Lux Radio Theatre - Coney Island

Summary

Summary of "Lux Radio Theatre – Coney Island"

Podcast: Harold’s Old Time Radio
Episode Date: July 9, 2026
Original Air Date (of play): Circa 1940s
Starring: Betty Grable (Kate Farley), Victor Mature (Eddie Johnson), Barry Sullivan (Joe Rocco)
Producer (host role): William Keeley

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Episode Overview

This episode features a lively radio adaptation of the 20th Century Fox musical "Coney Island," produced as a stage performance for Lux Radio Theatre. Set in the bustling, boisterous world of turn-of-the-century Coney Island, the show follows the fortunes, misadventures, and romantic entanglements of Eddie Johnson, ambitious promoter; Kate Farley, a talented singer; and Joe Rocco, nightclub owner. In classic musical-comedy style, love and scheming mix in equal measure, with Coney Island serving as America's playground backdrop.

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Key Discussion Points and Story Progression

1. Introduction & Setting the Scene [00:32]

• William Keeley introduces the episode, describing Coney Island's charm as “the entertainment center of the world.”
• Notable comparison of the BLF era (“Before Lux Flakes”) as a humorous indicator of time.
• The show is set in early 1900s, amidst clam chowder, beer, singing waiters, and barkers.

Keeley: “Today in New York, the closest spot to heaven is probably the top of the Empire State Building. But 40 years ago, New Yorkers came closest to paradise at a breeze-swept beach on the Atlantic... Coney Island.” [02:33]

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2. Eddie Johnson Returns to Coney Island [02:40–05:00]

• Eddie Johnson arrives at Joe Rocco’s Scenic Gardens café, claiming he still owns half after a rigged poker game years ago.
• Establishes a combative yet fond relationship between Eddie and Joe, involving old debts and grudges.
• Eddie meets Kate Farley, Joe's featured singer, sparking immediate, playful antagonism.

Eddie: “I figure that since you cheated me out of our carnival, we're really still partners. And that means I own one half of this joint.” [04:25]

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3. Carnival Schemes and Rivalry Escalates [05:16–14:57]

• Eddie teams up with Frankie to launch a “Turkish harem girl” freak show, drawing business away from Joe.
• Kate, feeling insulted by Eddie’s barbs, plots to get even with him.
• Joe’s business suffers; he responds by hiring thugs to trash Eddie’s operation.
• Eddie and Frankie devise a humorous retaliation by inciting a wild bar brawl using Irish bricklayers, escalating the feud.

Eddie (to Frankie): “Let's wreck Joe's joint. ...No, no. Nice and legal... Rocco's place will be filled with Irishmen. After they've had a few beers, you and I will go in and start making nasty remarks.” [13:00]

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4. Musical Performance & Reinvention [24:33–32:36]

• Eddie is made manager of Joe’s café after faking the death of their friend Finnegan to guilt Joe.
• Eddie overhauls the entertainment, forcing strong-willed Kate to change her act: slows her signature song, physically restraining her with handcuffs for comedic effect—much to her outrage but the audience’s delight.
• Reluctant at first, Kate’s “revamped” act earns rousing applause, signaling Eddie’s knack for showmanship and marking the start of their romantic chemistry.

Eddie: “You sing too fast. You sing too loud and you move around too much. Outside of that, you're great.” [24:42]

Kate: “I'll just stand there. I won't sing a note.”

Eddie: “You look pretty funny, Katie, with the handcuffs on your wrists...” [26:46]

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5. Love Triangle Intensifies & Broadway Beckons [33:43–43:04]

• As business booms, Eddie and Joe vie for Kate’s affection and professional future.
• Joe, jealous but pragmatic, tries to land Kate a Broadway audition with famed producer William Hammerstein.
• Eddie schemes to keep Kate for his new café by deceiving Hammerstein—substituting Kate with her comic understudy, Dolly—causing Kate to miss her big break.
• When Joe discovers Eddie’s ploy, he fires him, and Kate is left torn between ambition and love.

Joe: “If Hammerstein heard you and signed you for his show, then Eddie wouldn't have you for his new cafe. And without you, there isn't gonna be any cafe.” [43:03]

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6. Kate’s Broadway Audition and Resolution [47:43–54:24]

• Joe arranges another Hammerstein audition for Kate, with Eddie secretly accompanying her as the pianist.
• Eddie confesses his true motives: “I happen to love you. That’s why I did it.” [49:13]
• Moved by his honesty but still uncertain, Kate leaves Joe and Coney Island.
• In a climactic wedding sequence, a misunderstanding with a fake banker sours Kate’s trust in Eddie. Their wedding is called off, with Kate heartbroken over Eddie’s supposed insincerity.

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7. Final Reconciliation at Coney Island Pier [54:36–59:56]

• Both Kate and Eddie pursue their careers separately but are brought together again by a ruse (telegrams sent by Joe).
• Under the moonlight, with the iconic Coney Island hot dog, they reconcile, realizing their love outweighs ambition.
• Joe joins them, presiding over their impromptu “wedding,” and the trio’s camaraderie resumes with mutual respect and friendly rivalry.

Katie: “At nine o’clock at night, you should be tending to business. By the way, how is the new place?”

Eddie: “Fine. I’d like you to see it.” [57:55]

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Notable Quotes and Memorable Moments

• On Life in Coney Island:

  “A place of perpetual carnival... a little raucous, a little rowdy, but nevertheless beautiful. Coney Island.” — William Keeley [02:35]

• On Show Business:

  “If you're good, they'll stop talking and listen. If you're not, you can yell your lungs out and they still won't hear you.” — Eddie (Victor Mature) [25:18]

• Eddie and Kate’s Chemistry:

  “You're attractive... I gotta kiss you.”
  “Is that what you learned in the 10th grade?” — Eddie & Kate [31:20–31:47]

• On Ambition vs. Love:

  “I happen to love you. That’s why I did it. I guess that’s all I have to say.” — Eddie [49:13] “Right now I feel an awful long way from home.” — Kate [49:42]

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Important Segment Timestamps

| Segment | Timestamp | |---------------------------------------------|-------------------| | Intro & Setting the Scene | 00:32 – 02:40 | | Eddie Returns / Claiming His Share | 02:40 – 05:16 | | Rivalry and Carnival Schemes | 05:16 – 14:57 | | The Big Brawl & Blackmail Bit | 13:00 – 17:42 | | Eddie Takes Over the Café | 23:48 – 24:33 | | Eddie “Revamps” Kate’s Act | 24:33 – 32:36 | | Financial Success and Jealousy | 32:37 – 33:43 | | Broadway Plot and Betrayal | 33:43 – 43:04 | | Kate’s Real Audition / Eddie’s Confession | 47:43 – 49:34 | | Wedding Confusion and Heartbreak | 53:10 – 54:36 | | Final Reconciliation at Coney Pier | 54:36 – 59:56 |

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Tone and Style

• Dialogue: Snappy, wisecracking, affectionate, typical of 1940s screwball musical comedies.
• Performance: Playful rivalry, romantic tension, and a lighthearted depiction of ambition and dreams, all set against the vibrant, nostalgic world of early 20th-century American amusement.
• Resolution: A classic, heartwarming ending where love, humor, and friendship prevail.

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Conclusion

"Lux Radio Theatre – Coney Island" delivers an energetic and sentimental glimpse into radio’s Golden Age, combining classic American musical charm, rapid-fire wit, love triangles, and joyously deceptive schemes. The performances of Betty Grable, Victor Mature, and Barry Sullivan shine through audio alone, ensuring listeners can easily picture the music, laughter, and bustling excitement of old Coney Island. For fans of classic radio drama or lively romance with plenty of comedic twists, this episode is an absolute treat.

Transcript

[A]

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[B]

Deluxe Radio Theater brings you Betty Grable, Victor Mature and Barry Sullivan in Coney Island. Ladies and gentlemen, your producer, Mr. William Keeley. Greetings from Hollywood. Ladies and gentlemen. If I were asked to name the entertainment center of the world, I'd probably say Hollywood. But if you put that question to any one of 7 million people in New York, he'd probably answer with some vigor. The entertainment center of the world, that's Coney Island. And for tonight at least, we'll agree with him as we bring you 20th Century Fox's musical success Coney island. Starring lovely Betty Grable in the role she created on the screen. Co starred with Betty, we have Victor Mature, resuming a brilliant screen career after four years in the service. And that talented young actor Barry Sullivan, both rival suitors in this rollicking story of love, laughter and excitement at America's most famous playground. Our story takes us back to the period popularly known as blf. You know of course what BLF stands for before Lux Flakes and before many other conveniences too, such as the subways that whisked Manhattan's millions to Coney island in a fraction of the time it took the horse drawn carriages. Of course, Luxe flakes are great time savers too, not only for New Yorkers, but for busy women everywhere. Women who appreciate this modern, quicker way of keeping nice things lovely longer. And you'll agree that that's an important service nowadays, especially when nice fabrics are scarce. We're off to Coney island and the first act of tonight's play starring Betty Grable as Kate Farley, Victor Mature as Eddie Johnson and Barry Sullivan as Joe Ro. Today in New York, the closest spot to heaven is probably the top of the Empire state building. But 40 years ago, new Yorkers came closest to paradise. At a breeze swept beach on the Atlantic Ocean. Only a short distance from the hot and throbbing city, they found a land whose milk and honey was clam chowder and foaming beer. A place of perpetual carnival of singing waiters and persuasive barkers. A little raucous, a little rowdy, but nevertheless beautiful. Coney Island. One spring afternoon, a young man named Eddie Johnson makes his first visit to Coney Island. Eddie has plans for a big business deal involving an Old acquaintance, Joe Rocco, owner of the Scenic gardens cafe. Well, Mr. Waddle it be. So this is Joe Rocco's place, huh? That's right. Nice big place. Lots of business. He does okay. That's what I like to see. I like to see Joe Rocco doing okay. Give me a beer. Yes, sir. Eddie. Why, hello, Joe. Well, this is quite a surprise, Eddie. Come on over here and sit down. Thanks. Say, nice place you got here, Joe. Yeah, it's a little different from those pit shows and shooting galleries we used to have. Heidi, once we had a whole Carnival REM. Yeah, yeah, that's right. Then two years ago in St. Louis, we had an argument about how the carnival should be run. We decided to play a hand of poker for the whole works. And I won it with three of the prettiest aces you ever saw. I've been trying to find you ever since, Joe. I wanted to give you these. I found them the next morning under the cushion of your chair. Four of the prettiest aces you ever saw. Well, Eddie, I guess this makes up for all those times I went to the cash drawer and found your hand in it. Now, why don't we just forget the whole business? I've tried to forget it, Joe. I've tried and tried, but it's just no use. You gonna sue me? No. But I figure that since you cheated me out of our carnival, we're really still partners. And that means I own one half of this joint. There's just one hitch, Eddie. I don't figure the same way. Well, in that case, I'll just have to worm myself in, Joe, one way or another. Oh, I'm sorry to hear that. But I just gotta pay you back, Joe. If I didn't, I'd lose all my self respect.

[A]

I just wanted to show you my new dress, Joe, how do you. Oh, I didn't know you were busy.

[B]

No, it's all right, honey. The man's just leaving. This is Eddie Johnson. Kate Farley. She's my singer here. Hello, Miss Farley.

[A]

How do you do?

[B]

Your dress looks wonderful, Kate. Hiding? Would you look at the feathers? You know, it'll be a nice dress when it gets through molting.

[A]

Oh, and since when are you an authority?

[B]

Go on, Eddie, push off. You won't change your mind about my proposition? Sorry. Suit yourself, Joe. Oh, Ms. Farley.

[A]

Yeah?

[B]

When you take that dress off, you better hang it up in a birdcage.

[A]

Now, listen, you smart aleck, I've had just about enough of you.

[B]

With all those feathers, it's liable to fly. Away. Goodbye, Miss Farley. Hurry, hurry, hurry. Come in and see her. She's Josephine, the Tattooed Lady. She's covered with artistic masterpieces. You'll see Gainsborough's Blue Boy talking things over with Whistler's Mother. You'll see the Leaning Tower of Peace. Come in and marvel at these. Pretty wonderful. Frankie, look. Tis Eddie. Eddie Johnson. Eddie, you old son of a d. And Finnegan. Say, you're looking great. Why not? He's preserved in alcohol. Ah, not since the Chicago Fair of I looked upon you, Eddie. Say, this calls for a celebration. Yeah, but tell me, is this your pitch? Yeah, I'm sorry to say it's mine. All mine. What in the world are you doing at Coney Island? From the looks of business, nothing. Eddie, have you seen Joe yet? Joe Rocco? Yeah, just come from there. Teaming up with Joe again, are you? Not just yet, Finnegan. I'm looking for a new partner. Frankie. Interested? Oh, Eddie, I ain't got but only nine bucks to my name. Listen to me and you'll be rolling in dough.

[A]

Huh?

[B]

I got an idea for a pitch that's worth a fortune. Well, that's great. Go and open it up and let me alone. Look, every location is taken. This would be just the spot for it. Frankie. Hurry, hurry, hurry. The only tattooed woman on Coney Island. Every time she shakes. Moving pictures. Look, will you listen to me? We can have it ready in two days time and for less than $300. But Eddie, I just told you I got 9,000. I've got the money. All I want from you is this location in your time. You mean that? Certainly. Eddie, you just made yourself deal. After six months with Josephine, even suicide would look good to me. Come on, lads. Let's have a beer and talk it over.

[A]

Dolly, will you look at that? What? Well, that mob over there in front of Frankie's place. He never did that much business in a month. Oh, didn't you know? Frankie's got himself a new show and a new partner. That fella doing the barking, huh? Oh, you bet I see him. So that's Frankie's new partner, is it? Yeah. Come on, Dolly. We're going over there. At a show like this? You heard me. Here's my chance to get even. Katie, you just don't make sense. I'll explain later. Come on.

[B]

And it's only 10 cents. 10 cents to see the staring exhibition of genuine Turkish harem girls. Hur, hurry, hurry. See the young Turkish maiden. Sold to the sultan for 20 pieces of silver. An authentic and educational exhibition with genuine Oriental Music as played by Abu Mandev, the Turkish gentleman seated there before you on the Persian carpet. Abu is a genuine native of mysterious Constantinople. He neither speaks nor understands English, friends. But how he can play that world famous native music. Listen, friends.

[A]

Listen to him. Hey, hey, that's Frankie, ain't it? Playing just like a snake charmer. Of course it is. Why, he looks about as much like a Turk as you do when you look at him. Buy those tickets. Gee, those guys are making a fortune. Stand back, dolly. I'm going to go home.

[B]

Only eight seats left. Hurry, hurry, hurry.

[A]

Oh, Frankie. Hello, Frankie. Huh?

[B]

Oh, hello, honey. Glad to see you. I'm amazed, gents. Amazed. Abu arrived in this country only two days ago and already he speaks a few words of English.

[A]

He's about as Turkish as is that Indian blanket he's sitting on.

[B]

All right, all right, little lady. Kindly move along. You see, gents, Abu comes from a very fine family. According to the Turkish traditions, he shouldn't speak with anyone so obviously beneath him as the little lady here.

[A]

He used to talk to me plenty when we were working together.

[B]

Yes, Abu Yaks, Mayor, you do get all right, Abu. I'll ask a young lady. Abu here can't figure out why are you wearing that atrocity on your head. He says it can't be a hat. Or can it? Abu says, did Lady Lou's election bet or did lady fall into fruit salad?

[A]

Kate, we better get out of here. The nerve. The nerve of that bum. Wait till I tell Joe. Just wait.

[B]

Why, the young lady is going away. Don't rush off, sweetheart. All right, boys. Hurry, hurry, hurry. The show starts in exactly three minutes. It's the most sensational, the most daring.

[A]

And this time it was my hat he didn't like. He insults me, Joe. In front of everybody, he insults me.

[B]

Oh, but now, honey.

[A]

And if you don't tell him to stop ragging me, I'll bust a bottle over his head. I'll. Hey, where are all the customers?

[B]

That's what I've been trying to find out. Something funny going on, Katie? I think I'll just take a look around. Out, Billy. Me by Finnegan. Come on in, have a drink. Oh, no, No, I don't, dear. Not here in Rocco's place. Finnegan, you're sick.

[A]

Me?

[B]

No. But Steve is Rocco's bartender. The doctor discovered the dear lad had chronic prognosis and him handling all the glasses that people drink out of. And I was just going in there. I've been standing here warning all me friends to keep away. It's just terrible. Well, thanks, Finnegan. Now, if you're looking for something intoxicating, there's Eddie Johnson's new show just up the street. Ah, those Turkish car leaves. Oh, that's from me. Finnegan. I'll see you later.

[A]

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[B]

When she said, I don't dance, now I make money moves, that was a mission statement for a whole new generation. Respect.

[A]

But that's not the Mount Rushmore. Listen, cash rules everything around me.

[B]

When that line dropped, it changed the whole hustle.

[A]

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[B]

or Sprite Zero Sugar to see the full breakdown.

[A]

Obey your thirst, Sprite.

[B]

You're the one who's steering my trade away. I'd like to murder you, Finnegan.

[A]

Now, wait a minute, Joe. It's not his fault. You know who put him up to this, don't you?

[B]

I got a pretty good idea. Go on, Finnegan. Beat it.

[A]

Joe, you're not going to let him get away with this, are you?

[B]

You bet your sweet life I'm not.

[A]

You've got to show that four flusher where he gets off, Louis.

[B]

Yeah, Joe. Louie, that old friend of mine, Eddie Johnson, he needs a lesson. I got some friends in Brooklyn, Joe. They're swell teachers. I want that cooch joint of his to look like an earthquake. Hit it. Understand? Relax, boss. It's as good as done. Oh. Oh, Frankie. Frankie, can you move? Oh, I'm fine. Just resting. Oh. What hit me? Seems like Joe wants to play a little rough. Take a look around. Oh, what a wreck. Yeah, it was a nice place while it lasted, Frankie. Well, let's start looking for a carpenter in those Turkish dames. We can be back in business in three or four days. Maybe. Uh, why not? Next time, Joe may use dynamite. Oh, Frankie, I got an idea. Let's wreck Joe's joint. Dynamite. Oh, swell. No, no. Nice and Legal. See that sign across the street? Read it. Welcome to Coney Island. United Brotherhood of Irish bricklayers. Local 742. They'll be here tomorrow, Frankie. The United Brotherhood. So they'll be here. Well, don't you see? Rocco's place will be filled with Irishman. After they've had a few beers, you and I will go in and start making some nasty remarks. Pretty soon there'll be the wildest knock down. Free for all.

[A]

When Irish eyes are smiling all the world seems bright and gay and when Irish eyes are smiling sure they steal your heart.

[B]

Thank you, boys. Thank you. We'll be back with more entertainment later. Now, all you fine Irish pricklays, just step up to the bar and get a drink on the house. It's free, boys. Free beers, free lunch. Yeah, Joe, I'll be up in the office, see if these boys get free to drive. Okay, Joe. Hey, Loy, come here a minute. Hey, you guys. Don't you know when it's time to leave town? Now, don't try to deny it, Loy. That dirty crack you just made about these bricklays. So they're a bunch of lilies, are they? Hey, wait a minute. What are you guys trying to pull? Sure, you better take back what you said about the Irish, too. I ain't said nothing about nobody. And who said what about the Irish lad? This guy here making cracks about us Irish bricklayers. Telling me that one Orangeman can lick 10 Irishmen. He did indeed. Oh, dear, oh dear, oh dear. Now get away from me, you.

[A]

Oh, tough on you, laddie.

[B]

I'll give you three seconds to take it all back. But I didn't say nothing. Honest I didn't. And the liar is too.

[A]

Go to sleep, laddie. Sleep way. Fight. Fight. Big fight. Big fight.

[B]

Big fight. Big fight. Let's sit down, Frankie. Here in the corner. I want to enjoy this. Oh, look at the way that Brooklyn threw that chair. Pushing that beautiful Eddie right through Joe's best mirror. Very artistic. I'm sorry Joe has to miss all this. Where is he? Upstairs. Wait a minute. Coming down now, Brook. Lo. Sure making his scenic gardens. Awful scenic. Get out of my way, Finnegan. Now, Joe, I'd like to let you pass, but I can't. You might try to stop the fun on there rigging the place. Get out of the way. So you want to fight the Irish, huh? Well, Buckey, you'll have to start with me. Up with your hands. Go on, you old South.

[A]

Get.

[B]

Boys, you gotta stop this.

[A]

Stop it.

[B]

Police. Help. Police. Poor old Finnegan. Come on, Frankie, set him down on my bed.

[A]

Yeah.

[B]

Ah, there. Cold as a cucumber. Oh, he'll be all right. When Joe pushed him, he hit his head on the bar rail. He'll come around in a minute or two. Lucky I live so close. I'm sure nobody saw us. Saw us what? Carrying Finnegan out. Well, what if they did? We couldn't leave him on the floor with the riot going on. But I got an idea, Frankie. A great idea. Another one. You've done all right for one day. Hey. Hey. He's coming around. Finnegan. Finnegan, wake up. Keep fine, make it regret. I'll do the talking. Oh, no, boys. Hello, Finnegan. Oh, where am I? In my bed. Finnegan, you've been here for hours and hours. Oh, what's that? What happened? Oh, it's terrible, Finnegan. The doctors just left.

[A]

Doctors?

[B]

Is someone sick? You are, poor fellow. Cranium, Contusions. Yeah, Finnegan, all over your body. Oh, dear. Oh, dear me poor head. Hurts too. The doctors say you have a chance, Finnegan, if you get out of town. Out of town? Immediately. Ah, but I feel better already. Otherwise, they'll have to take you to the city hospital. Oh, I took a drink of water yesterday. I've been pisoned. And don't worry about money. A few weeks in, say, Atlantic City and you'll be a new man. Frankie and I will take you to the train. Get a carriage, Frankie. Oh, thank you, lads. Thank you. Atlantic City. Oh, it'll do me a world of good, boys. A change of saloons is just what I need. Boss. Boss, look. Huh? Oh. Eddie Johnson and Frankie, eh? How long have they been here? Nearly an hour, boss. It's the first I've seen of them since they started that fight here two days ago. Something's up, Louie. Hey, look, They've got black ties on. Yeah. I guess they must have been at Finnegan's funeral this morning. Finnegan's funeral? Sure, Joe. He died the day of the fight. Didn't you know? No. No, I didn't. Big funeral this morning. Then they sent the remains to Atlantic City. Oh, I think I'd better talk to Mr. Johnson. Here he comes, Eddie. Poor Finnegan. The best friend a man ever had. A finer Irishman never lived. Oh, hello, Joe. I just heard about Finnegan. What was it? His heart? His head, Joe. His head? Yeah. Somebody hit a Monopol wallop at the bricklayer's party. Well, I see you getting the place all fixed up, Joe. Yeah. You know about Finnegan. I know you Saw me do it, but I only pushed him. Sure, Joe, sure. Except a solid brass rail doesn't know how to pull its punches. You guys wouldn't be trying a little high class blackmail now, would you, Joe? How could you say a thing like that? I lied for you, Joe. I told the coroner he hit his head on a curb. But if it ever came out that it all happened in here, we'd have to tell the truth, Eddie. Of course, Frankie, it wasn't Joe's fault. All they can do is close this place down as a public nuisance and that's a lot easier than manslaughter. Be ashamed though, to see a nice place like this all boarded up. Okay, Eddie. How much do you want? Joe, you always think the worst of me. All I want is a chance to make some more money for you. Go on, talk. Let me run this place. Let me put on the shows. Give it some real class. All I want is 50% of any new business I bring in. Would cost me less to bribe my way off. Have it your own way. Oh, the coroner asked me to stop in his office later on. All right, Eddie, you start work tomorrow and have Ms. Farley here at 9 o' clock in the morning. Katie? Yeah, I'll be changing the whole joint, Joe. And I'm starting on Kate Farley,

[A]

Act

[B]

2 of Coney island, starring Betty Grable. Victor Mature and Barry Sullivan will follow in a moment. Libby, don't you ever get tired of tearing around after the stars?

[A]

Do I? Especially a human dynamo like Rosalind Russell. I did manage, though, to catch her in her dressing room one day on the Sister Kenny set. Her enthusiasm about the part is really contagious.

[B]

I don't wonder. Her role as Sister Kenny calls for a bit of everything from romance with handsome Dean Jagger to high drama.

[A]

Oh, besides, Ros and Russell is personally interested in that new technique for treating polio.

[B]

Didn't she travel around the country with Elizabeth Kenney before RKO started the picture?

[A]

Oh, yes. Roz was so anxious to play the part of the Australian nurse just right. They made a tour of hospitals together

[B]

during the war and wartime. Traveling must have been hard on both of them.

[A]

Well, I asked Roz about that and she said yes. There were many problems. And one she worried a lot about was how to preserve her precious nylons.

[B]

Like women everywhere.

[A]

Well, with Roz and Russell's reputation for being one of the best dressed women in the country, her stockings had to look perfect wherever she went.

[B]

Did she manage to keep hers that way?

[A]

Oh, yes, indeed.

[B]

And guess how Our old friend Lux Flakes.

[A]

None other. She always carried a box of Lux Flakes in her suitcase.

[B]

There's no doubt that luxing helps nylons last much longer. Strain tests prove that.

[A]

Oh, sometimes RA stayed in nurses quarters when hotels were full. And she said she invariably ran into Lux Flakes there too.

[B]

I've often admired the way a nurse manages to look spotless from tip to toe.

[A]

That's Lux for you. And because nurses are on their feet all day, they're quick to find out what makes stockings last longer too. Whether they wear lisle, rayon or those new white nylons nurses covet, it's a

[B]

fact that all kinds of stockings wear better if they're washed gently with Lux. In many, many tests, stockings washed with a strong soap or rubbed with cake soap soon went into runs, while Lux cut runs way down. And remember, luxe flakes are precious these days. Don't waste them. It takes only a teaspoonful of Lux to wash a pair of luxe stockings. Here's your producer, William Keeley.

[A]

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[B]

We continue with Act 2 of Coney island, starring Betty Grable as Kate Farley, Victor Mature as Eddie Johnson and Barry Sullivan as Joe Rocco. Believing that Finnegan is dead, Joe Rocco has made Eddie manager of his Scenic Gardens Cafe. The new impresario spends his first day in hiring an orchestra and revamping the entertainment program. But Eddie's having his troubles. The program consists almost entirely of Ms. Katie Farley. And Katie Farley refuses to be revamped.

[A]

It's 8 o' clock you let everybody else go for dinner. Why can't I?

[B]

Because they do what I say and you don't.

[A]

If it wasn't for Joe, I'd quit right now.

[B]

Oh, cool off. We'll try the number again. I'll play the piano.

[A]

What do you want this time?

[B]

You sing too fast. You sing too loud and you move around too much. Outside of that, you're great.

[A]

Everybody sings fast. It's the style.

[B]

Then we'll change the style. I'm trying to make you a little different.

[A]

All right, I'll do it again. Go ahead, play Cuddle Up. A little closer. Love be mine Cuddle up Be my little clinging by.

[B]

Stop shouting. Look, if you want your family in Hoboken to hear you, use the telephone.

[A]

Oh, you fourth rate Velasco. I gotta sing loud. There'll be a crowd out there tonight and they. They make a lot of noise.

[B]

Look, if you're good, they'll stop talking and listen. If you're not, you can yell your lungs out and they still won't hear you.

[A]

Look, I've been doing great for a whole year. They like me here. And nobody's going to change my style of singing. Nobody. I'm leaving now, Mr. Eddie Johnson. I'll be back in time to do my number my way. Goodbye.

[B]

Get ready, Katie. The show starts in a couple of minutes.

[A]

I am ready.

[B]

In that dress with the feathers? Look, I thought I told you I'm

[A]

wearing what I like, Mr. Johnson. And I just told the orchestra leader to play the number my way. Fast. Good and fast.

[B]

I hope you don't move around, Katie. With our new scenery, you should stand nice and quiet in front of a

[A]

fake moon with a fake tree shining. I'll have to move around tonight to dodge the vegetables.

[B]

Okay. You're the star. You should know.

[A]

Oh, well, that's better. Tell him to start playing and ring up the curtain.

[B]

Well, just a minute, Katie.

[A]

Hey, what do you think you're doing?

[B]

Just fixing the bottom of your dress.

[A]

What's wrong with it? Hey, what have you got? Handcuffs? Get away. Stop it. Stop it.

[B]

The handcuffs are for your pretty little ankles. I borrowed them from the cop outside. I'm afraid you'll have to stand still now, Katie, or you'll fall flat on your face.

[A]

Take those off of me or so help me out.

[B]

And these go around your wrists, sweetheart. See? Like this. There, that's better.

[A]

And how do I walk out on the stage, smart guy?

[B]

I carry you out, see? Very simple.

[A]

I'll show you. I'll just stand there. I won't sing a note.

[B]

You look pretty funny, Katie. Hey, the handcuffs on your wrist, they show. I gotta cover them up. Oh, here's just the thing.

[A]

Oh, my feathers. You're pulling off my feathers.

[B]

Hold them in your hand. They'll think it's an ostrich fan.

[A]

I paid a lot of money for this dress.

[B]

Here's another feather. I guess I should have dipped you first in boiling water.

[A]

Oh, you big baboon, you. Oh, just you wait. You'll be sorry.

[B]

Frankie. Yeah? Tell the leader out there, if he wants to keep his job, to play slow. Nice and slow.

[A]

Okay.

[B]

All set, Ms. Farley. Chin up. Now sing nice and pretty.

[A]

Get out of here. Get out. Cuddle up a little closer. Love me mine. Cuddle up and be my little clinging by. Like to feel your cheeks so ro. Like to make you comfy, cozy. Cause I love from head to toe. Love me mine. Like to feel your cheek. We like to make you. Cos I love you from head to to.

[B]

Okay, Frankie, take the curtain down. Katie. Katie. You did swell. Now up we go.

[A]

What are you doing? Now put me down.

[B]

You can't walk with handcuffs on your feet. I'm taking you to your dressing room. I want to talk to you.

[A]

I can hear just as well with these things on. They hurt.

[B]

You could kick though, and start tossing vases. Well, what do you think of my way of singing now?

[A]

That applause wasn't so much.

[B]

You couldn't have gotten more if you were a parade.

[A]

Hey, my dressing room. Now. Get these things off.

[B]

In a minute, Katie. You know they liked you tonight. Hi, Ryan Reynolds here for Mint Mobile. Are you looking for a beach read this summer? May I suggest your big wireless bill? It's got suspense, mystery, a slightly flat emotional arc and a shocking twist where you realize you've been overpaying the entire time. Fortunately, though, Mint's story is better. Every plan $15 a month.

[A]

Month even.

[B]

Unlimited.

[A]

That's it.

[B]

Happy ending. Zero tears. Give it a [e-mail] Switch upfront payment

[A]

of $45 for three months. $90 for six months or 180 or 12 month plan required. 15 per month. Equivalent taxes and fees extra initial plan term only greater than 50 gigabytes. Me slow. When network is busy, see terms.

[B]

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. There wasn't a sound while you sang. For once, you had real class.

[A]

Where do you get off talking to me like that? There are a lot of people around here who like me just the way I am, see?

[B]

Sure. But more people will like you if you'll just listen to me. You've got warmth, appeal. You're attractive. Yeah. In fact, you're so attractive, I think I gotta kiss you.

[A]

Get away from me.

[B]

Yeah, and you'll be still more attractive if you just dress instead of overdressing. I'm no dummy. I went to school, finished the 10th grade. I even. Oh. Oh, here's that feeling again. I need another kiss.

[A]

Is that what you Learned in the 10th grade?

[B]

No, that's why I was kicked out of the 11th.

[A]

Just wait till I get out of these. These chains. I'll slap your face so hard it'll.

[B]

No, you won't. Because you know that everything I told you is right. Okay, I'll take the handcuffs off now. They're off, Katie. And here's my face. Go ahead, slap.

[A]

Oh. Oh. Get out of here. Please. Get out.

[B]

Good night, Katie.

[A]

Good night. And thanks.

[B]

Oh, come in, Eddie. Come in. I thought it was about time we did a little bookkeeping. Any complaints? Complaints? In three weeks, you've turned this place into a gold mine. We've taken in Italy $20,000 with a net of 5,000 bucks over average business. You get 50%, Eddie. Here it is. You know, Joe, for 30,000 we could buy us a new place. You can think of more ways of spending my dough. Not yours, ours. Take my cut of the profits each week and put up the same amount yourself. Before you know it, we'll have enough. Now, I'm making all I want right here. And why kid ourselves we're doing great because of Katie. She's been sensational. That's right. Yeah, but how long can she stay on top? She's not on top. She's just starting. Give her time, she'll be the biggest star in years. You know, for a guy who's always battling with Katie, you seem to have a lot of faith in her. She's swell. Joe. I'm getting very fond of Katie. Oh, is that so? Well, I just assumed you and Katie keep it on a strictly business basis, Eddie. Oh, yeah. I always had the silly idea that Katie was my girl. You know what I mean? Oh, sure, Joe, I know. Well, we'll see, huh? That's right. We'll see.

[A]

Eddie.

[B]

Eddie River, Are you there?

[A]

Eddie?

[B]

Who is it? Finnegan. Greetings from Atlantic City, Finnegan. Well, say something, boys. Are you not glad to see your dear old friend? Hello, Finnegan. Well, hello, Joe. You look like you're seeing a ghost. Well, that's just what I am seeing. Or am I, Eddie? Say, what is this? Everybody stares at me so queer like. Why, two of the boys downstairs signed the pledge as soon as I walked in the door. Finnegan, I'll see you later. Later, huh? Oh. Oh. Oh, you're busy. Are you sure, Eddie? Oh, it was a lovely time. I had a lovely, lovely time. Well, Joe, I told you I'd worm in here one way or another. You slipped over a fast one and tripled my business. I like being taken that way, Joe. What about a new place? It can wait. Better come in on it with me, Joe. If you don't, I'll buy it myself, Katie and me, and we'll take all your business away. But I wouldn't like that, Eddie. I wouldn't like that at all.

[A]

Good morning, sir. May I help you?

[B]

Yeah, I'm Joe Rocco. I have an appointment with Mr. Hammerstein.

[A]

Oh, yes, sir. Go right in.

[B]

Thank you. I'm Rocco, Mr. Hammerstein. Oh, sit down, young man. I've just been reading the press notices about Ms. Farley. I have to admit, these hard boiled critics seem to back up everything you said. She's really wonderful, Mr. Hammerstein. Well, society doesn't flock down to Coney island for nothing. How long has this been going on? Well, she started to click about three months ago. I can't understand why you come to me, Rocco. If I thought she'd be good for my new show, I'd try to steal her from you. But Katie belongs here on Broadway. She's too good for Coney Island. Well, I'll certainly drop out and hear her single. Fine. When can you make it? I can't say exactly. Next week, probably. Thanks a lot, Mr. Hammerstein. Not at all. I'll telephone you before I come. Goodbye, Rocco. And now a new number. Ladies and gentlemen, Miss Kate Farley singing. Put your arms around me, honey.

[A]

Put your arms around me, honey hold me tight Huddle up and cuddle up with all your might oh, babe, won't

[B]

you roll them eyes?

[A]

I said I just idolized when they look at me my heart begins to float Then it starts rocking like a motorboat oh, oh, I never knew any boy like you.

[B]

Honey, you were never better.

[A]

Oh, thank you, Eddie.

[B]

You've got it at last. The trick of making every guy feel you're singing just for him.

[A]

It's easy when it's not a trick. Eddie.

[B]

Huh? Katie, you mean that. You mean all those pear shaped tones were just for me?

[A]

Couldn't you tell?

[B]

Oh, come on now. Hurry up and change. I've got things to talk about.

[A]

I won't be long. Wait for me, Eddie.

[B]

Oh, Joe. Say, she did great, didn't she? Look, Eddie, Eddie, trim me out of my dough if you want to. And if you can, I can laugh about that. But when it comes to Katie, I lose my sense of humor. I wouldn't do that, Joe. You may need it. Well, I just want you to know I'm gonna do everything I can to break it up between you two. I'll tell you something. I'm going to be leaving here in a few weeks. I'm getting that new place. But you still can have half if you want. I'm doing fine right here. I won't ask you again, Joe. It's smart. You haven't got that kind of cash. That's why I went to the Brooklyn Savings Bank. They said if I have Kate Farley, they'd loan me $20,000. And what makes you think Katie will go with you? Love is a wonderful thing, Joe A wonderful thing is love. Eddie. Eddie. Eddie.

[A]

Eddie.

[B]

Where's Joe? He said something about a poker game at the Continental.

[A]

Yeah?

[B]

What are you all excited about? Downstairs. Hammerstein. William Hammerstein style. Stage. What about? Oh, Hammerstein? Hammerstein, the producer. He says Joe asked him to come and hear Katie. Funny Joe didn't say something. Well? Well, he told Joey be down next week. But he just happened to be at Brighton tonight, so he came on over. Hey, hey. I'll go and tell Katie. Don't you see what Joe's trying to do? I want to open up that new cafe. If Katie comes With me, I get a big loan from the bank. But if Katie goes to Hammerstein, I'm licked. Yeah, but what do we do now? Look, if Joe can play poker, I guess it's okay if Katie and I take the evening off too. But she's got a number coming up. Dolly knows her songs. Dolly will sing. Oh, well, that's what understudies are for. Besides, I wouldn't want to disappoint Mr. Hammerstein. But Dolly is a comic. She'll sound awful. I hope so. But Hammerstein will think she's Katie. Oh, you know that sign with Katie's name on it? A great big one on the side of the stage. See that it stays there when Dolly sings. I'll talk to Hammersy. Now, go get Katie and tell her to meet me at the side entrance. Okay. Eddie, I hope you know what you're doing.

[A]

Gee, it's wonderful here, Eddie.

[B]

Yeah. Beach. Fires in the sand, stars in the sky, moon on the water.

[A]

I could stay here all night. Except I feel awful guilty about running out like this.

[B]

Oh, forget it. There's nobody important in the cafe and you only miss one number. Besides, it's a swell break for Dolly.

[A]

Listen, a moonlight picnic on the beach. Lucky people.

[B]

We'll do that too, someday after I get my own place.

[A]

You sure have big plans, Eddie.

[B]

Why not? And you know who's going to sing for me?

[A]

Who?

[B]

Katie Farley.

[A]

Really?

[B]

I've got to have you, Katie. I want everything to be the best.

[A]

That's the nicest compliment you ever paid me. You know, if you're not careful, you're gonna wind up owning Coney Island.

[B]

I intend to.

[A]

What a guy. And what a SAP.

[B]

SAP? Me?

[A]

No, me. I've fallen for you, Eddie. I fallen awful hard, Katie.

[B]

You'll never be sorry, honey. Never. And she does two more songs later on. Mr. Hammerstein, that's fine, but I. I think I've heard enough. Tell Mr. Rocco I was greatly impressed. Well, thanks, Mr. Hammerstein. Goodbye, Mr. Hammerstein. Oh, hello, Rocco. I understood you were out. Yeah, I was, but one of my boys telephoned me you were here. I came right back. Oh, that's all right. Mr. Johnson took very good care of me. What did you think of Miss Farley? Well, as you told me, she's very unusual. I'll think it over and let you know. Good night. Good night, Mr. Hammerstein. Frankie. Frankie. Tell Katie to come over here. Oh, well, I'll look for her, Joe. What do you mean, you look for her? Where is she? Well, you see, Joe, it's Well, it's like this. Say, Joe, I heard a wonderful story tonight. It seems there were two fellas and they started. Oh, there's Katie now, coming in the front entrance with Eddie. Where have they been?

[A]

Well.

[B]

Well, just as I was saying, Joe, these two fellas, it seems that they were the. Katie.

[A]

Hello, Joe.

[B]

Can I talk to you a minute, Katie boy?

[A]

Sure. You're not sore, are you, Joe?

[B]

Sore? What about?

[A]

Well, Eddie and I went for a little walk. I skipped my last number. Dolly did it for me.

[B]

Oh, no wonder I couldn't figure it out. Figure what out, Joe? I think you can guess. But I'd better tell Katie.

[A]

What are you talking about, Katie?

[B]

William Hammerstein was here a little while ago. He came just to hear you sing.

[A]

Oh, no.

[B]

I invited him. He's looking for a singer.

[A]

But why didn't you tell me?

[B]

I expected him next week. But Eddie knew he was here. How did I know it was Hammerstein? I never. Why, I never saw him in my life. That's very funny. He told me Mr. Johnson had taken very good care of him. And you know, Katie, when he heard Dolly sing, he thought it was you.

[A]

How could he get that idea?

[B]

Look, up on that stage. Somebody didn't bother to change the signs.

[A]

I see. Looks like Mr. Johnson took care of a lot of things.

[B]

Now, wait a minute, Katie, I.

[A]

Why didn't you tell me?

[B]

Shall I tell her, Eddie, or will you tell her? It's all very simple, Katie. If Hammerstein heard you and signed you for his show, then Eddie wouldn't have you for his new cafe. And without you, there isn't gonna be any cafe. That's not true. Now look, Katie. Eddie, before you quit, I just want you to know you're fired.

[A]

And thanks, Eddie. Thanks a lot for taking me out tonight. I'll. I'll never forget it.

[B]

We pa. Pause now for station identification. This is cbs, the Columbia Broadcasting System.

[A]

Foreign.

[B]

Betty Grable. Victor Mature and Barry Sullivan return in Act 3 of Coney Island. Hi, Ryan Reynolds here for Mint Mobile. Are you looking for a beach read this summer? May I suggest your big wireless bill? It's got suspense, mystery, a slightly flat emotional arc and a shocking twist where you realize you've been overpaying the entire time. Fortunately, though, Mint Story is better. Every plan, $15 a month, even unlimited. That's it. Happy ending, zero tears. Give it a [e-mail] Switch upfront payment

[A]

of 45 for three months, $90 for six months or $180 for a 12 month plan required 15 per month. Equivalent taxes and fees. Extra initial plan term only greater than 50 gigabytes. Me slow when it work is busy. See terms.

[B]

I want to introduce tonight's special guest, Yvonne Robb, who is casting a fine glow over the 20th Century Fox lot. You know, Yvonne, I didn't remember your hair was chestnut. It looked black when I saw you making Ann and the King of Siam.

[A]

That's right, Mr. Keeley, but it was just mascara sprayed on. As a king's favorite wife, I had to look Siamese.

[B]

And where a sarong?

[A]

Well, I got a little tired of that. Especially when I discovered Gene Tierney on

[B]

the next set in Daryl Zanuck's production of the Razor's Edge.

[A]

That's right. And I was positively green with envy because Jean was wearing some of the most glamorous clothes I've ever seen. Like, oh, a white lace wedding gown they say cost $2,500. And gorgeous chiffon lingerie. And a beautiful satin brocade pajamas.

[B]

Well, they sound charming, but a bit impractical, perhaps.

[A]

Well, that's what I thought at first, but I was talking with a wardrobe mistress and she said that lovely lingerie had seen a lot of retakes. Of course, the things got soiled, so each time they were washed in luxe flakes.

[B]

Well, perhaps in your next picture you can have as glamorous a wardrobe as Jean did for Somerset Malms.

[A]

Now for it would be fun. But I do have something in common with all that glamour right now. I've used Lux Flakes for all my own lingerie as far back as I can remember.

[B]

You'd probably be surprised too, how much that has saved you.

[A]

Well, I do know, Mr. Kennedy, that my things stay lovely looking for a long time.

[B]

As a matter of fact, lots of girls have found they can have three times as many pretty undies by giving them luxe care.

[A]

How do you mean?

[B]

Why, instead of having to replace faded old looking undies all the time, they can afford to buy extra ones three times as many. That's because wrong washing methods fade nice things too soon while gentle luxe care keeps undies lovely three times as long.

[A]

I wish I could always find Lux flakes these days when I want them.

[B]

Just keep on trying. Dealers get deliveries regularly, so keep asking. If you don't get it the first time, try again. Lux is worth waiting for. Here's Mr. Keeley at the microphone after our final curtain. We hope you'll join us for a brief chat with tonight's stars. Here's Act 3 of Coney island, starring Betty Grable as Kate Farley, Victor Mature as Eddie Johnson and Barry Sullivan as Joe Rocco. Katie missed one opportunity to sing for William Hammerstein. But Joe Rocco quickly arranged another audience audition. He's taken Katie to New York and sits with a producer in Hammerstein's theater. On the empty stage, Katie is finishing her number.

[A]

From head to toe. Lovely. Mine.

[B]

Well, Mr. Hammerstein. Oh, she's all right. It's no use. Your smile gave you away. Well, I thought if I acted hard boiled, I might get her for less money.

[A]

I can do another course if you'd like.

[B]

Katie, you agreed. Wonderful. Mr. Rocco and I are just going into my office to talk about a deal. Wait right there, Katie. I'll just be a few minutes.

[A]

I'll wait. Oh, I. I want to thank you. You played the song exactly. Eddie.

[B]

Hello, Katie.

[A]

What were you doing down there in the orchestra pit?

[B]

Playing for you. I told Hammerstein's pianist you were expecting me. That and five bucks seemed to convince him. Katie, could you give me just one more minute? There are a lot of things I want to explain.

[A]

I listened to you once before. Of all the selfish.

[B]

Wait a minute. Remember me? I'm the guy who just played the piano for you. If I'd wanted to, I could have crabbed your act awful easy. I didn't, though, because I want you to get that job. I'm sorry about the other time, Katie. Honest.

[A]

And that makes everything all right, I suppose?

[B]

No, but it should make you take that cotton out of yours long enough for me to tell you why I did it.

[A]

I know why. You want that new plate.

[B]

Sure I do. But that wasn't the real reason. I didn't want you to work for Hammerstein because, well, it would put too much distance between us.

[A]

Oh, eddie. It's exactly 11 miles from here to Coney Island.

[B]

I'm not talking about that kind of distance. Once you hit Broadway, you'd be a million miles from me. It's happened so many times before, Katie, and I just didn't want to lose you. You see, I happen to love you. That's why I did it. I guess that's all I have to say.

[A]

Eddie. Oh, Eddie, get me out of here quickly.

[B]

But what about Hammerstein? Broadway?

[A]

I'm from Coney Island, Eddie. And right now I feel an awful long way from home.

[B]

Where have you been? Katie? What happened to you? Six hours ago, I left you on a stage in New York.

[A]

I'm sorry, Joe, but Eddie came along

[B]

and I. I figured it would be better if Katie wasn't around. While you and Hammerstein were talking business, Hammerstein wanted you to sign a contract.

[A]

So did Eddie. Look, Joe.

[B]

Oh, marriage license, huh? That's right. It looks just like a liquor license except it's got little cupids running all over it. Well, congratulations. When's the wedding? Tomorrow afternoon, Joe. And I'd like you to be the best man. Thanks. That's. That's swell. What did I tell Hammerstein?

[A]

We just spoke to him on the telephone. He's not starting rehearsals until August and he said we'll have plenty of time for a honeymoon.

[B]

You mean you still want to sign with Hammerstein?

[A]

Oh, you bet.

[B]

Surprise. Joe. Oh, frankly, yes. I thought you wanted Katie for your new cafe. I did. I want her more as my wife.

[A]

Well, Joe, we'll see at the church.

[B]

The little one across from Brighton park. Tomorrow afternoon at 4:30. I'll be there.

[A]

You see, Joe, it. It all worked out just beautifully.

[B]

Yeah, beautifully. Louis? Yeah? Remember Sylvester Keane, that broken down actor? Sure. He blew in last week. He was looking for a job. Now get hold of him. Tell him he's got a job.

[A]

Dolly, it's 4:30. Where could he be? Joe said Louie's bringing Eddie in an automobile. Probably got a flat tire. I'm going out and look for him. You stay right here in this room. It's bad luck to go inside before the wedding march. I ought to know. I've been married four times. Then you find. Okay, I'll find.

[B]

Oh, excuse me, I was about to knock. Miss Farley?

[A]

No, that's Ms. Farley in there. Who is it?

[B]

I'm Sylvester Keene from the Brooklyn Savings Bank.

[A]

Don't tell me I've overdrawn my account.

[B]

Oh, no, no. I wanted to speak to Mr. Johnson, but I understand he isn't here yet. I thought perhaps you could give him a message.

[A]

Why, certainly.

[B]

Just tell Mr. Johnson we've decided to loan him $20,000 for his new cafe.

[A]

Oh, why, that's wonderful. But if anyone can make a success out of a cafe, it's Mr. Johnson.

[B]

Well, frankly, Ms. Farley, we consider your reputation a little better security than his. An attraction like you would make any cafe a success.

[A]

Thank you, but I won't be singing in his cafe. I'm going to work for William Hammerstein.

[B]

You are?

[A]

Why, why, yes.

[B]

Why, that's strange. Mr. Johnson called us just a little while ago and said that now that you and he were going to be married, you had changed your mind. You were staying in Coney Island.

[A]

He told you that?

[B]

Oh, dear, dear. That changes everything. Well, I'm certainly glad we had this little talk, Miss Farley. Yes, so am I. I'm sorry if I said anything that.

[A]

He's here. Katie, Eddie's here. They got stuck in traffic.

[B]

Well, goodbye, Ms. Farley. Goodbye, Eddie. Here are your railroad tickets. Two days in Niagara Falls and down through Canada into Detroit.

[A]

Excuse me a minute, Eddie. I'll get him for you, honey. Please. And, Joe, do you mind?

[B]

No. Want to be alone with him, huh? Well, I'll tell the preacher. He's here. How are you, Mrs. Johnson? Here, posies for the train.

[A]

Close the door, Eddie.

[B]

Sure.

[A]

Eddie, a man was here just now from the bank.

[B]

He was? What do you want?

[A]

Did you tell him that I was going to be singing for you last week?

[B]

I said I might be able to get you. But that was before Hammerstein opened up.

[A]

You spoke to them again today.

[B]

Today?

[A]

You told them you had me all sewed up.

[B]

Now, wait a minute. I don't know who was here. What he said, don't lie, Eddie.

[A]

You know you couldn't get the money without me. What was your plan this time? To convince me on our honeymoon?

[B]

Katie, you don't honestly think that, do you?

[A]

Oh, what do you want me to think?

[B]

That I'm marrying you because I love you and for no other reason.

[A]

Isn't there anything you'd like to explain?

[B]

I'm not even going to try to. Katie, you've got to believe me. Because down deep, you just know I'm on the level. Unless you do, our marriage won't be worth a hoot.

[A]

Is that all, Eddie?

[B]

That's all. Someday you'll find out I'm telling the truth. Except then it may be too late. If you leave me now, well, I guess it's all over. You know that, don't you?

[A]

Yes, I know that.

[B]

What are you going to do?

[A]

What I have to do. I'm leaving now.

[B]

Intermission, 10 minutes. 10 minutes. Smoking in the outer lobby, please. At Barley Girls. The whole show. I could see her every night in the. Well, Eddie, Looks like she's in. Yeah, she's got them standing on their ears for Frankie. I swore I wouldn't do this, but I've got to. Gotta do what? I'm going backstage, Frankie. I'll see you later. Well, it's about time. Good luck, Eddie. You should hear what they're saying, Katie. Sensational. And wait till they hear the third act.

[A]

Oh, thanks, Joe. But I'll believe it when I see it in the morning paper.

[B]

I saw Eddie in the lobby. Katie, if you want, I'LL ask him

[A]

to drop in later in case he has the same idea. Tell himself to save the trouble.

[B]

Do you really mean that?

[A]

What do you think?

[B]

Well, I think it's about time I gave you this.

[A]

Oh, Joe. Joe, it's. It's beautiful.

[B]

And I didn't win it in a card game either. It's one ring I bought in a jewelry store. Hey, hey, that's the wrong hand. That's a left handed ring. Oh, no go. Huh, Joe.

[A]

What?

[B]

Forget it, Katie. But keep the ring. Just because a hay burner runs second, he doesn't ask presentary feedback.

[A]

I'm so sorry, Joe.

[B]

Katie, Katie, listen. Since I did run out of the money, there's something you ought to know. That day in the church when you were gonna be married, I.

[A]

Come in.

[B]

Hello, Katie. Joe.

[A]

Uh, hello, Eddie.

[B]

I just wanted to tell you how swell it's going here. Even better than I thought you'd be.

[A]

Well, thanks, Eddie. How have you been?

[B]

Oh, fine. Opening the cafe next month. Will you drop out?

[A]

Sure. Where's it gonna be?

[B]

Where? Why, why in the same building I always had in mind.

[A]

Well, I thought you took an option on that building, Joe.

[B]

I did. Eddie, I hate to tell you this, but the reason I let the option expire was because the fire commissioner tipped me off they're gonna condemn the building. I hate to tell you this, Joe. Oh, but that guy wasn't the fire commissioner. Oh, just a friend of yours? Uh huh.

[A]

The way you two double cross each other and smile about it, beats me.

[B]

Yeah, we've show pulled some beauty. Remember the time you got me that date with the blonde and she turned out to be the sheriff's wife? It was nothing. What about when I was running that freak show in Toledo? You painted the mayor's face on the sword swallow his back. And I got 30 days for it. And in Memphis, Joe pays me off in counterfeit bills. Katie. And I get tight and try to cash while I'm at the police station. And what about that day at the church when you sent that guy over who was supposed to be from the bank? Sylvester Keane. Oh, that one really hit the jackpot. You should have seen his makeup, Eddie. Absolutely perfect. I'll bet it was Joe. And when Louie told me he stalled you off by getting caught in traffic, I thought I. I thought I'd. Oh, well, Miss Farley, now you know.

[A]

Joe, was that. This something you wanted to tell me?

[B]

Yeah. Yeah. He still loves you, Katie. Don't let him get away from you again.

[A]

That's so easy to say.

[B]

Curtain going up, Miss Farley. Things will work out, you'll see. Good luck. Hot dogs.

[A]

Here they are.

[B]

Genuine Coney island hot dogs.

[A]

Eddie, what in the world are you doing out here?

[B]

Hello, Katie. I could ask the same question.

[A]

At nine o' clock at night, you should be tending to business. By the way, how is the new place?

[B]

Oh, fine. I. I'd like you to see it.

[A]

Maybe later, Eddie. You see, I got a telegram from Joe and he said to meet him on the Coney island Pier at 9:00 clock Sunday night. Well, here I am.

[B]

That's funny. I got a telegram too.

[A]

Joe?

[B]

No, from the City hall. Something about my license not being legal after tomorrow. Said a man would be here to see me about 9 o'.

[A]

Clock.

[B]

Sounds awful. Awful Phony.

[A]

Some amateur's trying to pull a fast one.

[B]

Sure, I just opened up. The license is good for a whole year.

[A]

Listen, somebody's having a good time.

[B]

Yeah, moonlight picnic on the beach. Remember?

[A]

We were going to do that one day.

[B]

Katie, do you think we could. Hello, Eddie. Hot dog? Sure, why not? Katie?

[A]

I'll take a bite of you.

[B]

With mustard, Mac. That's it. Thanks. Thanks, Eddie. Open your mouth.

[A]

Delicious.

[B]

You got mustard all over.

[A]

I'll lick it all good.

[B]

I know a better way to take mustard off.

[A]

You do?

[B]

Mm. This way.

[A]

Oh, my, that's a wonderful way.

[B]

Eddie, look. How long do I have to stand here watching this?

[A]

Joe?

[B]

Hello, Joe. Hello, Eddie. How about that license? Oh, so you sent the telegram. I might have known. Sure. It expires tomorrow. Your marriage license. Oh, well, thanks for reminding me. That license cost Eddie a dollar, Katie. Be ashamed to see that buck wasted. Now, in case you two are interested, there's a preacher waiting at my office.

[A]

The service always was pretty good at your cafe, Joe.

[B]

Well, Ms. Farley, can you spare the time to get married?

[A]

How long?

[B]

How long does a marriage take this one? About 50 years, I hope.

[A]

I think I can just about make it.

[B]

Well, what are you waiting for?

[A]

Eddie, Just a minute.

[B]

Now what?

[A]

Mustard all over your face.

[B]

Before our stars return for their curtain calls, our producer has an important message for the housewives in our audience. I don't have to tell any housewife how important soap is in running a household, large or small. Or how difficult it is to get all the soap you want these days, especially those popular luxe flakes. But I do want to emphasize the seriousness of the situation. Industries retooling for peacetime production are consuming enormous quantities of fats and oils. Unless large quantities of used fats from American kitchens Are turned in. During the coming months, our oil supplies will be so drained you may lose as much as a month's supply of soap. And that would be serious. If you're already saving used fats, get your neighbor started again. Otherwise, her indifference may cause you to lose precious Soap. Thank you, Mr. Keeley. In our house, we keep a tin can right on the stove so it's handy for pouring in grease from the frying pan or broiler. It's surprising how fast a can fills up. Remember, ladies, you get 4 cents for every pound you turn in. And keep the soap you want in supply back to William Keeley and our stars. The only thing that could outshine Coney island are the stars who presented tonight's play so engagingly. And here they are for a curtain call. Betty Grable, Victor Mature and Barry Sullivan.

[A]

Thank you, Bill. And incidentally, welcome to our home studio.

[B]

Yes, I hear you're under contract out of 20th Century Fox. That's right. And I'm sure it's going to be a most enjoyable association. If you work at Fox, you'll have to have a hobby, Mr. Keeley. How's that, Barry? Well, everyone seems to have one. Vic has a sailboat. Betty has her horses. That's right. I understand you have the finest racing stables in the valley. Betty Grable Stables. Hey, you know, Don't. Don't all those horses take a lot of stall space, Betty?

[A]

Oh, no. Horses can sleep standing up, you know.

[B]

I know. They do it every time I put a bet on one. What a change. Perhaps you ought to let Vic take you sailing, Betty.

[A]

I'm afraid I don't know a thing about it, Bill.

[B]

Well, certainly you know the difference between starboard and port.

[A]

Yes. Port's a little sweeter,

[B]

you know. You know, I never could understand why they always called a boat a she. Try steering one sometime. You'll understand. Barry, I hear you're going to borrow. Oh, that's right, Mr. Keeley. A group of us play every weekend. Gene Kelly, Frank Sinatra.

[A]

You mean Frank Sinatra can swing a bat?

[B]

Well, sometimes it's the other way around.

[A]

While we're at it, what's your favorite pastime, Bill?

[B]

Well, I think I'd settle for watching Betty Gravel in her forthcoming Technicolor picture, the Shocking Miss Pilgrim or seeing Victor Mature in his soon to be released Fox film, My Darling Clementine.

[A]

Speaking of movies, Bill, what are you going to bring to your audience next week?

[B]

Well, for drama and suspense, we'd have a hard time picking a more enthralling play than Dragon Wick. With its original great stars, Gene Tierney and Vincent price. This recent 20th Century Fox hit is the story of three people in the shadow of a growing madness. A wife who fights the domination of her husband and a man who tries to guard her with his love.

[A]

I'm sure your audience won't want to miss it, Bill. Good night. Good night.

[B]

And thanks for the most entertaining time at Coney Island. Our sponsors, the makers of Lux Lakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theater presents Gene Tierney and Vincent Price in Dragonwick. This is William Keeley saying good night to you from Hollywood. Barry Sullivan will soon be seen in the Columbia picture They Walk Alone. Heard in our cast tonight were Eddie Marr as Frankie, Leo Cleary as Finnegan. Our music was directed by Louis Silver. Also heard in our cast were Herbert Rawlinson, June Perret, Cliff Clark, Stanley Farrar, Dick Ryan, Charles Seale, Truda Marson and Doris Singleton. This is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear Dragon Wick with Gene Tierney and Vincent Price. This is cbs, the Columbia Broadcasting System.