Lux Radio Theatre - Chained

Summary

Podcast Summary: Lux Radio Theatre – “Chained”

Podcast: Harold’s Old Time Radio
Host: Harold’s Old Time Radio
Episode Date: June 18, 2026
Original Broadcast Date: July 27, 1936
Starring: Joan Crawford & Franchot Tone
Directed by: Cecil B. DeMille

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Episode Overview

This episode of Lux Radio Theatre presents the radio adaptation of the MGM film “Chained,” starring Joan Crawford as Diane Lovering and Franchot Tone as Michael (Mike) Bradley. This sweeping drama explores themes of love, loyalty, and the societal constraints on relationships during the glamorous 1930s. Directed and introduced by the legendary Cecil B. DeMille, the story follows Diane, her devotion and entanglement with shipping magnate Richard Field, and her unexpected romance with Mike Bradley. The central question: can Diane break the bonds of obligation and follow her heart, or will she remain chained by duty?

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Key Discussion Points and Plot Progression

Opening & Introductions (00:26 – 03:56)

• Cecil B. DeMille sets the stage, offering witty Hollywood history, introducing the cast, and noting that Joan Crawford represents the American ideal in both style and character.
  • Notable history: Joan Crawford’s rise to fame and her name’s origin.
  • Quote (DeMille, 02:37):

    “To all the world. She symbolizes the American viewpoint in clothes and manner.”

  • Play’s premise introduced: Diane as indispensable secretary to Richard Field, torn between duty and love.

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Act 1: Love, Loyalty, and Separation

Setting: Field’s Office & Shipboard (03:57 – 17:00)

• Diane Lovering’s Relationship with Richard Field (03:57 – 08:14)

  • Richard wants to give Diane everything—even offers to leave his wife.
  • His wife, however, refuses a divorce.
  • Decision: Diane will take a “rest” voyage aboard the Southern Cross.
    • Quote (Richard, 07:23):

      "We've got nothing to be ashamed of… let's not give up hope that someday she'll give me my freedom."

• Voyage on the Southern Cross – Meet Cute with Mike Bradley (08:15 – 17:57)

  • Diane tries to distance herself; Mike persistently (and charmingly) pursues her.
  • Banter-rich exchanges:
    • Mike calls Diane “Dinah” after a beloved childhood doll, lightening the tension.
    • Humorous brush and Dickens joke (14:00 – 14:18).
    • Quote (Mike, 15:38):

      “You'd look pretty silly in a shoebox anyway.”

  • Romance begins to blossom as they walk the deck and stargaze at the Southern Cross.
    • Quote (Mike, 19:03):

      “You see, they told me a sea voyage would cure me.”

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Act 2: Love in the Pampas & Confessions

Setting: Buenos Aires & the Ranch (24:08 – 28:30)

• Mike’s Persistence (24:31 – 25:28)

  • Easily finds Diane by using his detective skills.
  • Invites her for a horseback ride to the Argentine pampas, where the mood turns intimate.

• The Kiss and Emotional Turning Point (25:54 – 28:01)

  • Their attraction becomes undeniable; a passionate kiss cements their feelings.
    • Quote (Diane, 26:44):

      “Just then, when you kissed me, you and I reached high above the earth… we were all alone together.”

  • Diane reveals she’s promised to marry Richard and must return.
  • Mike agrees she must do the right thing, though it breaks both their hearts.
    • Quote (Mike, 28:46):

      "You've got to go back and tell him. But, Diane, darling, please hurry back."

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Act 3: Sacrifice, Regret, and Resolution

Setting: New York & Aftermath (29:12 – 38:51)

• Diane Returns to Richard (29:19 – 30:22)

  • Richard surprises her with news of his divorce—and a wedding ring.
    • Quote (Richard, 30:49):

      “She saw that it was the only way… We can be together always now.”

• Mike Receives Diane’s Goodbye Letter (32:33 – 32:44)

  • Feels betrayed, thinks she’s chosen comfort over passion.
    • Quote (Mike, 32:44):

      “It just seems there was a first class chump in the Argentine. His name's Mike Bradley.”

• Chance Reunion in New York (34:11 – 37:55)

  • Diane and Mike meet again, lunch together, and confront unresolved feelings.
  • Mike is bitter but their chemistry reignites; Diane admits she never stopped loving Mike.
    • Quote (Mike, 36:26):

      “Not even the sun? What, Mike, the sun. Don't you remember?... We were going to settle down on the Argentine for life or something.”

    • Quote (Diane, 38:30):

      “Please, Mike, this can only mean one thing’s prayer. I think you'd rather love me than hate me…”

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Act 4: The Final Test – Sacrifice and Freedom

Setting: Lake Placid Retreat (43:40 – 50:59)

• Richard Suspects and Confronts Mike (45:22 – 49:48)

  • Mike travels to confront Richard, demands Diane’s happiness.
  • Richard, after a tense (almost violent) showdown, chooses compassion and lets Diane go to Mike.
    • Quote (Richard, 49:53):

      “You give me two years, Diane. Two glorious years. I'm grateful for them... You have your youth, Diana. I want you to have it.”

• Resolution and Happy Ending (Pampas under the Southern Cross) (50:41 – 51:04)

  • Mike and Diane are together at last, free under the stars.
    • Quote (Mike, 51:04):

      “And so are you, Mrs. Mike Bradley. The chains are broken and our play comes to its close.”

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Notable Quotes & Character Moments

• Joan Crawford as Diane, on heartbreak and loyalty:

  "He means everything to me. Everything. Can't you understand?" (48:52)

• Mike’s bitterness after Diane marries Richard:

  “All women are the same, aren't they? Only most aren't so frank admitting they're only out to make a sap out of a man.” (32:44)

• Richard, at the climactic moment:

  “We’re going to settle this matter like civilized people.” (49:23)

• Diane and Mike, united at last:

  Diane: “It's more wonderful than ever.”
  Mike: “And so are you, Mrs. Mike Bradley.” (51:02)

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Memorable Moments & Production Notes

• DeMille’s opening: Sparkling with Hollywood history, highlights the “coincidental” 150-year intermingling of French and Irish bloodlines between the actors’ legacies.
• Banter between DeMille, Crawford, and Tone in the curtain speech (56:37 – 58:44). Showcases Crawford’s wit and humility.
• Behind-the-scenes highlights:
  • Joan Crawford once fled DeMille’s office out of nerves.
  • Joan helped Clark Gable learn to swim while making the movie “Chained.”

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Timestamps for Key Segments

• 00:26 – DeMille’s Hollywood and actors’ introductions
• 05:09 – Diane and Richard’s relationship dilemma
• 09:59 – Diane meets Mike on Southern Cross
• 13:51 – Poolside banter and shipboard attraction
• 19:52 – Stargazing and the “Southern Cross” symbolism
• 24:31 – Mike (as guide) reunites with Diane in Buenos Aires
• 26:44 – First kiss and emotional climax on the pampas
• 28:46 – Diane decides to return to Richard
• 29:13 – Diane’s homecoming and Richard’s proposal
• 32:44 – Mike reads Diane’s goodbye letter
• 35:14 – Mike and Diane’s lunch in New York, hidden romantic undercurrents
• 38:51 – Diane bids Mike goodbye, final confession
• 43:40 – Diane and Richard prepare for trip, sense of unease
• 45:22 – Mike’s confrontation with Richard
• 49:53 – Richard’s sacrifice, allows Diane her happiness with Mike
• 50:57 – Mike and Diane, together and free, “Chains broken”

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Tone & Language

The performance embodies the rich, melodramatic, and witty spirit of 1930s radio drama. Characters communicate in expressive, earnest dialogue, often interspersed with banter and lush romantic language. DeMille’s hosting is dignified yet personable, providing historical commentary with gentle humor and affection for Hollywood’s golden age.

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Final Curtain & Closing Remarks

The podcast episode concludes with a light-hearted conversation among DeMille, Crawford, and Tone. Joan Crawford shares anecdotes about her early nerves in Hollywood and on learning new skills for film. There’s emphasis on the glamour, dedication, and craft required for stardom—both in the world of “Chained” and Hollywood’s larger-than-life reality.

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For next week:

Preview of “Main Street” starring Barbara Stanwyck and Fred MacMurray, ensuring the Luxe Radio Theatre continues as a nostalgic time capsule—and a showcase of vintage radio drama at its melodramatic, star-studded best.

Transcript

[A]

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[B]

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[A]

Granger for the ones who get it done. Hollywood, California. Monday, July 27th. From its home on Hollywood Boulevard. The Lux Radio Theater presents Joan Crawford and frenchotone in chains. Lux presents Hollywood. Tonight, the makers of Lux Toilet soap. The beauty care used by nine out of 10 screen stars and by attractive women everywhere. Brings you another assemblage of Hollywood's most distinguished citizens. Joan Crawford, Branch Otone, Gilbert emory, Cecil B. DeMille, Oliver Hinsdell, Helen Burgess, Lewis Silvers and many others. We are also proud to welcome as members of our audience. A score of celebrated personalities. Among them Patsy Ruth Miller, Paula Stone, John McGuire, John Lee Mayon, who adapted tonight's play for the screen. Lena Basquet, Mary Alice Rice. And Rady Harris, celebrated New York columnist. To all of you, greetings from Lux. No man in motion pictures holds a record of achievement more enviable than that of our eminent director. He brings to radio, just as he has brought to the screen. The greatest plays and players in the world of Entertainment Tonight. He comes to the theater direct from location. Dressed in riding breaches and boots. And covered with the dust of the set. And here he is, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Many paths cross and many double cross in Hollywood. But this is my first professional contact with Joan Crawford and Franchotone. But I know their history, perhaps better than they do. I can trace it back 150 years. Their romance, which began in 1933, was more than a courtship. It was a coincidence which had its beginnings in 1798. When an undersized Corsican named Bonaparte. Was lighting the fuse that was to explode all Europe. And an Irish patriot named Wolf Tone was enlisting French aid in a revolt against England. The sympathies of the French people were with Tone, the handsome Irish rebel. But like most Irish rebellions, his was a glorious failure. He merely laid the groundwork for mutual admiration. Between the French and Irish. And Franchotone, a descendant. And Lucille Le Sir, a little French girl, took it up from there. You may never have heard of Lucille. Her first job was at the Kansas City department store. After that she danced in a Broadway chorus and finally came to Hollywood from a Winter Garden show in New York. A magazine asked its readers to suggest a new name for her and from the name submitted, the studio chose Joan Crawford. Today more than 200 babies whose last named range from Ginsburg to Mackillicuddy are called Joan Crawford, which will give you some idea of the star's popularity. To all the world. She symbolizes the American viewpoint in clothes and manner. And tonight the Lux Radio Theater presents Chained, starring Joan Crawford and Franchotone. Tonight, Ms. Crawford plays the part of Diane Lovering, indispensable secretary of a middle aged but attractive steamship magnet, Richard Field, who is deeply in love with her. Franchotone is Michael Bradley Young, owner of a ranch in the Argentine. The curtain rises on Field's private office in the Empire State Building. We hear him talking briskly on an inter office telephone. Hello, Norris? Yes, we have to. Field talking. I've decided to start the Caribbean on the coastal run out of Savannah. That'll put the Southern Cross on the Rio Buenos Aires run until next December starting now she can sail Friday. And what about the Lloyd matter? Lloyd matter? Well, listen, that's got to be handled with kid gloves. Take maybe six weeks, but I'm not leaving this office until it's settled right our way. Okay, Norris. Goodbye. Who is it?

[B]

Good morning, darling.

[A]

Ah, Deanne, it's you.

[B]

Darling, I've just been through the Spanish Inquisition and I came out alive.

[A]

What did they say?

[B]

Well, doctors put me through the third degree fluoroscope, metabolism, blood pressure, X rays, the whole works. I felt like a murdered corpse being dissected by the Department of Justice.

[A]

Yes, but what did they say? What's the verdict?

[B]

Organically sound as a dollar, healthy as a young cold, they claim. I'm just run down, that's all. Exhausted. They ordered me to take a long rest. Can you imagine my resting until the Lloyd affair is finished?

[A]

Yes, I can, young lady, if I say so.

[B]

Now listen, boss.

[A]

Mr. Boss.

[B]

Boss. Darling, you're a strong man and you set a terrific pace, but I've got plenty of reserve power. We're going to finish that Lloyd deal together.

[A]

Diane, come here. Do you think I'm going to let you risk your health just for a business deal? After all we've been through together? Now that we both realize how much we mean to each other. Oh, you do love me, don't you?

[B]

How could I help it?

[A]

Oh, damn.

[B]

I keep asking myself, am I worthy of Richard Field? All the love and bigness that's in his Heart. And then you kiss me like that. So I guess I must be.

[A]

I keep asking myself, how can an old man like me.

[B]

Careful. Mention that subject to me again? And I told you I'll make a scene.

[A]

All right. I'm a mere Stripling of 46.

[B]

Look here, what about this sudden command appearance? Anything wrong?

[A]

It's happened.

[B]

You mean your wife?

[A]

Yes.

[B]

Oh.

[A]

She came into my room last night. She was very fine. No scene or anything like that. She simply told me that she knew about us and had known for some time. In fact, she wanted to know what I was going to do.

[B]

Did you tell her?

[A]

I told her the truth. That there was nothing between you and me. Just that we loved each other. I tried to make her understand what a really fine person you are. I don't know how successful I was. And then I asked her for a divorce.

[B]

Darling, she.

[A]

She wouldn't give it to me. Said she doesn't believe in divorce. I. I even offered to let her keep the children.

[B]

Oh, Richard, you can't. You can't give up everything.

[A]

I would for you. It's no use.

[B]

Oh, Richard.

[A]

Diane, come here.

[B]

No, please. There's only one thing to do now.

[A]

Don't say it. Don't even think it.

[B]

Dearest, we can't go on, not after this.

[A]

We can and we will. We've got nothing to be ashamed of. And let's not give up hope that someday she'll give me my freedom. But you know what you're going to do?

[B]

No.

[A]

The Southern Cross sails Friday. Born as at us. You're going aboard her. Going away? On a little trip. You need a rest. It'll help you to forget this had to come. It's a little too near us for the moment, but it's only temporary. And when you come back, everything will be just as before.

[B]

Will it?

[A]

Well, but you love me, don't you?

[B]

Oh, yes, Richard.

[A]

Well, then you run out and do your shopping and get yourself packed. You haven't got much time. Boat sails at 5, 30, Friday.

[B]

What a lovely boat. I wish you were going along, too. I want no soul on board.

[A]

It'll be only six weeks. Besides, I have to give you a chance to know your own mind, haven't I?

[B]

It isn't my mind anymore, darling. It's yours.

[A]

Jud, where's the Ambassador suite? This way, Ms. Field. Here you are. When we take the Southern Cross together, it'll be called the Bridal Suite.

[B]

Oh, Richard, look at those flowers. You shouldn't have.

[A]

Ah. They knew you were coming and grew overnight. Stuart, yes, Sir. Mind now. Ms. Lovering asked for for a water spout. You get it for her. Yes, sir. Here's the chef, sir. Mr. Field, you want Emil. Emile, this is Ms. Lovering. She likes crepes suzette and thinner than you've ever made them before. And I know she'd like to pompano

[B]

with that sauce and corned beef hash too. Emile.

[A]

To perfection, mademoiselle. And if you don't outdo yourself, I'll have you transferred to a banana boat. And I will deserve it, Monsieur. Now, here's your bedroom, Diana.

[B]

It's beautiful.

[A]

And still not enough. Oh, it's taking all the willpower I've got not to chuck the whole Lloyd deal and come along with you. You will come back, won't you?

[B]

I promise, Richard.

[A]

I'll need you always. I think I'd crack up without you now.

[B]

Oh dear, we won't have time for our cocktail.

[A]

The minute the ship leaves, you go to the bar and order one. Only a sherry flip, remember?

[B]

Always a sherry flip.

[A]

Every day at six o' clock I'll have one ashore.

[B]

I'll think of you, Richard. Goodbye, darling. Sherry flip, please.

[A]

Yes, madam. And I'll have the same thing. And I hate sherry flip. There I go. Giving in already. Oh, say, aren't you the young lady who always orders chicken salad? We've met before, huh, Miss?

[B]

No.

[A]

My name is John Smith Quink. How are you? And who are you?

[B]

No.

[A]

Yes, please.

[B]

Please, no.

[A]

Ah, pretty please with sugar on it.

[B]

I want to be left alone, Mr. Smith.

[A]

It's a hard name to remember and I can take a hint. I'm off to dress for dinner and you'll be sorry when I'm gone.

[B]

I won't even know it.

[A]

Sorry, Rollo. Who is it? It's Johnny Smith, your faithful servant. Where have you been? In the bar. Now come on. Drop all that housework and come with me and see what I found. She's gorgeous. Congratulations, Mr. Smith. Ah, no, no, they're not in order, Mr. Bradley. She was a little distant, I take it. Straight from the Arctic regions. Is she worth an expedition? From Pole to Pole? Don't stop to get dressed. We'll start now. Lead on, guide. There. There she is over there. You mean the one sitting alone at the table? Yeah, and believe it or not, drinking a sherry flip. Can I pick him or can I pick him? Sometimes I actually have faith in you again, Johnny. Oh, I warned you. She's as cold as a sea lion's nose. And the first thing for you to do Is go over and apologize for your behavior. When you're a maintenance engineer in a beverage manufacturing plant, you keep production lines moving and quality on track because there is no room for slowdowns. With Grainger's vast selection of high quality motors, sensors, belts and hard to find parts, you can get what you need fast and all in one place. So nothing gets in the way of

[B]

getting the job done.

[A]

Call 1-800-GRAINGER clickgrainger.com or just stop by Grant Ranger for the ones who get it done. There's nothing like my American Express Platinum card. I love that I can earn hotel credits when I travel. I can also earn resi credits so you know, I'm hitting the restaurants everyone's talking about. Plus, with the digital entertainment credit, I'm even more excited to catch my favorite shows. All in all, I can access over $3,500 in annual value with benefits and eligible purchases across travel, entertainment and more. Learn [e-mail] Explore Platinum enrollment requirements, month and other limits in terms apply to me. I should say not. It'd make me look weak. You don't understand tactics. It clears the decks for future action. Go ahead. I'll be over in a minute to help you out. All right? Okay, master. I obey. Charming lady. After thinking over my rudeness, I've come to say that.

[B]

So you didn't leave after all.

[A]

Oh, but yes. I've been gone a half an hour.

[B]

I hadn't noticed how to unplug.

[A]

I've been watching you, my friend. You've been annoying women long enough. Why you. No back talk. Now I know your type, my man. A half hour out. You want to play Frankenstein? Well, listen, you. I don't know who you are, my friend, But I don't want to see your face on deck again until you can act like a gentleman. You understand?

[B]

Oh, you.

[A]

Hey, Miss whatever your name is, this fellow. Go ahead. Find out where there's octopus bunks and lock him up till he's sober. Yes, sir. Now, please, sir, come along. Hey, wait a minute.

[B]

Hey, wait till I see you. Thank you. I suppose he's really harmless.

[A]

Allow me. An Irish uncle named me Mike Bradley.

[B]

Well, good for him. Thank you again, Mr. Bradley.

[A]

Look here. Even nervous, probably all unstrung over this attack on your privacy. How about another cocktail?

[B]

Thank you, no. I've had my one for the evening.

[A]

Well, I'll. I'll see you at dinner.

[B]

I'm having dinner in my cabin. I'm turning in early.

[A]

Then I'll see you around tomorrow in the Swimming pool?

[B]

Perhaps, if I decide to go in.

[A]

All right. Hey, Bar, watch me. Hey there. Good morning.

[B]

Oh, good morning.

[A]

How's the water?

[B]

Warm. Awfully cold. I don't think you'd like it.

[A]

I'll soon find out.

[B]

Say, what's the idea? Can't you keep on your own side of the pool?

[A]

I'm not chasing you. I just turned up like an old cantaloupe rhyme.

[B]

The ocean is full of them.

[A]

Hey, wait, wait. Maybe I'm the door to door brush man.

[B]

Not today.

[A]

Special offer. Full set of kitchen brushes and a set of Charles Dickens.

[B]

I haven't got a kitchen.

[A]

How about a set of Dickens?

[B]

Without the brushes I couldn't afford it.

[A]

You see, it's a contest, ma'.

[B]

Am.

[A]

The one that sells the most brushes gets sent away on a vacation.

[B]

And the more you sell, the farther they send you.

[A]

That's right.

[B]

Hey, give me all you got.

[A]

Yeah. Oh, you see, that's what comes to trying to swallow the whole pool. Here, let me slap you on the back.

[B]

Oh, that's enough. Unhand me.

[A]

You know, your eyes are very large and beautiful.

[B]

Oh, stop it.

[A]

Even when they're bloodshot.

[B]

Will you tell me what this is all about?

[A]

I don't know, but isn't it fun? Now look at me. Really. I'm not such a boogeyman, am I? Just an honest open face. A little too open maybe.

[B]

When are you leaving us both, Mr. Bradley?

[A]

Going all the way to Buenos Aires. How far do you go?

[B]

All the way to Buena, Terry.

[A]

Isn't it great? Dinah.

[B]

Dinah.

[A]

Yes, I know the passenger list called you Diane Lovering. But I call you Dinah.

[B]

In heaven's name. What?

[A]

I had a black faced doll when I was about a year and a half old. I called her Dinah. I loved her very dearly. Couldn't go to sleep unless I had her safely tucked away in a shoebox.

[B]

I'm afraid I don't see the comparison.

[A]

There isn't any. Except Diane reminds me of Dinah, that's all. Oh, see, there you go getting panicky again. I'm out for last, Dinah. That's all good. And you'd look pretty silly in a shoebox anyway.

[B]

Very silly.

[A]

And I'm not a year and a half old anymore.

[B]

Oh, I see. You're just backwards.

[A]

Would it be forward of me to invite you to have a cocktail with me?

[B]

Sorry, but I'm going to bed.

[A]

At 6 o' clock without your dinner?

[B]

I'm having it sent to my cabin.

[A]

Okay, then. I'll meet you in the bar at 6 and we'll have dinner afterwards. Hello, Dinah. You're early. It's only a quarter of six and

[B]

I've got 15 minutes to get back to my cabin.

[A]

How about just one cocktail?

[B]

Well, I'll have a sherry flip.

[A]

Sherry flip? What's the matter? You seasick?

[B]

No, not in the least.

[A]

Sherry flips is like water. No tang, no feeling, no oomph to it.

[B]

I still like sherry flips.

[A]

Okay, lady, I'll show you. I can take punishment too. Oh, Stuart. One sherry flip and a plain lemonade.

[B]

Yes, sir.

[A]

Right away, sir. I'm afraid you're a problem girl, aren't you, Dinah?

[B]

What makes you think so?

[A]

Well, you're a problem to me. And something tells me you're full of problems yourself. What did you come on this trip for? The ride. Darn long ride.

[B]

I wanted a long ride.

[A]

Who's the guy?

[B]

What guy?

[A]

Well, every now and then your eyes are way out there on the horizon. There must be a guy behind a woman's eyes when they're like that.

[B]

Will you listen to the conceited male honest now.

[A]

You're not engaged to be married?

[B]

Would that be one of my problems?

[A]

Might be. You ever been engaged?

[B]

No.

[A]

Don't tell me you've lived in a cave all your life.

[B]

Don't you remember? It was a shoebox.

[A]

Lemonade for the lady. Do I look as if I drink a sherry flip? Sorry, sir. Well, here's to the two of us. Long may we wave.

[B]

You came on this boat looking for trouble, didn't you, Mr. Bradley?

[A]

I admit it. But then you dropped out of the sky.

[B]

But I'm not trouble.

[A]

I know. And I just about decided that you're something distinctly different. Something I've always wanted to meet and always thought was just a kid's foolish dream.

[B]

I'm afraid you're on the edge of saying something very silly, Mr. Bradley.

[A]

It doesn't seem silly. And I've never been this close to the edge before. Before.

[B]

And let's forget you ever said it, shall we?

[A]

All right. Until the day I can make you remember it.

[B]

A good cure for that sort of sentiment is walking. Do you like to walk?

[A]

Listen, young lady, I'll walk you around the deck tomorrow until you holler for help.

[B]

Okay?

[A]

20 times around so far. How you holding out?

[B]

I haven't even started.

[A]

And let's go a little faster.

[B]

What for?

[A]

There are a couple of long legged old school moms that look as if they want to race us. Oh, good morning.

[B]

Ms. Weebles and I have just about decided that you two set the nicest face on the deck. We. We like to walk past. So do we. I think we make a nice little squad. You might say we'll all have to do this every morning.

[A]

Yes, yes, good idea.

[B]

You gents keep leading the way and we'll follow. Hey, what do we do?

[A]

Poor fast one.

[B]

You do it. I'm all out of that.

[A]

All right, here goes. Oh, look at the whales. Where? Right alongside the ship. There must be a hundred of them.

[B]

I don't see any. No, there aren't any whales there, Mr. Bradley. I'm afraid you're mistaken.

[A]

No, no whales. Are you sure?

[B]

Not a whale. Nothing but ocean. Gosh.

[A]

You. You don't suppose. Not again.

[B]

There's my puds. Dear Mr. Brad. What's the matter with him? Nothing.

[A]

You see, they told me a sea voyage would cure me. I won't go back to that place again.

[B]

They can't tie me up in that room. Edith, come along. The man's crazy.

[A]

There, you see? It worked. That's what I call practical insanity.

[B]

You always see whales?

[A]

Only when being followed by long legged school mom. Sometimes I see the Southern Cross.

[B]

Really?

[A]

If you'll come on the upper deck with me some night, I'll show it to you. Only you'll see it too.

[B]

Will that mean we're both insane?

[A]

I'm afraid that's too much to hope for.

[B]

It's glorious. Where's the Southern Cross?

[A]

Right up there.

[B]

Where?

[A]

There, right along the line of my finger.

[B]

Oh. Oh, I see. Oh, how beautiful.

[A]

You're telling me we're looking at the

[B]

Southern Cross, Mr. Bradley.

[A]

You speak for yourself. I'm going to do all the looking at you I can. Our last night on board ship. Are you coming out to my ranch in Buenos Aires?

[B]

I. I'm afraid I won't have time. I've only two days and I've some shopping and things to do.

[A]

Where are you stopping?

[B]

With some friends.

[A]

Who are they?

[B]

The. The Wilsons.

[A]

The Wilsons? I never heard of them. I've lived there 10 years. Know everybody in town. Pick another name.

[B]

No, no, really. They moved down last winter.

[A]

Now look here, Dinah. What's behind all this? Are you still scared of me?

[B]

Why should I be scared of you, Mr. Red?

[A]

I asked you. Dinah. Oh, it's all wrong. We weren't meant to end this way.

[B]

We weren't ever meant for anything else. Goodbye, Mike Bradley. I'll think of you often. And good luck.

[A]

All right. So long, Dinah. Just the same old thing. Shipboard friends and never see each other again, right?

[B]

Right.

[A]

I don't believe it.

[B]

Oh, but you must.

[A]

I don't believe it. So long, Dinah. In just a moment, we'll go on with our Lux Radio Theater presentation of Change, starring Joan Crawford and French Oton. But first, we take you to Hollywood's playground, Santa Monica Beach. Only 14 miles down lovely Wilshire Boulevard from Hollywood to the sea. We're on the set at famous Santa Monica Beach Club. There are two girls near us, very much excited. Listen.

[B]

Look, it's Carol Longbourn. There. No, over there to the right. They say she's crazy about the water. Swims beautifully. Doesn't she look slick in that bathing suit? Some low cut. Wish I could wear one like that. My back isn't smooth enough. Say, I read in a movie magazine that Carol Lombard uses luxe toilet soap as a bath soap, too. Gosh, that's an idea, all right. Huh? Mm. Dollars to donuts, that's why her back is so smooth. I'll have to give it a try.

[A]

It certainly is Carol Lombard's luxe toilet soap. Care that keeps her skin so lovely. And this beauty bath does other things too. Carol Lombard herself has told us often.

[B]

I come home from a long day before the camera. So tired I can't bear even the thought of going out. Then I try a luxe toilet soap bath. Lie back a few moments, completely relaxed. When I step out, I feel marvelously refreshed. And I love the delicate perfume luxe toilet soap gives my skin.

[A]

Luxe toilet soap has an active lather that carries away from the pores all foreign matter, every trace of dust and dirt. It protects daintiness. Luxe toilet soaps perfume is a blend of 34 costly scents. But because so many millions of cakes are sold, the cost of this fine soap is brought way down. So that any girl's shopping list can contain the words six cakes of luxe toilet soap, please. And once again, Mr. DeMille Chained, starring Joan Crawford and Franchotone continues.

[B]

Are you really buying a car online on Autotrader right now? Really?

[A]

At a playground? Yeah, really.

[B]

Look at these listings from dealers.

[A]

Wow, your search can really get that specific.

[B]

Really? And you just put in your info and boom. Cars in your budget. Mom needs a second. Honey, you can really have it delivered. Really?

[A]

Or I can pick it up at the dealership.

[B]

One sec, sweetie. Mommy's buying a car. Mommy, I think your kid is walking up the slide. Kyle. Again?

[A]

Really? Auto trader. Buy your car online. Really? It's the following morning, and Diane thinks she has escaped from Mike by telling him she's visiting the Wilsons some non existent friends. Outside her luxurious hotel, she waits for a groom to bring the horse. She's ordered for a morning ride. Ms. Lovering?

[B]

Yes?

[A]

I am Mr. Parthos, Assistant Manager of the hotel. There has been a slight delay about your horse. I shall phone the stables again.

[B]

Thank you, Mr. Porthos.

[A]

Madame has been made comfortable, I hope?

[B]

Oh, perfectly. The flowers in my room are gorgeous.

[A]

Mr. Field ordered them for you every day, Madame.

[B]

Oh, did he? Oh, Mr. Pothe's. I shall want a guide today. Someone who knows the city.

[A]

I have already arranged for the guide, Madame.

[B]

Can he speak English?

[A]

But see, senorita, I will speak the English for 25 years. Allow me, Senor Rita, to present myself. Senor Pancho. Mike Bradley at your service.

[B]

Mike. Where did you bob up from? You. You scared me.

[A]

Oh, still a boogeyman, huh?

[B]

No, but how did you happen to be here?

[A]

Well, I thought I'd drop around and say hello to the Wilson. Nice little cottage they have here. Lots of servants, guests. Are they home?

[B]

No, but they left word for me to mind the children. I was taking the twins to see the executions on the plaza.

[A]

Little Lotus is tall for his age, isn't he? Or do they have him stretched?

[B]

Mike, are you a bloodhound or is this just accident?

[A]

I'm a bloodhound who can read trunk checks when a lady carelessly leaves a trunk outside her stateroom. Besides, Mr. Pothos here is a friend of mine. He owes me money.

[B]

Oh, so he told you I was going riding at 10:00 exactly.

[A]

So I thought you'd like to ride out on the Bradley ranch where horses are horses, not candidates for the bull ring.

[B]

I'd love to, Mike.

[A]

That's better than I hope. Let's go,

[B]

Mike. Let's slow down to a gallop.

[A]

All right. Oh, boy. Oh, let's get off and rest a while. I brought a couple of thermos bottles of cold tea in my saddlebag on shipboard. Lemonade and sherry flips on the pampas. Cold tea.

[B]

I forgot to ask the name of my horse.

[A]

Chili Conani.

[B]

I'm glad to meet you, Chili. Hey, you got a cold, wet nose.

[A]

Tell her she shouldn't smell so nice, Chili.

[B]

Where do we hitch them to? A blade of grass?

[A]

Just throw your reins over his head. He'll stand like a sentinel. Nothing like cold tea on a warm day on the pampas. Quenches, thirst, peps you up. Gives you that relaxed feeling. Yes.

[B]

Are you going to sell these horses?

[A]

Not chilly. Chili's grandma wants one. The Sweepstakes for me and saved the mortgage.

[B]

Isn't it quiet out here? Not a human being or a house in sight.

[A]

Yes, quiet and harmless like a day nursery. And you had to lie and run away from me. Why?

[B]

I should think you could guess. Mike.

[A]

Dian.

[B]

No, please let me go. Mike. Oh, my darling.

[A]

You see? There's nothing to run away from, is there?

[B]

No. Just then, when you kissed me, you and I reached high above the earth. I don't know where, but we were all alone together, where nobody else will ever be.

[A]

We're gonna settle down up there, right in the sun.

[B]

We can feel it beating down into us.

[A]

However you spell it, it must. Whether the sun, the moon, the rain on the boat.

[B]

Did you really know so soon?

[A]

I've known about somebody like you ever since I could think. When did you know?

[B]

I never thought about anybody like you. So I guess it must have been the minute I saw you.

[A]

You're going to see me from now on, Mrs. Mike Bradley.

[B]

Oh, Mike. Now, I know that's what I've wanted to hear you say, but I've never dared let myself.

[A]

What have you dared think about?

[B]

Everything. Your arms around me. Everything except being Mrs. Bradley.

[A]

Why?

[B]

Because perhaps that I'm that kind of a girl.

[A]

You're going to tell me about some dark, silly past that doesn't concern you and me. If that's so, I hope you won't want me to start in.

[B]

No. I'm going to tell you about the present.

[A]

There's no present except you and me.

[B]

There's another man. I've promised to marry him.

[A]

That's the man I sent was behind your eyes.

[B]

Yes, but you don't see him there now, do you?

[A]

No. Have I forgotten he was ever there?

[B]

I can't just forget that way. I know, but I've never. Never really known anything until you put your arms around me. You see, I thought I loved him, Mike. He's gentle, honest, dear. And I owe him everything this trip. I even owe him you.

[A]

Well, you got to write him a letter right away.

[B]

No, I've got to go back and tell him face to face.

[A]

No, that's only an unnecessary ordeal.

[B]

It wouldn't be fair if I didn't. You see, he didn't run out on me, and I couldn't run out on him. If I see him myself, I can make him understand. We couldn't be happy any other way, could we? Might.

[A]

I suppose not. You've got to go back and tell him. But, Diane, darling, please hurry back. Please, this gangway. Oh, Ms. Lovering, here's your landing card.

[B]

Thank you.

[A]

This gangway, please. Diane. Diane. Lieutenant, darling. Oh, my dear. Darling.

[B]

How are you?

[A]

Richard. Yeah. Let me look at you. It's almost worth letting you go away just for this moment. Come on, let's get out of this crowd. I've got the car outside.

[B]

What about the custom?

[A]

Oh, I've attended to all that. You've got the courtesy of the port. This way, darling. Well, dear old at last.

[B]

Yes, dad, of course.

[A]

Sometimes I had a strange, terrible feeling that you wouldn't come back. Well, did you have a good time?

[B]

Yes.

[A]

Nice car on the boat.

[B]

Wife? Yes.

[A]

You're tired, aren't you?

[B]

No.

[A]

Maybe a little excited about getting back.

[B]

I've so many things to tell you. I don't know where to begin.

[A]

Considering that I'm never going to let you out of my sight again. You have the rest of your life to tell me everything.

[B]

But, Richard, I want to tell you something.

[A]

Well, I don't want to hear a thing. Not until you see what I've got for you.

[B]

What is it?

[A]

Here. It's your welcome home present.

[B]

It's a wedding ring.

[A]

Take a look at this morning's paper and see what you think. Listen. Shipping magnate, divorced Mrs. Richard I. Field, wife of Field line head now in Reno.

[B]

Oh, no, no.

[A]

Riches true, dear. We had it all out shortly after you left. She saw that it was the only way.

[B]

You can't do this.

[A]

Oh, but it's all right. She recognizes there's nothing between her and me anymore. She's an honest person, Diane. So it's all settled. Darling, we can be together always now.

[B]

Always.

[A]

What's the matter? Don't you believe it, dear.

[B]

It's just something I never counted on one time.

[A]

I never even had hope for it.

[B]

You've given up your family, your home and your children. You must love me very much.

[A]

Your being away showed me. I love you more than I ever knew. Every hour empty. Couldn't do a thing. Down, down. Just wondering about you and what you were doing. Waiting for you to come back.

[B]

Am I really that much of your world?

[A]

You're all my world. If I ever lost you now, I'd. Well, we don't even think of that.

[B]

No. We mustn't think about that ever again.

[A]

No. What was it you wanted to tell me?

[B]

Nothing. Nothing important. Richard.

[A]

Yes, dear?

[B]

When? When are we going to be married?

[A]

Here, Pablo. Walk him till he cools off. And no water till sundown. Si, signora. Is there anything fun? Hey, Johnny.

[B]

Yeah?

[A]

Mail come in yet? Yeah, sure. It's a letter from New York in small, feminine handwriting. You know, it looks awfully thin to me. Shut up and hand it over. It's her first letter. Why, Mike.

[B]

Mike, what's the matter?

[A]

Nothing very much. No, really, nothing at all. It just seems there was a first class chump in the Argentine. His name's Mike Bradley. You mean. I mean the works. She's taken a run out powder. She's married that guy in New York. Oh, gee, that. That's tough, Mike. It looks like all women are the same, doesn't it? Yeah, only most of them aren't so frank and admitting they're only out to make a SAP out of a man. I never dreamed it about her. It's brutal. Sure, everything seems brutal when you're on the loser's end of it, but I guess I'm well out of that one. Oh, how does a dame like that figure things anyway? Can't she recognize a real guy when she sees one? It's not the point. She's got what she wants. She'll live up there in New York, spending her days buying furs and diamonds to show off in the evening at nightclub clubs. Probably. Her husband's a good guy, too. Just another SAP, only he doesn't know it yet. Is there. Is there anything I can do about it, fella? Sure. If I ever go up to New York again, keep reminding me that Don Juan and Kazanova had the only real slant on women. Love them and leave them. Right here. This way, please. This way, please. Cash, please, Mr. Brown. Ah, good morning, Mrs. Fields. We haven't seen you since you and Mr. Fields returned from your honeymoon.

[B]

No, we've been on Long island this fall, but we'll be in town all winter.

[A]

Anything I can do for you, Mrs. Field?

[B]

I'm looking for a pair of skis. Mr. Field and I are going to Lake Placid for a couple of weeks.

[A]

You'll find them on the third floor, Mrs. Fields. Take the elevator straight ahead. Excuse me, where's your gun department? I want to buy a right, the second floor.

[B]

Thanks, Mike.

[A]

Trucker. Well, hello. Fancy meeting you in your own hometown. How are you, Diane? This is a surprise.

[B]

Yes. How long have you been in New York?

[A]

I don't know, two or three weeks.

[B]

Where. Where are you stopping?

[A]

At the Westmoreland.

[B]

I have my car outside. Can I drop you anywhere?

[A]

No, thanks. I think I'll walk.

[B]

All right. How's Johnny? Been well and happy?

[A]

Sure. You look pretty Well, I can't complain.

[B]

I'm glad, Mike.

[A]

So Am I? What are you doing, buying the store out?

[B]

No, no, just window shopping. I'm afraid I've got to run along. I'm supposed to be at the Club Savoy for luncheon.

[A]

Well, Diane, keep up the good luck and I'll tell Johnny I saw you.

[B]

Mike Kent, couldn't we go someplace and talk?

[A]

Sure, providing you can break that date and have lunch with me.

[B]

That's all right.

[A]

Providing you let me pick the place.

[B]

Any way you say, Mike.

[A]

I guess that's fair enough, isn't it?

[B]

Oh, I do so want to talk to you.

[A]

Sure. I know a neat little joint just about a block away from here. The luncheon, it was satisfactory, monsieur? Excellent. Felix and I like your little private dining room. A nice intimate feature that New York should have borrowed from Paris long ago. Quite so, Betsey. Quiet. And, as you say, intimate. Liqueur, madame?

[B]

No, thank you.

[A]

No. Anything else? No. Very good, sir. Well, Mrs. Field.

[B]

First time you called me that.

[A]

Okay, it's the last. But while we're on it, how's it working out? Why, splendidly, for you and for him both, of course. That's fine. How's his health?

[B]

Why, he. Do I really deserve that much?

[A]

Mike, I'm sorry if you felt that was below the belt. I didn't mean it. Skip it.

[B]

It skipped.

[A]

But I see you're still the same healthy girl, aren't you?

[B]

Not a doctor's bill, not a dentist's appointment, not even.

[A]

Not even the sun? What, Mike, the sun. Don't you remember? We went a little balmy under it once. We were going to settle down on the Argentine for life or something.

[B]

Mike.

[A]

Well, that's out. I don't blame you. But we'd blame ourselves if we didn't take an hour or two of it now that they've stopped the clock for us.

[B]

You don't mean that, Mike. You can't mean it.

[A]

What's the matter? Do you like to run away and be caught?

[B]

Really, Mike, please. I've got to go. I don't know why I ever spoke to you.

[A]

Because you remembered something you missed, that's why. Because you're only out for thrills anyway. And I was once SAP enough to take you serious.

[B]

No, Mike, no.

[A]

Forgive me. Dinah.

[B]

Dinah, I've waited so long to hear you say that.

[A]

Dinah, why did you do it?

[B]

What?

[A]

Why did you write that letter and let me spend a year thinking of your. You as a.

[B]

Well, I thought I owed you the truth, Mike.

[A]

And like a poor, daffy kid, I believed it. But only because I was Counting the days, I guess.

[B]

No, Mike, really. It was true then and it's true now.

[A]

Only this is true. You're here saying meaningless words while all the rest of you keeps telling me differently every second.

[B]

Mike, there are lots of people, men and women, who are well drawn to each other. Sort of a little spark that flashes up like a skyrocket every now and then.

[A]

But you're trying to turn the sun, our son, into a firecracker. It can't be done, Dinah.

[B]

No, I guess it can't be done.

[A]

So that changes everything.

[B]

Nothing's changed, Mike. There's Richard. And there always shall be.

[A]

Why? Why didn't you tell him?

[B]

Well, I couldn't let him down then. He's turned his whole world, his whole life, over to me. I can't ask him to take it back now. It would disappear and he'd be alone.

[A]

How about you? Me? What about us?

[B]

Grin and Barrett.

[A]

Oh, no. Now that I know, do you think I'll stand here?

[B]

Please, Mark, this can only meet one thing's prayer. I think you'd rather love me than hate me. And now you don't hate me anymore. And I thought I'd rather have you hate me than love me. Now I know why I spoke to you today because I hoped your eyes wouldn't be so hard. They were, but now they're not again. This is the only way I could think about them and go on. Mike.

[A]

Dinah, you must stay. Then I've got to see you again tomorrow.

[B]

We're going away tomorrow night. I'll be busy.

[A]

Where are you going?

[B]

Goodbye, Mike.

[A]

Mike, darling, do you realize what you're doing?

[B]

Yes. I'm keeping you locked in my heart where nobody else will ever be. Where only I can talk to you without ever seeing you again. Listen for me and yours, Mike. Always.

[A]

For station identification, this is the Columbia Broadcasting System. The third act of Change, starring Joan Crawford as Diane Lovering and Franchotone as Mike Bradley, will be heard shortly. For the first time in 25 years, I've broken an ironclad rule and given an important role to a person who has never been before a camera. The exception to the rule is Helen Burgess. I noticed her in the Studio restaurant and saw what I thought was a distinct mark of genius. She had a contract with Paramount, but there was small chance of her ever appearing in an important part. And she had yet to see the inside of a studio soundstage. I gave her the very important role of Louisa Cody, Buffalo Bill's young wife in the Plainsman. I'm not going to prophesy whether or not she will be a great success. You can decide that when you see her. She comes to the stage of the Lux Radio Theater, direct from the set, in costume and makeup. And a week's work with Ms. Burgess has shown me that my confidence is justified. A little girl with a great talent, Helen Burgess.

[B]

I am so grateful, ladies and gentlemen, for this marvelous chance to work under Mr. DeMille's direction. If it's a thrill to be the discoverer of someone new to the screen, it's much more of a thrill to be discovered.

[A]

I'm sure that everyone in this audience wants to know something about you, Helen. And someone has said that there is nothing so interesting as a fact and nothing so vital as vital statistics. So what are yours?

[B]

I was born in Portland, Oregon, and next year I'll be able to vote. I also lived in Tacoma, Washington, for a while before coming to Hollywood. I went to Hollywood high school like B.B. daniels and so many other DeMille discoveries.

[A]

One difference in your case is that you had never appeared on the screen at all. And most of the girls, like Bebe Daniels and Gloria Swanson, who finally found themselves in DeMille bathtubs, were bathing beauties to start with.

[B]

Well, I envied them whatever experience they'd had. When I walked out on the set for the first time and met Gary Cooper and Gene Arthur, Charles Bickford, James Ellison and the rest of the cast, I was so nervous, my petticoats kept rustling. The man in charge of the microphone said it sounded just like a ton of coal going down to chute.

[A]

Don't ever fear being nervous, my dear. This is your first picture. It's my 63rd. I begin to get nervous a week before the starting date on every picture. And don't get over it until the week after I finish the first time. I'm not nervous before starting a picture. It'll probably be a bad one, Willie.

[B]

It wasn't nearly so terrifying walking onto the set, though, as it was seeing our first day's work on the screen. I was so afraid I hadn't lived up to expectations that I'd have run away but for Gary Cooper. Gary said, don't be scared, Helen. This acting is a cinch. I'm telling you now, you stole every scene.

[A]

Listen, I happen to know that just about then, Gary's knees were knocking together so hard they sounded like castanets.

[B]

Well, the thing that makes me feel most at ease is that everybody else in the cast is so much at home. Some of the players have been in every one of the 63 DeMille films,

[A]

you'll find that DeMille cast is not just a collection of players, it's a reunion.

[B]

Well, I can think of only one bigger reunion in Hollywood. Get together all the picture stars who use luxe toilet soap, then you'd have a reunion. And there seems to be the same friendly spirit here in your lux radio theater, Mr. DeMille, as there is in your cast. Which is probably why the show is as good as the soap. Good night.

[A]

Good night, Scarlet. We continue the Lux Radio Theater play Chains, starring Joan Crawford and Franchotone. It's the evening after Diane's unexpected, unexpected meeting with Mike. She and her husband are at home dressing for dinner. Diane?

[B]

Yes, Richard?

[A]

All packed to go to Lake Placid tomorrow?

[B]

Almost. But don't worry. Amy never forgets a thing.

[A]

Good gosh, I'm hungry. What's for dinner?

[B]

I really don't know.

[A]

Aha. Beginning to forget your wifely duties already, eh?

[B]

Yes. I mean, it won't happen again.

[A]

Richard, get your skis today.

[B]

Skis? Oh, no. Isn't that silly? I forgot all about them.

[A]

So that's my girl with the efficient head for remembering. Been talking about skis all week and then goes and forgets them.

[B]

I'll ask him to send some up by express. Are you all through at the office?

[A]

All cleaned up.

[B]

Good. Then you sleep late in the morning and stay around the house with me until we leave for the train.

[A]

Can't. It's a board of governors meeting. Clubs Long, Zam and Dan. I've got to attend.

[B]

Richard Y I've got a marvelous idea.

[A]

Name it.

[B]

Let's not wait for that stuffy train trip tomorrow night. Let's get to bed early, get up early, take the open car and every fur rope in the house and motor up. If we leave by seven, we can make Placid by six in the evening, no matter how much snow.

[A]

Pretty cold ride.

[B]

Oh, we'll whisk the cobwebs out of our brains.

[A]

See what makes you so anxious to get away on our little holiday?

[B]

You.

[A]

I? Make you anxious? What's eating you anyway? You've been talking in riddles ever since you came home today.

[B]

Have I? Well, it. It's just that I want to be with you alone. Just us two together, away from the whole world. Oh, I can't explain what I mean.

[A]

Why, Diane, I believe there are tears in your eyes. Darling, I'm. I'm really touched.

[B]

We can motor up, can't we?

[A]

I'll say we can. We'll Run away from everybody and everything.

[B]

Oh, thank you, Rich.

[A]

Morning, James. Are we glad we're here or aren't we? It's very invigorating, sir. Mrs. Field still out skiing? Yes, sir. Oh, sir, a gentleman phoned by the name of Bradley. Bradley. Bradley. Don't know any Bradleys. Want me? Yes, sir. I told him I never disturbed you until he came downstairs, sir. Then he asked for Mrs. Field. I told him she was out. And then before I could ascertain his business, he said he was coming right over. Right over? Where from? From the village, I presume, sir. Ah, Kidney. Stu. Was this your noble idea, James? Mrs. Field ordered it, sir. James, I'm a very fortunate man. Yes, sir. If that's that fellow Bradley, show him right in. Yes? I'm Michael Bradley. Is Mr. Field in? Yes, this way, sir. Mr. Field is expecting you, sir. Mr. Field? Yeah. Mr. Bradley. Yes. Well, you look fresh from civilization. Came up on the night train. Sit down, won't you? If you excuse me, I'll go right on with my breakfast. All right, James. By the way, Mr. Bradley, have you had yours? Thanks. I think you'd rather. This would be private, Mr. Field. Well, I. Very well, James. I'll call you when I want to. Yes, Mr. Field. There's only one reason I felt I could come up here to see you. And that's because your wife told me you dealt with things pretty straight. My what? Oh, you know Missy Field. I'm in love with her. What? And she's in love with me. Are you insane? No. I met her on the boat last year. It was in the cards, Mr. Field. Only I couldn't get her to admit it until one day she came out to my ranch. Then I knew. We both knew. What is this, some filthy blackmailing situation? Oh, even then she was loyal to you. If you've got anything else on your mind, forget it, because it isn't so. But, you see, she came back to tell you about me. Only she found out how much she meant to you and she couldn't let you down. Well, I guess that about settles the matter, doesn't it? No, it can only be settled one way, her way, which she's too unselfish to face. So I'm trying to face it for her. Oh, I suppose she asked you up here so that you might get from it. When I called your office and learned you'd left for the Adirondacks earlier than you expected I simply knew she'd run away from Bradley. You're kidding yourself. No, I'm not. You're in as good a position as I am to know a man can't kid himself about a woman. I think this Talk is finished, Mr. Bradley. Not yet. Diane came through for you, didn't she? And now it's your turn to come through for somebody else. And what do you propose that I should do about it? Give her up. Give her back to herself. Oh, I know I'm getting her breaks, but there's nothing I can do to keep them on your side. And I know it's tough, but there's nothing you can do. I could drop out of sight and it wouldn't solve matters. Only a miracle in blood and body could change this picture, Field. And neither you nor I believe in miracles. Get out of here. Now, wait a minute, Mr. Field. Get out of here. All right, then get this. I'll take her away from you. I never tried, but I can. And now I will. Right past divorce courts and marriage certificates and all the rest of it. And we'll be more openly and honestly and completely together than all. You heard me. Get out.

[B]

Richard. Richard. What's the matter, Mike?

[A]

Diane, you love this man.

[B]

No, Richard.

[A]

Diana, he. He said he could take you away if he wanted to. Is it true?

[B]

No, he couldn't.

[A]

Diane, look at me.

[B]

You had no right to do this. I told you, this is my husband. He means everything to me. Everything. Can't you understand? Can't you see what you're saying?

[A]

No. Dinah, I think she's decided. No, she hasn't. All right, then I'll decide.

[B]

Richard, put down that gun.

[A]

Diane, get out of the way.

[B]

Put down that gun. Richard. No, you can't. It's Mike. It's Mike.

[A]

I knew, Diana. I know Mike. I just wanted to be sure.

[B]

What are you going to do?

[A]

Do? My dear, we're going to settle this matter like civilized people.

[B]

Richard, I.

[A]

It's all right, dearest. I understand. I think Mr. Bradley understands, too. I'm afraid I don't. When are you sailing back to the Argentine, Mr. Bradley? Why, I hadn't thought. Next week, perhaps. Next week? That doesn't allow you much time, Diane.

[B]

You mean.

[A]

I mean that you'll be saving too, my dear.

[B]

Oh, Richard, I. I can't say anything.

[A]

You aren't supposed to. You're not to feel sorry for me. You give me two years, Diane. Two glorious years. I'm grateful for them. I. Please don't, Diane. Please. I said you were not to feel sorry. You see, darling, same old problem. Youth versus, well, shall I say, middle age. You have your youth, Diana. I want you to have it. The man you love. With Mike. I don't deserve this. Oh, yes, you do, Mike. You deserve anything. Anything that'll make her happy. Oh, chilling.

[B]

Oh,

[A]

hold it,

[B]

Mike. It's glorious out here.

[A]

You want to go on?

[B]

No, let's just stay here. I want to drink it all in the moonlight. The pampas.

[A]

There's a Southern Cross up there.

[B]

Where?

[A]

Just about where it used to be.

[B]

Oh, it's more wonderful than ever.

[A]

And so are you, Mrs. Mike Bradley. The chains are broken and our play comes to its close. But Joan Crawford and Franchotone will be back in a moment for a curtain speech. Two and a half million letters and postcards from movie fans are received at the studios each year. The bulk of this mail is addressed to the stars and asked the same question. How can I get into the movies? Tonight? That question will be answered by the dramatic coach of Metro Goldwyn Mayer Studios. Formerly director of the famous Little Theater of Dallas, Texas. He probably interviews more candidates for stardom than any man in Hollywood. Ladies and gentlemen, Mr. Oliver Hinsdell. Well, Mr. DeMille, I think that even you must admit that that's a pretty big order. But of course, in this case, how can I get into the movies means how can I act in the movies? Acting is an art, and an art of any kind is a hard taskmaster. There's no formula, no open sesame into this land of make believe, save that of work, work, work. Believe me, there is. There is in addition to this prime requisite of work, the requisites and requirements of imagination, idealism, sincerity, a knowledge of life, true love of mankind and a good appearance. These requirements are so essential and so seldom found in one person that when I came to Metro Golden Mayor, they told me that they would be well satisfied if I found even one promising actor in five years. Well, we've been perhaps a little more fortunate than that. One must have more than a love for acting. He must be willing to leave all for it, even to go without food for it. To think and to live nothing but theater. It's not merely a place to show off a good voice, a good profile, a fine figure. We must be careful, lest our urge for the art of the theater is not confused with the desire for self exploitation. When we have reached the stage in our thinking that we ask nothing of the theatre but are willing to give all to it, then we may know that the urge is real and cannot and will not be denied. There's no one key that will open the gates, but a combination will perhaps Find that combination and you will enter but once in. The real work only just begins. Here are a few of the combination numbers, so to speak. The aspirant must have a broad vision and understanding, a cultivated mind. He should know history, literature, painting, sculpture, music. He should know his Bible. His body must be healthy, active, and must respond to his bidding. A fine, clear complexion, which denotes health, vigor, vitality. And there is no better way to a clear complexion than a clear skin. And I know of no better way to a clear skin than by the use of pure toilet soap, luxe toilet soap, for instance. You do not need to be beautiful. Marie Dressler and Wally Beery never won beauty contests. If you are beautiful, don't be misled into thinking that that's all that it requires to get into the movies. The ranks of Hollywood unemployed are full of those with nothing but beauty. I've tested at least a hundred thousand young men and women for this screen, including those that I've judged from photographs and written reports. Of these, only 17 have made the grade. Among them are Gene Parker, Robert Taylor, Irene Hervey, Martha Sleeper, America Lyle Robert Young, Betty Furness, Michael Whalen, Virginia Bruce. Some of the others are already equally well known. Others you may never hear of. If you are still determined to go into pictures, take whatever opportunity you can get. Go to the little theaters or any amateur group in your neighborhood. Start in, if necessary, by sweeping the floors. Paint, scenery, understudy, be a prompter, do anything and don't worry. If you think perhaps that I have painted a dismal picture, bear in mind that every major studio spends thousands of dollars yearly scouting the country for promising performers. We always need talent. Your big chance will come when you are ready to accept it. And only then. Good luck and good night. Before the movies discovered glamour. It was just an old scotch word meaning a spell cast by magic. But a good two word definition of the term today would be Joan Crawford. She is of course one of the best dressed women in Hollywood. And I seem to have contributed to her leadership in style because I discovered her designer, Adrian. In fact, Adrian asked me to look at the first gown he designed for her. I agreed and waited for her to come to my office. After a while there was a knock at the door. I said, come in, Joan. The door opened. Joan took one look at me and fled, apparently in terror. I didn't know until this week why she ran away. And think the reason is one she better explain to you herself, Ms. Joan Crawford.

[B]

To tell the truth, I was scared to death of Mr. DeMille. I had visions of entering a room in complete darkness and suddenly finding myself underneath a blinding spotlight. With Mr. DeMille seated on a throne and shouting, it won't do. The shock of finding him a human being was too much. I had to run.

[A]

It's time to do something when beautiful women run from you like they do from Harpo Marx. But no need to apologize, Joan. Your performance tonight makes up for everything. My congratulations to you also, Francho. It's been great playing on a program that Joan and I listen to so often, CB And I'd like to congratulate you on the way you speak, Joan. And I call you the final G man because you never drop a final G. I speak an entirely different language on the set. Out there, Jenny isn't a girl's name. It's an electrical generator. A high hat isn't something you wear. It's a camera stand. A lily isn't a flower. It's a good take or scene. I once asked a new assistant director to rush a lot of babies on the set. In 10 minutes, he was back with about 50 children. And what I wanted was some spotlight.

[B]

You learn more in pictures with a new language. For instance, Clark Gable learned to swim. When we were making change, a script called for several swimming scenes. And Clark couldn't swim a stroke at the time. But I taught him how. And in return, he taught me how to shoot a gun.

[A]

Personally, I'm a chess player. You can see where Joan gets her complexion, CB Swimming, shooting. She's out of doors all the time.

[B]

In just a minute, dear. If you were a little more there, you'd know that Lux toilet soap has lots to do with it. I've used Lux for years at home on the set. And I even carry it with me when I go away. It's really wonderful.

[A]

So that's the secret, is it? Here's another little secret, CV Joan's taking singing lessons. Oh, won't you sing for us, Joan?

[B]

No, Mr. DeMille.

[A]

Joan. Joan. Whoever heard her saying no to Mr. DeMille?

[B]

Millions of people just heard it. But I'll make up for it by announcing next week's show.

[A]

Oh, thanks.

[B]

Next week, Barbara Stanwyck and Fred McMurray will be with you in the Lux Radio Theater. The play is Main street, adapted from the famous novel by Sinclair Lewis. And with two such marvelous players, you can look forward to a really great program. My thanks to you all, and good night.

[A]

We'll be listening in next Monday. Good night, C.B. good night. Thank you, Ms. Crawford and Mr. Tone, and lots of success to both. Of you in your new Metro Goldwyn Mayor picture, the gorgeous Hussey, soon to be released with Robert Taylor, Lionel Barrymore, Melvyn Douglas and James Stewart. Our cast tonight included Gilbert Emery, Wally Mayer, Lou Merrill, Frank Nelson, Margaret Seddon, Walter Solderling and Leora Thatcher. Ms. Crawford, Mr. Tone and Mr. Hinsdell appeared through courtesy of MGM. Our play Change was based on the MGM photoplay of the same name, which starred Ms. Crawford and Clark Gable. Mr. DeMille and Ms. Burgess appeared through courtesy of Paramount and Mr. Lewis Silver's 20th Century Fox, where he has just completed the musical arrangements for To Marry with Love and now Mr. DeMille. As Ms. Crawford announced, our play next Monday night is Main street, starring Barbara Stanwyck and Fred McMurray in this modern classic by Sinclair Lewis. Our sponsors, the makers of Luxe Toilet Soap, join me in inviting you to be with us at that time to welcome Ms. Stanwyck and Mr. McMurray. This is Cecil B. DeMille saying good night to you from Hollywood. Sam Love Will tell, from the 20th Century Fox production. Sing, baby, sing. This is the Columbia Broadcasting System.