, because he loves you. Oh, Emma. Oh, Emma, he just left. Do you think you could find him? Anybody'd know where to find him tonight. He's in some bar. Emma, look, get to him and get to him quickly and give him this. This receipt. He owes me $4.40 and I want it, see? Now, tell him to look at it and to study it carefully. He's got to do it now, tonight. Do you understand? A measly $4 at a time like this. What's got in there? Oh, Emma, just do it. Do exactly what I told you. Please, darling. Put this bill right under his nose. And she said she wanted her $4.40. Luke, now.

[A]

Oh, sure, sure. Anything for the princess. Eddie. What do I want a drink? No. I want my wife. I want her more than all the plays in the world.

[B]

Lucius, you'd better write a check before you forget it.

[A]

Sure, sure. Emma, give me the thing here. $4.40 penalty. Sure. Now, let's see. Elite Auto Court, Glenville, California. Elite Auto Court, California. California. California.

[B]

Don't do that. Eddie.

[A]

Quick, a cab. Get me a cab.

[B]

What's the matter?

[A]

Well, I've got to get to the hotel on the technicality. She's still my wife. Always my wife is. Hello. Hello. Desk. Now, Listen, this is Mr. Dudley Williams in 7:25. A Mr. Lucius Drake may try to see Mrs. Williams or me this evening. No matter what he says, don't let him up. And by the way, I. I shouldn't wonder if he's a little dangerous. You better keep a sharp eye on him.

[B]

Thank you, Dudley. Certainly. Who was it? Was it for me?

[A]

Oh, no, no, no, dear. Just the desk clerk, dear.

[B]

Oh.

[A]

Oh, by the way, I've ordered some champagne.

[B]

Oh, well, that's fine.

[A]

You know, darling, I haven't kissed you since the ceremony this morning.

[B]

Well. Well, let's wait for the champagne, darling.

[A]

What do you mean I can't go upstairs? I'm sorry, sir. I have orders. I tell you, I have to see Mrs. Williams. If you go near that, sir, you'll be arrested, I warn you. Oh, all right. Where are the telephones? Right over there. S. Hello? Hello. Give me the housekeeper. Hello, housekeeper. This is room 725. What kind of a hotel is this? The sheets haven't been Changed. There aren't any towels and the tub is dirty. Thank you. Please come right up here. Hello? Hello. Get me room service please. Yes, hanging out at the pool is great. Relaxing and playing Vegas style games on my phone at the same time. Drink in one hand and a blackjack in the other. It's all at spinquest. Over a thousand games including your favorite slots and table games. Be cool with this summer special. New players get $30 coin packs for [e-mail] SpinQuest is a free to play social casino void where prohibited. Visit spinquest.com for more details.

[B]

Insurance isn't one size fits all. That's why drivers have enjoyed progressives name your price tool for years. Now with the name youe Price Tool, you tell them what you to pay and they'll show you options that fit your budget. So whether you're picking out your first policy or just looking for something that works better for you and your family, they make it easy to see your options. Visit progressive.com find a rate that works for you with the name your price tool. Progressive Casualty Insurance Company and affiliates price and coverage match limited by state law.

[A]

Hello, room service. This is Mr. Williams in 7:25. Would you send up six chicken dinners right away. Good. Hello, operator? Give me the plumber. The plumber. Hello plumber. Say, this is 7:25 the pipes up here making a racket to wake the dead. Please come right up here.

[B]

Hello?

[A]

Hello. Get me the electrician. Jane, dear, come here.

[B]

Dudley. Dudley, listen.

[A]

Jane. Jane. What is it? Your Your acting so strangely, Dudley.

[B]

About. About the technicality. Were you and Mr. Eccles certain?

[A]

Oh, who cares about a little technicality? Jane.

[B]

Donald. Dudley. Dudley, there's another technicality.

[A]

Oh, you poor baby, you're upset.

[B]

No, Dudley, wait a minute. You got to listen to me. You've got to.

[A]

Oh, who can that be?

[B]

Well, what's the matter with the bed?

[A]

Who are you?

[B]

I'm the chambermaid, that's who I am.

[A]

Well, I'll listen you. I'll have those pipes fixed in a minute, sir. What pipe? The bathtub pipes. Now wait a minute.

[B]

You want six more towels in here? No, I put in six this morning.

[A]

No, no, this. You get out of here.

[B]

The beds are fine.

[A]

Don't worry. Mr. Williams.

[B]

Six chickens today.

[A]

What sort of a hotel is this? Are you Mr. Williams? Yes, I'm Mr. Williams.

[B]

Where are the bugs?

[A]

What bugs?

[B]

You said the joint was swarm and went back.

[A]

I did not turn off that vacuum cleaner.

[B]

You want the rug clean, don't you?

[A]

Hey, this wrong selling 25? Yes, but good. Come on in, gang.

[B]

Here's where the clap game is. Stop. Stop. Get out of here.

[A]

You hear me?

[B]

Get out of here.

[A]

Hey, J. Where are you?

[B]

So, did you do this?

[A]

Hi, Princess. Noisy place. What? You do make a great second act curtain. Come on, come on, we're leaving.

[B]

What for? I'm enjoying.

[A]

Oh, you won't in a minute. I've got the riot squad coming. When you think how we've been for years. Never a ripple. Happy as luck. I just keep asking myself, how do we get into a spot like this, Princess? Wish we're both wrong.

[B]

Oh, I knew I'd be wrong. Sure.

[A]

Well, we both want things, don't we? So what do two intelligent people do in a situation like this? They decide to give and take.

[B]

Oh, look, look, we're on the wrong floor. I moved upstairs. You don't.

[A]

What do you know? Habit. Our old apartment.

[B]

Look what you're doing. Are you crazy?

[A]

No. Go on in.

[B]

No, we can't go in.

[A]

Look, look.

[B]

Our old furniture. Quite every single piece.

[A]

Oh, look, just. Just call me Dinglehoff.

[B]

Dinglehoff? You. Oh, darling. Oh, darling. Mr. Dinglehoff. Oh, I love that name.

[A]

I could get the farm bag too.

[B]

Ah, you could, could you? Suppose it isn't for sale?

[A]

Oh, why wouldn't it be?

[B]

Because I won't sell it.

[A]

You.

[B]

You.

[A]

Oh, Jamie.

[B]

That's right. Well, darling, have you got a copy of the play?

[A]

The play?

[B]

Well, we have to compromise, don't we? Come on, let's go to work.

[A]

Oh, no, no. There won't be any plays. I haven't even got a copy of it. I. I destroyed everyone.

[B]

Oh, why, here's one, dear, right in the cabinet drawer.

[A]

Well, what do you know? Listen to that hand loop. That's 10. Curtain call. Let's smash it, Eddie. We'll run. Five years. Hey, Jane's gonna make a curtain speech.

[B]

Ladies and gentlemen, my husband, Mr. Drake, is in the wings and he'll be out here in just a moment. But first I'd like to tell you that this will have to be the shortest run of any of Mr. Drake's plays.

[A]

No, no, no, no.

[B]

Five years, Janie. Five years. It will be closed in the early spring, and I'm sure that my husband hopes it will be a boy. No, no. Five years.

[A]

What?

[B]

Go on, out. Luke. Luke. Oh, I'm sorry, ladies and gentlemen, Mr. Drake just fainted. Good night.

[A]

In just a moment, our stars will return for their curtain calls. Meanwhile, let's take a look in Betsy Brown's kitchen. Betsy is washing up the lunch dishes.

[B]

Now who can that be? All right. Wait a minute till I dry my hands, can't you? Oh, hello, Nancy. My, don't you look nice. What's up? I just thought maybe you'd like some bridge this afternoon. How about it? Oh, goodness, I'm too busy. Besides, I look like last year's dish rag. Did you ever see a worse case of dish pan hands? Never. What are you using that strong soap on the windowsill? Uh huh. Maybe that's what's giving you dishpan hands. Why don't you change to Lux Flake? Because I stay up night watching pennies. Darling, I bet you don't know how thrifty Lux is. Look, I'm so sure Lux goes further. Let's make a bet. You keep track of how long your soap lasts, I'll keep track of my Lux.

[A]

And what do you suppose happened? Yes, Nancy was right. Luxury one. Hands down. Ounce for ounce, Lux does up to twice as many dishes as any of ten other leading soaps. Tested a little. Lux goes further than these other soaps.

[B]

And best of all, my hands are soft and smooth again now that I've changed from strong soap to Lux. My, I'm glad Lux is so thrifty.

[A]

Now back to Donald Crisp and our stars. And now our first lady and gentleman of the theater. Jane and Luke become, in real life, Greer Garson and Cary Grant, who come forward for their curtain calls. Well, Donald, I think that the first lady title is especially appropriate for Greer. You know, there's another poll that she's just won. What's that, Carrie? That's the appeal she made on the screen for money to fight infantile paralysis. It drew the biggest response they've ever had. Well, that's splendid, Greer. And the Office of War Information asks us to remind our listeners of another vitally important thing. That we've got a long, hard war ahead of us. None of those men fighting the Japs at Iwo Jima or anywhere else think that when Germany is licked, it can just begin to take it easy.

[B]

Yes, that's what I hear from my husband from the South Pacific.

[A]

In other words, this is no time to let up on bond purchases or start relaxing on the job. That's right, Don. And when you're writing to a man in the service, let him know you realize that the job ahead is tough and that you're doing all you can to share the burden. I think that's a mighty important reminder. And now, in a different note, I'd like to remind you about our show for next week. What are you going to bring us next week, Donald? One of Lloyd Douglas great novels screened by Paramount and called Disputed Passage. It's the tense and thrilling story of a man's soul and a man's love pitted against the harsh demands of science. A struggle that reaches its supreme test in the crucible of war. And our stars are Alan Ladd, Akin, Timurov and Ann Richards.

[B]

Should make a great play, Donald. Good night.

[A]

Good night. Good night. Good luck to both of you. Our sponsors, the makers of Lux Plate, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Alan Ladd, Akin Timirov and Ann Richards in Disputed Passage. Donald Crisp can currently be seen in Metro Gold Mayor Technicolor picture National Velvet. Bedtime Story, based on the story by Horace Jackson and Grant Garrett, was presented to the courtesy of Columbia Pictures, producers of the new Technicolor musical Tonight and Every Night. Cary Grant can currently be seen in the RKO production None but the lonely Heart. Heard in tonight's play were Carlton Cadell, Arthur Q. Bryan, Bernard Felton, Eddie Mar, Ed Emerson, Linda Keith King, Norman Field, Leo Cleary, Dorothy Scott, Jay Novello, Boyd Davis, Charles Seal, Dora Singleton and Colleen Collins. Our music was directed by Lewis Silvers. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. Our Lux Radio Theater production of Bedtime Story starring Greer Garson and Cary Grant has come to you with the good wishes of to the makers of Luxe Plates, the tissue thin soap used by smart housewives everywhere. Be part of the coast to coast audience that gathers each week to enjoy this hour of dramatic entertainment with the finest artists of Broadway and Hollywood in plays that you yourselves have told us you'd like to hear. This is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Disputed Passage with Alan Ladd, Akeem Tamirov and Ann Richards. Send now for Spry's sensational flower garden offer. The makers of Spry Shortening will send you eight packets of California grown seeds for thousands of brilliant glorious flowers to bloom all summer. Just send your name and address and 15 cents to Aunt Jenny, Box 1200, Chicago, Illinois. Be sure to listen in next Monday night to the Lux Radio Theater presentation of the Speaker Passage with Alan Lab, Akeem Tamirov and Ann Richards. This is cbs. Oh, I have had no luck lately.

[B]

Wait. Lady Luck Bretzky. I got you.

[A]

I've had so much luck on spinquest.com

[B]

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[A]

10 bucks for 30. I'm headed over to spinquest.com right now. Spinquest is a free to play social casino void where prohibited. Visit spinquest.com for more details. Finding great candidates to hire can be like, well, trying to find a needle in a haystack. Sure, you can post your job to some job board, but then all you can do is hope the right person comes along. Which is why you should try ZipRecruiter for free at ZipRecruiter.com Zip ZipRecruiter doesn't depend on candidates finding you. It finds them for you. Its powerful technology identifies people with the right experience and actively invites them to apply to your job. You get qualified candidates fast. So while other companies might deliver a lot of hay, ZipRecruiter finds you what you're looking for. The needle in the Haystack. See why 4 out of 5 employers who post a job on ZipRecruiter get a quality candidate within the first day. ZipRecruiter the smartest way to hire and right now you can try ZipRecruiter for free. That's right, free at ZipRecruiter.com Zip that's ZipRecruiter.com Zip ZipRecruiter.com Zip.