Lux Radio Theatre - Random Harvest

Summary

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Podcast Summary: Lux Radio Theatre – “Random Harvest”

Podcast: Harold's Old Time Radio
Episode: Lux Radio Theatre – Random Harvest
Date: July 12, 2026
Starring: Ronald Coleman (Charles/Smithy), Greer Garson (Paula)
Producer/Host: William Keeley

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Episode Overview

This episode of Harold’s Old Time Radio features a dramatized presentation of the beloved MGM film “Random Harvest,” part of the famed Lux Radio Theatre anthology. The radio play stars Ronald Coleman as Charles Rainier/Smithy and Greer Garson as Paula Ridgeway. Set in the aftermath of World War I, “Random Harvest” is a sweeping romantic drama dealing with themes of amnesia, love lost and found, and the longing for a true sense of belonging.

Leaning into classic radio's golden age, the performers deliver an emotional adaptation that tugs at the heartstrings. It’s a story of identities forgotten, loves kindled and almost lost forever, and the enduring power of hope across years of separation.

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Key Discussion Points & Insights

Opening and Scene Setting

• William Keeley introduces the broadcast, sharing his pride in hosting two Oscar-winning actors and linking the glamour of Hollywood to Lux Soap.
  • [00:36] “It seems only yesterday that I was at the Ambassador Hotel applauding a great actress... and it's a double thrill to have them here tonight.” – William Keeley

Act I: The Aftermath of War and Lost Identity

• The story begins in November 1918, as World War I ends. “Smithy” is a shell-shocked amnesiac patient who escapes a county asylum, blending into the crowd celebrating the armistice.

  • [02:50] “He hadn't escaped, not really. In the excitement of the armistice...he had wandered into the town like a lonely ghost.” – Paula

• Smithy meets Paula, a kindhearted music hall singer, who recognizes his confusion and helps him avoid recapture.

  • [03:39] “There's another thing. I lost my memory. I don't even know who I am.” – Smithy (Ronald Coleman)
  • [03:58] “You mean… Well, I know who you are. You’re somebody awfully nice.” – Paula (Greer Garson)

• Paula spirits Smithy away to Cornwall, offering him care and a chance for renewal.

  • [06:14] “Smithy, the war’s over. Doesn’t that mean anything to you?” – Paula

A New Life: Growing Love, Hope, and Heartbreak

• In Cornwall, Smithy starts recovering and begins writing professionally. Their relationship blossoms into love. Smithy proposes and the two marry, building a simple, happy life.

  • [14:24] “Paula, it’s… it’s a lot of nerve. But I’m… I’ve fallen in love with you.” – Smithy
  • [15:06] “My life began with you. I can’t imagine a future without you.” – Smithy

• They have a son, and for a brief time, their family is whole.

  • [16:24] “We rented a cottage… it was a lovely dream… our son was born.” – Paula

• Smithy gets a job interview in Liverpool, which requires an overnight trip. In a cruel twist, he’s struck by a car, regains his pre-war memory but loses all recollection of Paula and the past three years.

  • [21:16] “You’re in Liverpool. In Liverpool?... Name, please. Rainier. Charles Rainier. Profession? Captain in the Wessex Regiment.” – Smithy

Act II: Parallel Lives—Lost and Searching

• Charles reintegrates into his old life as the head of his family’s business, not remembering Paula or their child. Paula, devastated, searches fruitlessly, eventually seeing a newspaper photo of him as “Charles Rainier.”

  • [27:31] “I can guess what has happened, Mrs. Smith. In some way… your husband’s memory has returned. He’s taken up his former life again.” – Dr. Binet
  • [27:55] “I worked and studied to improve myself… searching for him. It was later that I saw a picture in a newspaper—my husband.” – Paula

• Paula becomes Charles’s secretary under the name Miss Hansen, working closely by his side for years as he becomes an influential businessman and parliamentarian, while keeping her true identity hidden.

  • [31:43] “Miss Hanson. She was Mr. Rainier’s private secretary. She’d been with him three years… I wanted to tell him so many times that I was Ms. Hansen.” – Paula

• Charles becomes engaged to Kitty, but a sense of something (and someone) missing haunts him.

  • [39:36] “That I am not the one. Charles, you looked to me just now as if I were a stranger taking the place of someone else.” – Kitty

Act III: The Final Reckoning and Reunion

• Charles and Paula (as Margaret Hansen) share a marriage of companionship, but the emotional gulf and unresolved past hang over them. Paula tries but cannot prompt Charles’s memory.

  • [52:43] “Is it enough?” – Charles
  • [52:46] “Perhaps not.” – Paula

• On a business trip triggered by a strike, Charles visits Melbridge and suddenly, the pieces of memory begin to fall into place: the asylum, the tobacconist’s shop, the girl he met (Paula).

  • [58:04] “You say that you came out these gates. Yes, I’m sure of that… There’s a little tobacconist just around the corner.” – Charles

• Triggered by these cues, he recalls their cottage in Clevedon and finds Paula waiting there. Their recognition is deeply emotional.

  • [62:04] “Charles.” – Paula
  • [62:05] “Paula.” – Charles
  • [62:08] “Oh, I’ve been looking for you for such a long time, Smithy.” – Paula
  • [62:16] “Smithy. Oh, I found you, Paula…Oh, darling, I found you.” – Charles

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Notable Quotes & Memorable Moments

• Meeting in the tobacconist's shop
  • [03:39] “There’s another thing. I lost my memory. I don’t even know who I am.” – Smithy
• Falling in love
  • [15:06] “Never leave me out of your sight. Never again.” – Smithy
• Heartbreak in Liverpool
  • [21:16] “Name, please. Rainier. Charles Rainier. Profession? Captain in the Wessex Regiment.” – Smithy
• Paula’s quiet devotion
  • [27:44] “I always felt that someday I’d find him again. I worked and studied...searching for him.” – Paula
• Doctor’s warning
  • [33:08] “If you tell him and he doesn’t remember, I’m warning you, there’s only disaster for you both.” – Dr. Binet
• Bittersweet companionship
  • [50:09] “What if we were to pool our loneliness and give each other what little we have to give? Support, friendship. I’m proposing marriage, Ms. Hansen.” – Charles
• Moment of recognition
  • [62:04 – 62:16] “Charles.” “Paula.” “Oh, I’ve been looking for you for such a long time, Smithy.” “Smithy. Oh, I found you, Paula.” – Paula & Charles

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Important Segments & Timestamps

• 00:36–08:11: Paula and Smithy’s first meeting, his escape, and her compassion (golden age radio acting at its finest)
• 12:16–16:24: Their deepening romance, marriage, and starting a family in idyllic Cornwall
• 21:16–22:49: The pivotal accident in Liverpool; Smithy becomes Charles Rainier again, losing all memory of Paula
• 27:13–27:55: Paula’s years-long search and reunion with Charles under her new identity
• 32:41–34:38: Emotional confrontation with Dr. Binet; Paula’s heartbreak and his warning
• 48:20–50:51: The “marriage of ghosts”—Charles and Paula as companions, haunted by the past
• 54:21–56:42: Paula’s pain, Charles's hints of memory, unspoken connection between them
• 57:32–62:22: Charles’s memories are triggered in Melbridge; he and Paula finally reunite at the cottage

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Tone and Atmosphere

The production blends the poetic, yearning dialogue of classic Hollywood romance with the intensity of remembered trauma and longing. The language is eloquent, tender, and often heart-wrenching, matching the emotional stakes of the story. The narration (Paula’s perspective), interwoven with dialogue, creates a sense of nostalgia and suspense, underscoring the fragility and persistence of love.

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In Summary

This episode stands as an exquisite example of radio drama’s golden masterpieces—delicately performed, sweeping in emotional scope, and filled with iconic moments of loss and rediscovery. Coleman and Garson shine as two lovers separated by fate and memory, whose reunion, after years of parallel loneliness, is rendered in unforgettable, bittersweet detail.

For anyone longing for classic romance and the artistry of old-time radio, "Random Harvest" on Lux Radio Theatre is a must-listen.

Transcript

[A]

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[B]

Lelever Brothers Company, the makers of Lux toilet soap bring you the Lux Radio Theater starring Ronald Coleman and Greer Garson in Random Harvest. Ladies and gentlemen, your producer, Mr. William Keeley. Greetings from. Welcome to Hollywood, ladies and gentlemen. It seems only yesterday that I was at the Ambassador Hotel applauding a great actress who had just received that year's Academy Award, Ms. Greer Gossin. It was a similar thrill that I enjoyed again this year when the same high honor was bestowed on Ronald Coleman. And it's a double thrill to have them here tonight. Co starred in a play that we present by popular demand. Metro Golden Mares. Random Harvest. Among my impressions of this year's Academy Award proceedings was the pageant of lovely women who attended it, including of course, the screen's most stunning beauties. And it made me proud to be identified with Lux soap on this program. But I'm sure that most of those lovely complexions owed allegiance to luxe toilet soap. And that's the highest tribute I can think of. As, as I'm sure you will agree, it's time for our play, Act 1 of Random Harvest, starring Ronald Coleman as Charles and Greer Garson as Palmer. From the records of the Millbridge County Asylum, November 1918. Patient number 43652, name unknown. Picked up by Germans in a shell hole near Arras, exchanged through Switzerland. Patient has no remembrance whatsoever of past life. Trouble with speech. The result of shock. Prognosis could be cured with patients and care in normal surroundings. On the night of November 11, 1918, this patient escaped from Melbridge Asylum.

[C]

He hadn't escaped, not really. In the excitement of the armistice, the iron gate of the asylum had been left open and he had wandered into the town like a lonely ghost, buffeted by the crowds. I was at the tobacconist shop and he came in. When the proprietor spoke to him, he tried to answer and couldn't. He stood there confused, helpless. Will, close the door. Close it, please. Will, what is it?

[B]

I. Cigarettes.

[C]

Well, what sort?

[B]

Cigarettes.

[C]

Oh, why, you're one of the soldiers from the asylum, aren't you? You wait here a minute, dearie. Wait here. I'll be back in a gym. You are from the asylum, aren't you? Aren't you?

[B]

Yes, but I. I'm all right, really.

[C]

Well, if you had given them the slip, I wouldn't stay here. She's telephoning them to come for you. You better run along. Go on.

[B]

Yes, I.

[C]

Hurry. Hurry. On a sudden impulse, I followed him. He'd stopped to rest in an archway. He was exhausted, his hands held over. Can I help you? I thought you weren't feeling too fit, so I followed you. Oh, you look tired out.

[B]

Yes, tired.

[C]

Well, what you need is a brandy and soda. Should we go over to the Home Pub just across the road? It's where we all stay when our show's in town. It's. Oh, it's, you know, friendly. Come on. Will you have another? Will you?

[B]

No, thank you.

[C]

Well, I have to get back to the theater now. What are you going to do? Oh, dear. Will you be all right? What am I going to do with you?

[B]

I. I'll be all right.

[C]

You sure? Listen, how'd you like to see the show? You can sit in my dressing room. We'll have a nice little chat, hey? Just you and me.

[B]

Good.

[C]

Good. Well, how do you like my kilts?

[B]

Or don't you? I. Yes.

[C]

Now, tell me all about yourself. Why did you give them a slip up at the hospital? You don't like the place? No. Well, then surely you ought not to be there. But come on, answer me. Try.

[B]

I'm all right, really. My speech. Just nerves.

[C]

Well, now, you see, you're doing splendidly.

[B]

There's another thing. I lost my memory. I don't even know who I am.

[C]

You mean. Well, I know who you are. You're somebody awfully nice. Why'd they call you at the hospital?

[B]

Smith? That's not my real name. What's yours?

[C]

Paula. Paula Ridgeway. Look here, Smithy can't be good for you up there among all those poor souls. You can't be happy. How are you ever gonna get better if you're not happy?

[B]

Perhaps I shouldn't be very happy anywhere just now.

[C]

Smithy, the war's over. Doesn't that mean anything to you?

[B]

I suppose it should.

[C]

No. No, of course not. You couldn't. Oh, I say, haven't you any friends? Any parents that you can trace?

[B]

Some people came to see me at the hospital, but I. I wasn't their son.

[C]

Oh. Oh, I bet they were disappointed, weren't they?

[B]

Yes, I. I think so. I was too. I. I liked to have belonged to them.

[C]

Oh, you're ruining my makeup. Now you do chatter.

[B]

Yes, I see. You seem to have talked rather a lot.

[C]

Oh, that's me. I always bring people out. Much too far sometimes. Oh, yes. Sam. Smithy. Look, I'll put your chair outside. You can see the front of the stage from there. And I'll be back in a couple of shakes. You'll be all right, won't you?

[B]

Fine.

[C]

Are you sure? Your head seems awfully hot. No, I'm coming. Coming. I'd left him sitting outside my dressing room. When I came off stage. I saw him on the floor. He'd fallen unconscious.

[B]

It's the flu, all right. The minute I seen him, I knew he had the flu.

[C]

Listen, Biffa, there's something I ought to tell you. He's. He's from the county asylum.

[B]

No Cool.

[C]

But he's all right. Really he is. He'd have been discharged long ago if he'd had a home to go to. Oh, you don't think they'll come after him, do you?

[B]

I. I'm all right. Just. Just my speech. I can't remember.

[C]

Rest now, Smithy. You mustn't talk.

[B]

I'm not like the others. I. I can't go back. If I go back, I'll never come out. I'll be like the others. I.

[C]

You shan't go back, Smithy. I won't let you go back. Rest now. Rest, Smithy. Go to Sl. Missy.

[B]

Come in.

[C]

Well, hello.

[B]

Hello. How did the show go?

[C]

Oh, splendidly last night, you know. Glad to get rid of, as I expect. How did you get on?

[B]

I talked to the chambermaid today. Had quite a chat with her.

[C]

You did? Wonderful. What about?

[B]

The weather. Paula, you're sure I can be useful? Your manager isn't just taking me on because.

[C]

Oh, you don't know Sam. What a whole thing was his idea.

[B]

I can't tell you what it means, Paula. To be someone again, to be wanted. It's all you're doing.

[C]

Oh, nonsense. Come on. You gotta eat your supper now. I'll be up again in time for the train. I didn't know. But they were downstairs then, the men from the asylum. When I came back to Smithy's room, he was sitting on the edge of the bed waiting for me. His things were packed in a little paper parcel that he held on his knees. And he was smiling.

[B]

It's. It's time, isn't it? I'm already.

[C]

Smithy, I've got to talk to you.

[B]

Oh, there's nothing wrong, is there?

[C]

Yes, there is. And I won't beat about the bush. Sam won't take you.

[B]

Won't take me?

[C]

There were two men from the asylum in the bar just now and they told everybody about your escape. Sam thinks it's too risky to take you. I. I think perhaps he's right.

[B]

Oh.

[C]

I think perhaps you should go back to the asylum. Just till you're all well again and then go back. Oh, Smithy, darling, you need care. You need doctors that understand you're troubled. I feel dreadful about it, but it's for your sake. You don't think I've gone back on you, do you? It's not that I'm afraid. It's because I think it's right. You do know that, Smithy, don't you? Tell me. Tell me you understand. Let me hear you say it. Smithy, what's the matter? Oh, you could always speak to me. Speak to me. I. Oh, I. Oh, Smithy, no, don't try to tell me. I know. You can't go back there. You're coming with me. Smithy. Everything's going to be all right. Now, don't you worry. We can't go with the others, but we'll find some quiet place where you can rest and get well. Hurry now. Step out by the back door.

[A]

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[C]

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[A]

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[B]

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[A]

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[C]

We took the train that night from Melbridge to Cornwall. And near the town we found a little inn beside a lake. It was like the end of the world. Quiet and lonely and lovely. Oh, Smithy, isn't it wonderful? Now all you have to do is to get well. You will get well, won't you? Say it. Oh, let me hear you say it.

[B]

I will.

[C]

There's a spirit. Oh, I. I had to tell a woman here that we were engaged. You don't mind, do you?

[B]

No.

[C]

Smithy. Smithy.

[B]

Hello. Here.

[C]

Oh, I've been looking all over the place for you.

[B]

I've been fishing.

[C]

Did you catch anything?

[B]

No, just fishing.

[C]

Look, a letter just came for you. Look. It's from Liverpool.

[B]

From that newspaper, I say. So it is.

[C]

Must be about that article you sent them. Yes.

[B]

Yes, I suppose it could be.

[C]

Well, for pity sakes, may they open it?

[B]

Oh, yes. Yes, of course. I say, it's a check.

[C]

I don't believe it. Let me look.

[B]

It's a small check, but it's a cheque.

[C]

Oh, Smithy, how wonderful.

[B]

Yes. Oh, it means an awful lot. You didn't know you had an author on your hands, did you?

[C]

Well, of course I did. I'm really not a bit surprised.

[B]

Do you think I can sell another?

[C]

Another and another and another. Smithy, I wonder if you were a writer before. Before the war.

[B]

Yes, I've wondered that too.

[C]

Aren't you terribly curious? About the past, I mean, suppose it all came back to you suddenly. And it was. Oh, I don't know. Awfully grand with all sorts of wonderful people. Why, you might even be married, Smithy. Who knows?

[B]

Oh, nonsense.

[C]

Well, how can you be so sure?

[B]

Well, because. Paula.

[C]

Mm?

[B]

Paula, I wonder if I could make a living at writing.

[C]

Well, why not? Of course you could.

[B]

Paula, it's. It's a lot of nerve. But I'm. I've fallen in love with you.

[C]

Oh, no, you haven't. No, you're. You're just being a little gentleman.

[B]

No, no, I'm nothing of the sort. I'm asking you to marry me on a. And a cheque for two guineas.

[C]

Smithy, don't ask me, please. I might take you up on it. I'm just that shameless.

[B]

Oh, Paula.

[C]

Oh, I run after you from the very beginning. You know I have. I never let you out of my sight since I first saw you in that little shop.

[B]

Never do it, Paula.

[C]

What?

[B]

Never leave me out of your sight. Never again.

[C]

Oh, Smithy, you do mean it. You do want it, really.

[B]

More than anything else in the world. My life began with you. I can't imagine a future without you.

[C]

Oh, I'd better say yes quickly before you change your mind. It's. It's. Yes, darling. We were married in a little church at Clevedon. I remember the words of the hymn O Perfect Love. All human thought transcending Lowly we kneel in prayer before thy throne that theirs may be the love that knows no ending who now forevermore dost join in one. We rented a cottage. A lovely dream of a cottage with a white picket fence and a big cherry tree in front. Twas in that house, just two years later, that our son was born.

[B]

Good morning. Are you the registrar of births for Clevedon and vicinity? Well, I've dropped in to register a new subject. Name of child? Smith. We're calling him John after me. My wife thinks he's the image of me. Really? And the date, of course. He has her eyes, mind you, blue. And when he smiles, then he's just like my wife. Except for the teeth. And you can't expect everything all at once. What did you say the date was? November 6th. Don't you want his weight? No, thank you. Eight pounds, three and a half ounces. Yes, sir. Bigger and stronger than babies twice his age. A father's profession? Writer. In a small way, of course. Writer and parent. A parent in a big way. That'll be all. All? Yes, thank you. Oh, but you. You. You can form only a very inadequate picture of him from what I've given you. Well, I'll just have to struggle along. I tell you what. I'll bring him in in person one of these days. Do that. Then you can see for yourself. Do I get a receipt? You do. Here it is. Thank you. Thank you very much. Thank you. I'll bring him in, Doctor.

[C]

Hello, Smithy.

[B]

Oh, did I. Did I wake him? No, I brought him a present. Here, young man. Will he know it's a cat?

[C]

What's so wonderful about that fellow? He just eats and sleeps. Much of the time he's not even friendly. Never occurred to you to buy me a present, did it?

[B]

Never. Except these. Ah, just a string of beads. Very ordinary.

[C]

Oh, I adore them, Darling.

[B]

Just the color of your eyes. You're an awfully nice color scheme, darling. Your hair is just like a bright new penny. Are Mr. And Mrs. Smith here?

[C]

Yes, sir. I'll tell them.

[B]

Oh, that must be the vicar. May I go in? Hello, Vicar. Come in. Good morning. Well, how's the air? Take a look. Yes, he's quite a size, isn't he? Bigger and stronger than babies twice his age. Oh, I'm sure. Oh, I was at the post office just now. It's been an extraordinary event. A telegram.

[C]

How thrilling.

[B]

Who got it? You did. Here for me, Miss Smithy.

[C]

Oh, Smithy. What is it?

[B]

I can't believe it. It's fantastic.

[C]

Oh, darling, please. I can't stand it another second.

[B]

It's from Liverpool. Can you appear at Mercury office at 10 o' clock tomorrow morning regarding permanent position on paper? Samuel C. Henson, editor.

[C]

Oh, darling. Oh, Smithy, I'm marvelous. Oh, goodness, you're a terrible packer. Shirt, socks, tie. May I ask what you're going to sleep in?

[B]

Oh, Great Scott. Pajamas.

[C]

Here. Are you excited?

[B]

Wildly. Oh, my dear, think what it means. I'll be able to do things for you. Things I've always dreamed of.

[C]

I wish I could come, too.

[B]

Yes. Yes, I've been thinking of that. But I daren't wait. He might change his mind. Darling, you're not worrying about me, are you? I feel absolutely sure of myself.

[C]

I know, I know. I shan't worry. It's just.

[B]

I know. Our first party. But I'll be back tomorrow night.

[C]

Where will you stay?

[B]

Oh, I hadn't thought.

[C]

The Great Northern isn't bad. It's near the station.

[B]

All right. Well, goodbye, my darling.

[C]

Goodbye. Say goodbye to your son.

[B]

Goodbye, young fellow. Goodbye, darling. Goodbye. See you tomorrow night.

[C]

Tomorrow night, darling. Good luck, Smithy. Paper? Paper? Read the Liverpool Mercury. Paper, sir?

[B]

No, thank you. Say, can you tell me. I'm looking for the Mercury office. Right across the street, on the corner. Across the street. Oh, yes. I see. Thank you. Thank you.

[C]

Paper.

[B]

Paper, sir?

[C]

Hey, the Calvin. Get a doctor. He's been run over. He's killed. He's cute. He snapped off the curb. I was talking to him. He snapped off the curb. Get an ambulance, quick.

[B]

He's coming around now. Feeling better? Oh, you've got an unholy bump on the head. Do you feel any pain? Well, my head aches a bit. It'd be funny if it didn't. What on earth. My clothes. I've no business to be in civvies. What should you be in? In uniform, of course. Where the devil am I, anyway? You're in Liverpool. In Liverpool? A chemist shop. Yes, but in Liverpool, I. You've had a nasty shock. Is this the party at the accident? Yes, Constable. It wasn't my fault, Constable. He slipped in front of my cab. Is that the right of it, sir? That's the truth, ain't it, Governor? I. I think so. I'm not sure. Name, please. Rainier. Charles Rainier. Rainier. Profession, sir? Captain in the Wessex Regiment. Address? The trenches, alas. Huh. Well, Random hall, then North Random. Sorry. Thank you, sir. Wish to lodge a complaint, sir? Thank you. No, I'm sure whatever happened was my fault. All right. Thanks, Mr. Rainier. Thanks, governor. Well, I think I'd better be getting along. Thank you. Sure. You feel strong enough to walk? Oh, yeah, I'll manage. What do I owe you? Oh, never mind that. Oh, that's very kind. Thank you. Thanks. By the way, would you mind telling me what day is this?

[C]

Thursday.

[B]

Thursday, yes. But the. The date. November 14th. November 14th.

[C]

1920.

[B]

1920. Oh, thanks. Thanks very much. 1920. Three years gone. Three years France. I remember distinctly. Vincent was killed. Young Davidson. But what after that? Liverpool. What am I doing here? Better go home. Yes. Make clear things up. Go back to Random Hall. The family better go home. In a moment, we'll continue with Act 2 of Random Harvest.

[A]

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[C]

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[A]

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[C]

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[A]

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[C]

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[B]

Meanwhile, here's our Hollywood Reporter, Libby Collins with a word about a most exciting picture, Paramount's new suspense drama, the Big Clock.

[C]

Whodunit fans will get a thrill out of this one, Mr. Keeley. The clock dominates the picture. Two stories high, it's built into an enormous set that represents an ultra modern publishing office.

[B]

Well, actually, it's Charles Lawton who dominates the story.

[C]

Oh, and he makes a marvelous villain. And Ray Milan as the leader of the manhunt sets a breathless pace for the rest of the cast.

[B]

And orchids to the ladies in the picture.

[C]

Oh, yes. Maureen o' Sullivan as Ray Milan's wife and Rita Johnson as the blonde menace are wonderful.

[B]

It's a pleasure to see Marine o' Sullivan return to the screen in the Big Clock, which, incidentally, was directed by her husband.

[C]

Yes, it's Maureen's first picture in five years. I'm sure moviegoers are going to say she's as lovely as ever, too. Maureen always reminds me of a wild rose. She has such a fresh, radiant look. I imagine John Kennedy will second me on that.

[B]

Who wouldn't, Libby? Maureen o' Sullivan is a real Irish colleen. Sure, and I could rave about her complexion, too.

[C]

Well, naturally, since it's such a perfect example of what we mean by a luxe complexion. Do you know, Mr. Kennedy, Maureen tells me she never neglects her daily luxe soap facials. It's a care that really works, she says.

[B]

Well, when one of our loveliest luxe girls tells you that it's a real tribute to gentle Lux soap care, no wonder 9 out of 10 screen stars use luxe soap so faithfully.

[C]

Those beauty facials really do the trick. Leave skin softer, smoother.

[B]

Tests by skin specialists prove it. In actually three out of four cases, skin became lovelier in a short time. So let's remind the ladies in our audience, Libby, that in luxe soap they have a real beauty care. As fine a soap for precious complexions as money can buy. Why not get a supply of this fragrant, white luxe toilet soap tomorrow? We return you now to William Keeley, Act 2 of Random Harvest. Starring Greer Dawson as Paula and Ronald Coleman as Charles.

[C]

I waited for Smithy in our cottage in Clevedon for days and weeks. Then I knew he would never return. I went to Liverpool to the hotel where he had stayed. His grip was there, but there was no trace of him. Then I went to melbridge to consult Dr. Binet at the county asylum.

[B]

I can guess what has happened, Mrs. Smith, in some way, perhaps by shock, your husband's memory has returned. He's taken up his former life again.

[C]

But his life with me. We were married. We have a child.

[B]

Those years are a blank. His life with you is forgotten.

[C]

I always felt that someday I'd find him again. I worked and studied to improve myself. I found a position as a secretary in Liverpool. And then I moved on to other jobs, to other cities, searching for him. It was later that I saw a picture in a London newspaper. Charles Rainier, it said. Head of Rainier Incorporated. One of England's industrial magnates. It was a picture of my husband.

[B]

Yes, Miss Kitty.

[C]

Joe got it here. Mr. Rainier.

[B]

Oh, send her in, please.

[C]

Hello.

[B]

Hello, nuisance. I suppose you don't remember my telling you I'd be busy.

[C]

Not a word. Well, how do you like me, my dear?

[B]

You look adorable.

[C]

Then adore me. Over luncheon?

[B]

Sorry, Kitty, I can't possibly afford the time.

[C]

Oh, yes, you can. Miss Hanson says so.

[B]

Just a moment, miss Hansen.

[C]

Yes, Mr. Rainier?

[B]

Owing to lamentable weakness of character, I'm having lunch at the Savoy. With your approval, I understand.

[C]

I thoroughly approved there.

[B]

I see. And have I any appointments for 2 o'? Clock?

[C]

Yes, but I can postpone them.

[B]

Thanks. All right, young woman. I can give you precisely one hour and a half from door to door.

[C]

Oh, no. Miss Hansen told me two hours. Now, come along. You're being very charming today, Charles. You haven't looked at your watch once.

[B]

That reminds me. Oh, good heavens. It's three o'. Clock.

[C]

You used to say you hated business.

[B]

Did I?

[C]

You were just going to whip things into shape and then get out. You were going to write.

[B]

Yes, I was. You know, I always had the idea that some.

[C]

Charles. What is it?

[B]

It's that man over there.

[C]

Do you know him?

[B]

No. But I thought I did for a moment. You know, that happens sometimes. I see a face or hear a voice. Seems to remind me of something. Oh, a sort of wisp of memory that can't be caught before it fades

[C]

away from those lost years.

[B]

Oh, perhaps. Now, what were you saying?

[C]

That you should take a holiday.

[B]

Oh, I haven't the time.

[C]

Oh, that's nonsense, Charles. How old are you?

[B]

None of your business.

[C]

You're awfully nice looking, Charles.

[B]

Thank you.

[C]

Oh, but it's not fair.

[B]

What?

[C]

Well, you've spoiled me for other men, that's what.

[B]

Oh, Kitty.

[C]

It's no secret, is it? I've always been mad about you. I. Gideon, it might be fun if you love me now. We're not alike, you know. We laugh at the same things and we have marvelous times together. I sometimes wonder why you don't.

[B]

In my slow and careful way, I've wondered sometimes, too.

[C]

Why don't you just be curious?

[B]

I haven't said that I don't.

[C]

Oh, no.

[B]

Would it be too incredible?

[C]

It would be fantastic.

[B]

Then it is fantastic.

[C]

But I don't believe it. I don't believe that you mean it. It's just a dream.

[B]

No.

[C]

You do want me. I'm not just a schoolgirl to you.

[B]

Darling, you're very sweet and dear to me. I'm. I'm building a great hope on you, Kitty.

[C]

I shall come to the office tomorrow and find you've forgotten all about it.

[B]

Oh, no. Now, have Miss Hansen remind me.

[C]

Oh, Charles, darling, take me out of here. Take me somewhere and kiss me.

[B]

Yes, Miss Hansen.

[C]

I have the reified prospectus Mr. Rainier.

[B]

Oh, bring it in, please.

[C]

Yes, sir. Miss Hansen. She was Mr. Rainier's private secretary. She'd been with him three years. He used to say, jokingly, that he couldn't get along without her. I wanted to tell him so many times that I was Ms. Hansen. I went again to Dr. Benet, the only one who knew. I pleaded with him to let me tell Charles.

[A]

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[B]

You must wait, Pola, until he recognizes you. I believe that somewhere in his mind there is a phantom memory of you that will always stand between him and any other woman. But he can't give you reality. You're just a fugitive shadow in a dream.

[C]

That isn't much help to me, is it, Doctor? I'm real. These are real tears. And my jealousy is real. And my need for him.

[B]

But if you tell him and he doesn't remember, I'm warning you, there's only disaster for you both. At best, he'd resent you, and the shock could leave him far worse than he ever was.

[C]

Yes, yes, I understand.

[B]

I can offer only the slight hope that someday a miracle will happen and he'll come back to you.

[C]

But help to me, is it, Doctor? I'm real. These are real tears. And my jealousy is real. And my need for him.

[B]

But if you tell him and he doesn't remember, I'm warning you, there's only disaster for you both. At best, he'd resent you, and the shock could leave him far worse than he ever was.

[C]

Yes, yes, I understand.

[B]

I can offer only the slight hope that someday A miracle will happen, and he'll come back to you not as Charles Rainier, but as. What was it you used to call him?

[C]

Smithy. Smithy. The prospectus, Mr. Rainier. It's all here, I believe.

[B]

Oh, yes, yes. I'm sorry, Miss Hansen. Daydreaming. You saw this offer from Harwood and Williams?

[C]

Yes, Mr. Rainier.

[B]

You worked for them once, I believe. Do you think they're bluffing?

[C]

I think not. I used to know Mr. Williams pretty well.

[B]

Oh, yes, I remember. He was quite annoyed when you came to me. He called me a pirate.

[C]

Well, that wasn't fair. It was really all my doing.

[B]

Oh, indeed? How?

[C]

Well, I'd come across a picture of you in a newspaper. Underneath it said, one of England's industrial magnates.

[B]

Oh, dear me.

[C]

Yes, I was impressed. I decided then and there I must better myself.

[B]

Well, I'm sincerely glad you did, Miss Hanson. Now, what's all this?

[C]

Oh, that's the report on that firm in the Midlands.

[B]

Oh, yes, the.

[C]

The Melbridge Cable Company.

[B]

Melbridge?

[C]

Yes, it's. It's a town in the Midlands.

[B]

Mel. Oh, yes, of course. I think Harrison mentioned it. I'll get him to run down. I'm taking a long holiday, Miss Hanson.

[C]

Are you? Well, I think that's a very good idea.

[B]

I may be gone a year, if things can be arranged.

[C]

A year?

[B]

I. I'm being married, Miss Hanson.

[C]

Oh.

[B]

And you're the first to hear the news. I. I'm afraid it'll mean a lot of extra work for you.

[C]

It's Miss Chilcott, I suppose.

[B]

Yes, it's Kitty. Was it so obvious?

[C]

Oh, no, no, not at all. She's a very charming girl.

[B]

Yes, I fully agree. I hope you won't take it into your head to follow my example, Miss Hanson. I don't know what I should do without you.

[C]

I have been married, Mr. Raynor. You may remember I told you when I came here.

[B]

Oh, yes, to be sure. Yes. You had a child, I believe.

[C]

Yes. A little boy. He. He died.

[B]

Oh, yes. Yes. I'm sorry.

[C]

Little boy who died? I couldn't tell him that it was his son. It was too late now to hope that he would ever remember me. I lived on that hope for three years. Now it was too late. Oh, I. I might have told him that I was his wife. He'd have accepted me. He'd have pitied me. And he'd resent. There was only one thing for me to do.

[B]

The law is quite clear on that point. If it is proved that for seven years, no News of a person has been received by those who would naturally hear of him if he were alive. Then he may be legally presumed dead. You wish me to take the necessary steps?

[C]

Yes, please.

[B]

Very well. And we shall have the marriage dissolved.

[C]

What do you think, Charles? Have you any choice?

[B]

About what, Kitty?

[C]

About the hymns to be sung at the wedding. It's your wedding too, you know.

[B]

Oh, I'd like anything you pick out. Do you care for this one, Mr. Rainier? I play it quite often. The voice that breathed o' er Eden, that earliest wedding day.

[C]

Oh, yes. But there's another lovely one. Nearly always used.

[B]

This, perhaps. Oh, perfect love.

[C]

Oh, yes, that's it. I like that.

[B]

Oh, perfect love. Oh, human thought transcending Lowly we kneel in prayer before thy throne. Charles, do you know the words that theirs may be? The love that knows no ending. The love that knows no.

[C]

Charles, what's wrong? What are you staring at? Mr. Beddoes, I think that will be all for now.

[B]

Yes, Miss.

[C]

Charles, look at me, please.

[B]

Mm. Yes, Kitty.

[C]

It's all right, Charles. I'm glad it's happened.

[B]

What? What has happened?

[C]

I've been uncertain almost from the beginning. I've always known it. Really?

[B]

Known what, darling?

[C]

That I am not the one. Charles, you look to me just now as if I were a stranger trying to take the place of someone else.

[B]

Someone else?

[C]

I know it sounds absurd, but I've had a feeling that I remind you of someone else. Someone you once knew.

[B]

Oh, don't leave me, Kitty. I need you. I'm trying to make a life.

[C]

Someone you loved, as you never loved me. I'm nearly the one, Charles. But nearly isn't enough for a lifetime.

[B]

Oh, Kitty, I. I don't know what to say.

[C]

You don't have to say anything. But because I love you more than anyone I shall ever marry. Kiss me goodbye, darling.

[B]

What's up, everybody?

[A]

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[C]

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[C]

But, Sheldon, where did Mr. Rainier go?

[B]

I don't know, Miss Hanson.

[C]

He.

[B]

He just left. I don't quite know why, miss, but I sort of think he may have gone to Liverpool.

[C]

Liverpool?

[B]

It was from Liverpool that he came that night. That he came back from the dead, you might say.

[C]

Sheldon, about that night. Please try to remember. What did he tell you had happened to him?

[B]

Well, miss, it was a wet night. He'd been knocked down by a taxi and carried into a chemist's shop. He knew that much. But why he was in Liverpool or where he'd been before. He couldn't remember.

[C]

I went directly to Liverpool. I found him in a hotel room alone.

[B]

Come in. Why, Miss Hanson.

[C]

Oh, please forgive me for coming. We were all so anxious and something very important came up.

[B]

How did you know I was in Liverpool?

[C]

Something Sheldon said. I made inquiries.

[B]

You say some important business induced you to follow me?

[C]

Yes, sir. Edward Lake died yesterday. And there'll be a by election for Parliament. They'd like you to stand in the Liberal interest.

[B]

Miss Hanson, did Sheldon tell you of my experience here about 12 years ago?

[C]

Yes, he did, Mr. Rainier.

[B]

I came back here at that time hoping to stumble on the trail of my past. But I failed then and I failed now.

[C]

Nothing helped you?

[B]

Nothing. Why should I feel a sense of loss so acute that.

[C]

That it's spoiling your life?

[B]

Oh, I'm not being honest with myself. My life's not complete and I've hurt others. I don't know why I bore you with my affairs, Miss Hanson.

[C]

You feel, perhaps, that you lived in Liverpool?

[B]

It seems possible, but not certain. You mean I might have been visiting

[C]

from a nearby town or from the country? Perhaps on business?

[B]

Yes, perhaps.

[C]

And stayed at some hotel. Do you know in what direction you were walking when the accident occurred?

[B]

Yes, I was walking down Mason Street. It was wet.

[C]

Well, there are two hotels north of Mason Street. There's the old Olympic and the. The Great Northern.

[B]

The Great Northern? Yes.

[C]

It's quite a distance from the Olympics. So if it was wet and you were walking, the chances are that you were coming from the Great Northern.

[B]

Presuming I was staying at a hotel at all. But under what name was I registered?

[C]

Well, just one chance to find out. If you were at a hotel, you walked out leaving unclaimed luggage.

[B]

Would they keep it so long?

[C]

Oh, surely it's worth investigating.

[B]

Yes. Yes, you've given me fresh hope, Ms. Hanson. We'll start with the Great Northern.

[C]

There was some luggage at the Great Northern, of course. A single grip. And the name on it. John Smith. It was his grip, the one I'd given him. We opened it and looked through it together.

[B]

Well, that settles it. John Smith. A highly unimaginative incognito. And what could be more anonymous than those poor rags?

[C]

Nothing seem familiar to you?

[B]

No. There's a finality about that most unrewarding find. Like a door slammed and bolted.

[C]

I. I'm not sure what you mean by that.

[B]

Means that I shall learn to accept myself for what I am. A psychological defective. As Kitty's homily, as you must see me, it means that. That I shall never know. We pause now for station identification. This is cbs, the Columbia Broadcasting. In just a moment we'll continue with Act 3 of Random Harvest. Our guest tonight, Ms. Lorene Tuttle, is walking on air, and with good reason. She just completed a picture with one of the screen's most romantic teens. Clark Gable and Lana Turner in metro. Golden Mayor's outstanding dramatic production, Homecoming. Congratulations, Lorraine.

[C]

Well, Mr. Keeley, it was the thrill of a lifetime to appear in a picture with Clark Gable.

[B]

I can well understand that.

[C]

You know, Mr. Keeley, while we were making the picture, it seemed to us that Clark and Lana were really living their screen roles.

[B]

Exactly what I felt when I saw the picture. And there were two other favorites of mine in the cast, and Baxter and John Hodiak.

[C]

When I first read the script, I was fascinated by the story itself. It's the kind of dramatic conflict that's timely and always close to home. When I was studying my part, I could just see Clark Gable in the role of the doctor. He's wonderful.

[B]

And I found Lana Turner quite irresistible as one of the two women in his life. In fact, Lana and Anne Baxter make a dazzling pair in MGM's Homecoming.

[C]

John Kennedy here has something to say about that.

[B]

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[C]

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[B]

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[C]

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[B]

Thank you, Ms. Lorene Tuttle, for reminding our listeners that luxe toilet soap care really makes skin lovelier.

[C]

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[C]

The door to the past was shut and bolted forever. There was no chance now, no hope that he would remember me. I stayed on as his secretary because I couldn't live away from him. I was with him through the election. He took his seat in the House and I was there the day he made his first speech.

[B]

Hello. It was nice of you to come down for my debut. Was I satisfactory?

[C]

Oh, very.

[B]

By the way, I haven't really thanked you for your help in the campaign.

[C]

I thoroughly enjoyed it.

[B]

I'm glad. I'm very glad.

[C]

You're. You're staring at me, you know.

[B]

Oh, I'm sorry. It just struck me. Your. Your hair is bright red in the sunshine.

[C]

Oh, is that all? You were looking so intense.

[B]

Was I? Did you ever have those feelings of having lived through certain moments before?

[C]

You mean you have the feeling that you've known me before?

[B]

As a matter of fact, I felt it quite strongly the first day you came into my office.

[C]

Oh, was that why you engaged me?

[B]

Perhaps. But it was also your air of quiet efficiency. Ms. Hanson, forgive me, but is there any possibility that you might marry again?

[C]

Not the slightest.

[B]

I'm asking you because I have a proposal to make. It may sound outrageous to you, but it's not a sudden impulse. I've thought it over very carefully. You and I are in the same boat. We're both ghost ridden. Oh, that sounds a bit dramatic, but I think it expresses it. We are prisoners of our past. Yes. What if we were to pool our loneliness and give each other what little we have to give? Support, friendship. I'm proposing marriage, Ms. Hanson.

[C]

Marriage.

[B]

Or should I call it a merger? You know I'm good at mergers. But a Member of Parliament should have a wife, Margaret. So I'm told on all sides. You have exceptional gifts. Would it interest you to have a wider field for them?

[C]

I don't know.

[B]

You need have no fear that I would make any emotional demands upon you. I have only sincere friendship to offer and I won't ask any more from you. Please, think it over. It's a selfish proposal, but I can't have you giving me notice. You know I'd be lost without you, Miss Hanson. Margaret. Have I hurt you?

[C]

I don't know. Oh, this comes of boasting that I never cried. I married Charles Rainier. I don't know what I expected. Perhaps that he would someday fall in love with me. But I kept to the turns and Charles did too. It was Sir Charles, now Sir Charles and Lady Rainier, who appeared together at the opera. Who gave dinners at Random hall for the Prime Minister. Sir Charles and Lady Rainier. A very devoted couple. People said

[B]

good night. Good night. Well, that's over with. You certainly mellowed the Prime Minister. He was positively purring.

[C]

Oh, good heavens, it's nearly three o'. Clock. You have two committee meetings tomorrow.

[B]

You know, today it's morning. The morning of May 25th. Does that suggest something to you?

[C]

The anniversary of our wedding. Our third anniversary.

[B]

I thought you'd like this.

[C]

What is it, Charles?

[B]

Your anniversary gift.

[C]

A necklace. Oh, Charles.

[B]

All my gratitude goes with it. Margaret.

[C]

Oh, it's too beautiful, really. Oh, you spoil me. You put it on for me?

[B]

Of course. There.

[C]

There. How do you like it?

[B]

Lovely. You know, you're a very beautiful woman.

[C]

Thank you. I rather hoped you thought that.

[B]

Margaret, are you happy?

[C]

Why do you ask?

[B]

Oh, twinge of conscience. If I hadn't interfered in your life,

[C]

I should never have been Lady Rainier and entertained the Prime Minister and worn these emeralds.

[B]

Is it enough?

[C]

Perhaps not.

[B]

Is there anyone else?

[C]

No. Charles, why are you asking me?

[B]

Well, if there were, I've often wanted to say this. I wouldn't hold you to our bargain. I haven't the right.

[C]

Are you trying to get rid of me, Charles?

[B]

Oh, my dear, you. You know I'd be utterly lost without you.

[C]

Oh, well, I'm glad to hear that, because I like my job. Well, good night, Charles, and thank you for the wonderful present.

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[C]

I thought I was safe.

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[C]

I cried that last night. I sat at my dressing table and cried. In front of me was another necklace. The one he had given me so long ago. There were no emeralds in it. Yes? Oh, come in, Charles.

[B]

Margaret. I'm afraid I. I didn't put why you're crying. Did I say something to hurt you?

[C]

No, no, it's nothing really. It's just nerves.

[B]

I'm sorry. What is that? Another necklace?

[C]

Yes. A very old one.

[B]

A gift.

[C]

Yes. He said. He said they were the color of my eyes. They are, aren't they?

[B]

Oh, Margaret. Isn't there something morbid in burying one's heart with the dead?

[C]

That's a strange thing for you to say.

[B]

Is it?

[C]

You haven't even a memory.

[B]

No.

[C]

And yet the best of you. Your capacity for loving, your whole joy in living is buried in a little space of time that you've forgotten.

[B]

It isn't quite the same thing.

[C]

Why not?

[B]

Because in some vague way, I stand still, have hope. Yes, I suppose that's it.

[C]

Have you, Charles? Do you feel that there really is someone? Someday you may find her again?

[B]

Oh, it's nothing I can put into words.

[C]

But doesn't it frighten you sometimes that you may have come so near her? Even brushed by her on the street?

[B]

Yes, I've thought of that.

[C]

You might even have met her. It might be someone you know, Charles. It might even be me.

[B]

Oh, Margaret.

[C]

I'm talking wildly, Charles. You know, I've sometimes thought I'd like to travel. I think I need a holiday.

[B]

Well, perhaps when the house adjourns.

[C]

Oh, I don't want to drag you away. I'll take a maid. Or a friend, perhaps.

[B]

Margaret, I believe you want to get away from me.

[C]

Oh, no, no. It's just that it's been rather a straying. It's been harder than I thought. Being the wife of Charles Rainier.

[B]

If you wish. Of Course. Shall we talk about it in the morning?

[C]

In the morning? Yes. Good night, Charles.

[B]

Good night, Margaret.

[C]

I think this is my compartment. Yes. Yes, it is.

[B]

You're having only two days in the country?

[C]

Yes. My boat sails on wedding.

[B]

And is it on your way, this place?

[C]

No, it isn't, really. It's just a quiet little country village with a delightful old inn and a cottage that I want to see again.

[B]

Cottage?

[C]

I. I was once very happy there. Well, goodbye, Charles.

[B]

Margaret, I wish you weren't going. Will you let me hear from you?

[C]

Of course.

[B]

Goodbye.

[C]

Are you going to the house now?

[B]

No, to the office. There's some trouble. Oh, It'll seem strange not to talk it over with you, Margaret.

[C]

Well, goodbye, Charles.

[B]

Goodbye, Sir Charles. Yes? Oh, hello, Harrison. I took the liberty of coming down, sir. This strike, you know, it's pretty serious. Strike, eh? At the Melbridge cable works. The men are out of hand. Melbridge? Oh, yes, yes, yes, of course. Well. Well, perhaps we better run down there. Yes, sir. Wait a minute. Wait. Then.

[C]

Listen.

[B]

It's all right, man. We've got our terms. The strike is settled and we've won. Thanks to one man, Sir Charles Rainier. Well, they seem quite happy, sir. Yes. Yes. Well, there's nothing more we can do here. Melbridge. Not exactly the place I choose to live in. Shall I get a cab, sir? No, no, no. Let's walk. It's not far to the station. Farewell, sir. The fog's getting thicker. Yes, beastly. You got a cigarette? No, I'm sorry. Oh, never mind. There's a little tobacconist just around the corner. Yes, but I thought you'd said that you'd never been in Melbridge. I haven't. But you said there's a little tobacconist just around the corner. Oh, so there is. You see over there? Yes, but that shop is off the main street. You couldn't have seen it on the way from the station. No, that's true. Well, then how did you know of it? I don't know. You came straight to it. Yes, sure, but I don't know how. Melbridge. What's the matter? Melbridge? Are you ill, sir? Let me get a cab. No, no, no. Let me think. There's something that. That shop, the streets, crowds. Well, there's a taxi. I'll get it. Taxi crowd now. Fine. Yes, sir. Here, Waze. Get in, driver. Where is the hospital? Hospital? You mean the old one or the new one, sir? The old one, I think. Big gates, a high wall all around it. You wouldn't be meaning the asylum, would you, sir. The asylum. Take us there. Well, look here, sir. You say that you came out of these gates. Yes, I'm sure of that. There was some excitement and a great deal of noise. Well, then, let's start from here. Now, you must have gone into town. Yes, I did. I came along this path toward the town. And there was a good deal of fog, like tonight. People shouting and the sound of. I was trying to get away from something, trying to escape. And I was afraid. Yes. And I went to that shop. The tobacconist.

[C]

Why, you're one of the soldiers from the asylum, aren't you?

[B]

The asylum. I was right. I came from there. Well, now, you left the shop. Then where did you go? I don't know. The crowd.

[C]

Can I help you?

[B]

The crowd. Wait. A girl. There was a girl.

[C]

I thought you weren't feeling too fat, so I followed you.

[B]

Yes, a girl.

[C]

Well, I know who you are. You're somebody awfully nice.

[B]

There's a place for soldiers that sick.

[C]

Some quiet place where you can rest and get well.

[B]

I can't go back. If I go back, I'll be just like the others.

[C]

Oh, it's messy.

[B]

Never leave me out of your sight.

[C]

I better say yes quickly. It's yes, darling. It's yes, darling. Yes, darling.

[B]

Harrison. Yes, sir? There's a cottage somewhere. It's a white cottage with a picket fence. It's near a church. You can see the steeple through the trees and hear the bells ringing. Could you find the place, sir? It's in Clevedon.

[C]

Charles. Charles.

[B]

Paula.

[C]

Paula. How did you know?

[B]

Oh, I've been looking for you for such a long time, Smithy. Such a long, long time. Paula.

[C]

Smithy. Oh, I found you, Paula.

[B]

I found you, Paula. Oh, darling, I found you. Our thanks for an unforgettable hour to Greer Garson and Ronald Coleman who returned to the Footlights for a curtain call. That was an Academy performance if I ever heard one.

[C]

Well, thank you, Bill. And you know, Ronnie, we're all just delighted that you won the Academy Award this year for your terrific performance in that very exciting picture. I just can't wait to see it again.

[B]

Now, from one winner to another. Greer, that's very gracious of you. You deserve it, Ronnie. And A Double Life is one of the most thrilling pictures I've seen in years. Thank you, Bill. Thank you, Greer. I hear you've been having a lot of fun out at Metro Golden Mare. You and Walter Pigeon.

[C]

Yes, Bill. We'll be making a comedy together. In fact, I'm an acrobat in this picture, that.

[B]

That really ought to kill him. Graham.

[C]

Well, I don't know. It nearly killed me, right? You'd see me hanging from a trapeze by my daughter.

[B]

But it was wonderful fun coming back to you, Ronnie. I hope you've got that Academy Award Oscar prominently on display in your home. Well, as a matter of fact, I didn't have it very long, Bill. A neighbor of mine borrowed it.

[C]

Oh, well, really? Well, did you ever get it back?

[B]

Not yet, but he keeps promising every day.

[C]

You know, that's funny, Ronnie, because I had a call from somebody who called himself the Walking man and asked if I'd name him a price for mine.

[B]

You mean he offered you money? Oh, no, no, it's not the same man. You know, Bria, after seeing how ravishing you looked at the opera the other night, may I say there's another award that you deserve. This one from us for that lovely luxe complexion.

[C]

Well, thank you kindly, Bill. It's true, I have a luxury, Ben.

[B]

And from one with your beauty, that makes us very proud indeed. What's the play for next week in this theater, Bill? It's Paramount's great comedy success, Dear Ruth, the story of a boy and girl who become unwittingly entangled in romance through the mischievous wilds of a young sister. And we're fortunate in having the original stars, Joan Caulfield, William holden and Billy DeWolf.

[C]

Dear Ruth is a most amusing playbill. Your listeners should love it. Good night.

[B]

Good night. Good night. And congratulations to you both. Lelever Brothers Company, the makers of Lux toilet soap. Join me in inviting you to win us again next Monday evening in the Lux Radio Theatre presents William Holden, Joan Caulfield and Billy DeWolf in Dear Rouge. This is William Keeley saying good night to you from Hollywood. Garson appeared by arrangement with Metro Golden Mayer, currently releasing Frank Capra's production of State of the Union. Tonight's Lux Radio theater presentation was adapted from the MGM screenplay Random Harvest. Our music was directed by Louis Silvers. Join us again next Monday night to hear Dear Ruth with Joan Caulfield, William Holden and Billy dewolf. Ladies get pepsidan. Sensational bargain offer. The Lana Turner Ballpoint pocket perfumer regular $95 value, yet it's yours plus a supply of Harriet Hubbard Ayers you perfume for only 50 cents, fashion's newest accessory for carrying perfume designed for Lana Turner, who stars opposite Clark Gable in MGM's hit Homecoming. Send 50 cents with both blue and flaps from any Pepsodent carton to Pepsodent box 776. Chicago, Illinois. All for good United States and territories only. Send tonight. Be sure to listen next Monday night to the Lux Radio Theater presentation of Dear Ruth with William Holden, Joan Caulfield and Billy DeWolf. Stay tuned for My Friend Irma, which follows immediately over most of these stations. This is cbs, the Columbia Broadcasting System.

[C]

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