Lux Radio Theatre - From This Day Forward

Summary

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Harold's Old Time Radio: Lux Radio Theatre – From This Day Forward

Podcast: Harold's Old Time Radio
Episode Date: July 9, 2026
Episode: Lux Radio Theatre - From This Day Forward
Main Cast: Joan Fontaine (Susan), Mark Stevens (Bill), Eddie Marr (Hank), Anne Stone (Martha)

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Overview

This episode presents a dramatized radio adaptation of From This Day Forward, a poignant postwar story originally produced by RKO. The play, starring Joan Fontaine and Mark Stevens, explores the struggles of returning soldiers and their families as they confront the challenges of peacetime America after World War II. Set against the backdrop of New York City, it traces the journey of Bill and Susan as they navigate love, uncertainty, employment struggles, and the hope for a brighter future. Emphasis is placed on the resilience of love and the strength required to face life's unexpected challenges together.

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Key Discussion Points & Plot Breakdown

Opening Theme: The Future After War

• [00:36] Producer William Keeley ties the play’s themes to the unveiling of the Statue of Liberty, symbolizing new beginnings in America. He notes the connection to returning servicemen and the “problems and complexities of present day America.”

  "It's a story of love and hope against the background of this changing and exciting world." – William Keeley (00:36)

Act 1: Transition to Civilian Life

• [02:53–05:50] Bill Cummings, recently discharged from the Army, meets with his wife Susan (Susie) and prepares to seek new employment.

• Moments of affection and nostalgia set the emotional tone. The chemistry and playful exchanges illustrate the warmth of their relationship despite looming uncertainty.

  "Looks like you learned some bad habits in the army." — Susan (Susie) (03:14)

• Family dynamics are introduced with visits to Susan’s sister Martha, her husband Hank, and their children. The setting emphasizes cramped city living and generational contrasts.

  “It's bad enough to live in the same house with your mother-in-law, but when she owns the building...” – Martha (07:02)

• Employment struggles are further explored, and the omnipresence of forms and bureaucracy for returning veterans is detailed.

  "Forms. Fill out the forms. Always a form, soldier… Ever ask, do you love your wife? Like to have kids? You ever been hungry?" – Bill (04:37)

Act 2: Hardships and Hope

• [20:56–23:34] Bill’s difficulties in finding and keeping steady work intensify, with long sequences depicting both his and his extended family’s struggles to survive in the city.

• Financial strains and the humility involved in accepting help from family are candidly portrayed, particularly through Martha and Hank’s recurring need for loans.

• Memorable moment: Young Timmy’s innocent, yet heartbreaking offer to help Uncle Bill get a soup bone from the butcher.

  "I just go to the butcher and tell him I want a bone for my dog. I bring the bone home and mom makes soup out of it....I can do it for you and Aunt Susie tomorrow." – Timmy (26:34)

• A flashback details Bill’s involvement in a criminal libel case, the result of unwittingly illustrating for an incriminating book, reflecting both the economic desperation and hazards faced by working-class families.

  "You're charged with being an accessory to a criminal libel." – Court (33:28)

• The strength of Susan’s support for Bill, regardless of his employment status, is a recurring theme:

  "You still got your trade. And you got your tools. And you got Me?" – Susan (19:58)

Act 3: Endurance, Family, and Anticipation

• [40:53–46:08] As Bill attempts to find new work, reflections on their anniversary, moving apartments for cheaper rent, and living through lean years are interwoven.

• Their marriage’s ups and downs play out in small, poignant moments—the playful argument over a broken bracelet, the tension of financial uncertainty, and the melancholy of a “missed” breakfast before Bill’s army induction.

  "All it takes to make a honeymoon is just you and me." – Susan (20:17)

• The war’s toll on personal hopes (postponed plans for children, separation, and missed connections) is a recurring motif.

• Upon returning, Bill faces the daunting task of reentering the workforce through the Employment Service, candidly expressing the uncertainty and fear many veterans shared.

  “A guy's gotta depend on a job for a living. What rights he got to think of marriage?...Supposing he loses his job?” – Bill (12:23)

Resolution & Hope

• Bill finally gets an opportunity for a foreman job interview, a small but meaningful light at the end of the tunnel.
• [50:29] The couple’s anticipation of their first child marks a turning point; despite continued uncertainty, hope persists.
• The closing act underscores mutual support:

  "There's nothing wrong with being scared. We'll be scared lots of times." – Bill (53:38)

• The story ends with the couple looking out over the Harlem River, reflecting on their journey and new beginnings.

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Notable Quotes & Memorable Moments

• “Remember, now, as you work, that you have three mouths to feed. Yours, your wife’s, and that of the J.J. Wilson Machinery and Engineering Corporation.” – Letter read by Susan (15:13)
• “We're gonna buy you a drawing board.” / “I got a drawing board.” / “I mean, a really good drawing board.” – Bill and Susie’s playful debate (15:37)
• “Dad, did you know that Bill here is a machinist? Me, I'm gonna get a chicken farm.” – Hank (09:32)
• “Will you stop saying good, Bill?” / “Good.” – Susan & Bill, after a long day ending in a minor domestic row laced with underlying love (18:22)
• “We'll have coffee together. I'm getting like, black coffee.” – Bill, in a bittersweet farewell as he leaves for military duty (46:51)

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Key Timestamps

| Time | Segment / Event | Description | |---------|---------------------------------------|-------------------------------------------------------------------| | 00:36 | Opening & Setting Theme | Statue of Liberty as symbol of hope and new beginnings | | 02:53 | Bill’s Return from War | Bill and Susan’s loving exchange shows emotional vulnerability | | 05:39 | Family Introductions | Dynamics in Martha and Hank’s household discussed | | 11:54 | Harlem River Bridge | Bill & Susan’s engagement scene; Starlight wish motif | | 18:04 | Job Loss & Emotional Fallout | Bill returns home drunk, reveals layoff | | 26:34 | Soup Bone Memory | Timmy’s offer highlights economic hardship | | 29:00 | Employment Service Interview | Bill discloses police record; honest self-appraisal | | 33:28 | Courtroom Drama | Bill pleads guilty as accessory; justice tinged with mercy | | 35:42 | Anniversary Amid Hardship | Celebrates resilience in the face of adversity | | 42:30 | Separation & Night Shifts | Emotional gap and longing caused by Bill’s night work | | 46:22 | Induction Morning | Moving portrayal of pre-draft anxiety and tenderness | | 49:52 | Glimmer of Opportunity | Bill is offered a job interview at last | | 50:29 | Pregnancy News | Susan reveals her pregnancy to family; hope renewed | | 53:38 | Facing the Future Together | Bill admits his fear, but Susan and he commit to hope |

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Cast & Character Dynamics

• Susan (Susie) [Joan Fontaine]: Unfailingly supportive, hopeful, and practical. Her optimism and faith in Bill act as an emotional anchor throughout the story.
• Bill Cummings [Mark Stevens]: Earnest, sensitive, often plagued by self-doubt due to work instability, but ultimately resilient through his wife's support.
• Martha & Hank: Serve as a foil—mirror the couple's struggles, showcase familial bonds, offer moments of humor and realism.

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Tone & Style

• Language: Informal, heartfelt, laced with humor and tenderness. Authentic 1940s dialogue captures both the warmth and struggles of working-class families.
• Overall Mood: Poignant but hopeful. The play does not shy from the hardships of reintegration or financial struggle, but ultimately focuses on love’s endurance and the importance of hope.

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Final Reflections

From This Day Forward paints an evocative portrait of ordinary Americans rebuilding their lives after war. Its emotional authenticity, laced with both laughter and hardship, offers a timeless testament to perseverance, mutual support, and the enduring power of hope in uncertain times.

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For listeners: This episode beautifully encapsulates the Golden Age of Radio’s blend of drama, social commentary, and everyday human connection. Whether new to radio theater or a longtime fan, the story of Bill and Susan offers relatable, resonant drama from a bygone era, full of heart and hope.

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Transcript

[Announcer (John Milton Kennedy)]

Lux presents Hollywood. The Lux Radio Theater brings you Joan Fontaine and Mark Stevens in from this day forward. Ladies and gentlemen, your producer, Mr. William Keeley.

[Producer (William Keeley)]

Greetings from Hollywood, ladies and gentlemen. 60 years ago today, October 28th, the Statue of Liberty was unveiled in New York Harbor. Since then, millions of people have sailed beneath her upraised torch to a new life in a brave new world. Our play tonight, RKO's recent hit, from this Day Forward deals with the most important of these millions, our own men in uniform, returning to the problems and complexities of present day America. It's a story of love and hope against the background of this changing and exciting world. And we're fortunate in having both stars of the picture. Joan Fontaine, one of Hollywood's most accomplished players, and Mark Stevens, whose spectacular rise to stardom heralds a brilliant future. I imagine all of us are thinking in terms of from this day forward, wondering what the future holds. But how many of you know that Halloween, which we observe on Thursday, was originally a day of fortune telling and prophecy. It was a day when young girls especially resorted to many forms of magic ritual to find out when and whom they'd marry. Nowadays, I'm sure young girls depend more on their personal attractiveness to win a husband, on the kind of complexion, loveliness that luxe toilet soap care can bring. And once you try luxe toilet soap and get acquainted with its form of magic, I am sure that you'll depend on it from this day forward. On to our play, starring Joan Fontaine as Susan and Mark Stevens as Bill. Our curtain rises on Act 1. It's mid afternoon in New York City. In front of a large office building, a young man in uniform pauses before entering and turns to the girl at his side.

[Bill Cummings]

Well, I. I guess I better go on. Susan, where'll you be?

[Susan (Susie)]

Oh, I'll go and help Martha.

[Bill Cummings]

Oh, yeah, that's. That's right. The moving day, huh?

[Susan (Susie)]

What you looking for?

[Bill Cummings]

Well, that. That card they gave me at the Separation Center. I need it. You're supposed to short term when you go to the employment service. I. Oh, here it is. Well, goodbye, honey.

[Susan (Susie)]

Goodbye, Bill. Hey, wait a minute.

[Producer (William Keeley)]

Huh?

[Susan (Susie)]

Kiss. Oh, that's better. Looks like you learned some bad habits in the army.

[Bill Cummings]

I. I sure didn't do much kissing.

[Susan (Susie)]

Well, maybe it was a good habit then. Oh, Bill, remember the first time you kissed me?

[Bill Cummings]

I'm sure I remember the time we took the Hudson river day boat up to Newburgh, Bill. Oh, wait a minute. I remember. It was the time you had a date with. With Victor Balbrain. And you found out you didn't have a date with him at all?

[Susan (Susie)]

No, it wasn't. It was on August 21st at 10 o'.

[Bill Cummings]

Clock. You're sure it wasn't 9? 29?

[Susan (Susie)]

Cause I was wearing my blue silk and I snagged my stockings. And we were sitting in the club room with a Y and I said that you needed a haircut. And then you got mad and you kissed me. That was the first time.

[Bill Cummings]

You know, baby, you almost made me forget.

[Susan (Susie)]

Forget what?

[Bill Cummings]

There's no time for memories. I better get going.

[Susan (Susie)]

Oh, good luck, darling.

[Bill Cummings]

Thanks.

[Susan (Susie)]

And don't worry. Cause I know you're gonna get a job. A good job.

[Bill Cummings]

Sure I am. Don't you worry either.

[Susan (Susie)]

US Employment Service. Mr. Hoffman.

[Hank]

One moment, I'll.

[Susan (Susie)]

US Employment Service.

[Bill Cummings]

I beg your pardon? Yes, I want a job.

[Susan (Susie)]

Name, please.

[Bill Cummings]

William Cummings.

[Susan (Susie)]

Your discharge paper?

[Bill Cummings]

Here.

[Susan (Susie)]

What kind of work did you do?

[Bill Cummings]

I was turret lathe operator.

[Susan (Susie)]

You'll take this form, please, and fill out this paper. There are several questions you'll have to answer. If you'll take it over to that table, please.

[Bill Cummings]

Oh, yeah, yeah. Thanks. Forms. Fill out the forms. Always a form, soldier. Always some questions. What do you expect? You want a job, you gotta answer questions. Ever ask do you love your wife? Like to have kids? You ever been hungry?

[Hank]

Scared?

[Bill Cummings]

How do you feel about things in general? Why should it? Just answer the question, soldier. Just answer the question.

[Producer (William Keeley)]

Hey, you sure jumped, Sergeant.

[Bill Cummings]

Yeah, I guess I did. It's only thunder.

[Producer (William Keeley)]

Gonna rain?

[Bill Cummings]

I sure hope so. Cool things off, maybe. Rain. You're home, soldier, and it's raining. Ah, rain's lucky. That's what Susie said eight years ago, just before we were married. I remember standing by the doorway. Rain's lucky for us. She said rain's luck. Hey, get back in the doorway. You'll get soaked.

[Susan (Susie)]

Oh, who cares? Rain's lucky for us. Rained the day you came to New York. And it rained the day we met.

[Bill Cummings]

Sure, it's coming down. Say, maybe we better not go to Martha's, huh?

[Susan (Susie)]

Oh, Bill, she's just my sister. She'll love you.

[Bill Cummings]

You're afraid too?

[Susan (Susie)]

Yeah, a little bit. The subway's just down at the corner. Let's run for it.

[Bill Cummings]

Okay, ready? Here we go. Come on, baby. Your family can't scare us.

[Susan (Susie)]

We sure picked a fine time to bring your beau. Susie, the apartment's a mess. Oh, we came to see you, not the apartment.

[Bill Cummings]

Susan, I were wondering if you could take in a movie with us.

[Susan (Susie)]

I wish I could, Bill, but I can't. Leave this ironing. Say, where's Hank? Sleeping, naturally. Oh, I wanted him to take the kids to the park, but the rain.

[Bill Cummings]

Oh, it stopped raining now. Oh, say, we saw the kids outside. Gee, this while.

[Susan (Susie)]

Stay out of the gutter, you kids. Timmy. Who's that? Bob Beasley. Barbara? Who else? Excuse me a minute. Timmy. Are you and Barbara playing in that gutter again? No, ma'. Am. Well, then what are you fussing at them for? Mom, I ain't fussing. I just told them not to go before they went. I thought you were going for a ride with Jake and Charlie. Well, Jake ain't here yet. Besides, they don't want an old woman like I go along. Oh, Ma, don't talk like that. My mother in law. Bill, you'll probably get a fine impression of me, but honest, someday I'm gonna kill that dame. Martha. She lives upstairs, Bill. All day long she sits at the window yelling at the kids.

[Bill Cummings]

Yeah, Susie introduced me to her.

[Susan (Susie)]

You mean you've been up to see her? Uh huh. From the street we yell too. It's bad enough to live in the same house with your mother in law, but when she owns the building. Well, the minute Hank gets a job, we're gonna clear out of here so fast.

[Hank]

Hello, Susan.

[Susan (Susie)]

Oh, so you decided to get up, huh?

[Hank]

How can I sleep with you yelling out the window all the time? Well, Susie, is this the guy?

[Susan (Susie)]

Oh, stop it. Bill, this is Hank.

[Bill Cummings]

Oh, how do you do?

[Hank]

Glad to know you, kid.

[Susan (Susie)]

And why don't you put on a shirt?

[Hank]

What for? My underwear's clean.

[Susan (Susie)]

You might just pretend to have some manners.

[Hank]

Hey, how about a little beer for our guests?

[Susan (Susie)]

It's in the icebox. Go and get it.

[Hank]

Come out in the kitchen, Bill. I'll give you the lowdown on these two days before you get sucked in.

[Susan (Susie)]

Excuse me, honey, if I keep on ironing. Do you like him, Martha? I wouldn't mind ironing if it wasn't. You like him, Martha? Susie, do me a favor. Think a good long time before you go and get married. Oh, now wait a minute. No, I mean it, Chris. I want you to use your own judgment. I haven't heard that for a long time. Remember how it used to work? Yeah, I know. Susie. Why don't you? Why don't I what? Why don't you learn something from Hank and me? Look at us. Why don't you leave Hank? Leave Hank? But he needs me. And you need him. And you love him, don't you? Yeah, yeah, sure I do. But that's got nothing to do with you? You're different, Susan. I don't know. It's so hard to figure out.

[Hank]

Nothing like a good class affair. You know something? I'm glad it's Sunday. I don't have to go out and look for a job. Now, what was that you were saying?

[Bill Cummings]

Oh, nothing important. I.

[Hank]

Say, how did you and Susie happen to get together?

[Bill Cummings]

Oh, well, we met at the.

[Hank]

Well, now, you take Martha and me. We both had jobs at the same factory making cardboard boxes. You and Susie gonna get married? Martha had an awful time deciding about us, but finally she says okay. And she gives up her career, and we've done it. Susie gonna quit the bookstore?

[Bill Cummings]

Well, you know, we talked about it.

[Hank]

Ah, don't let her do it, kid. No, sir. Well, drink up, kid. Mazel top. Ah, Say, you're a great little talker, ain't you?

[Bill Cummings]

Oh. Oh, sure. So are you.

[Producer (William Keeley)]

Huh?

[Susan (Susie)]

You haven't given up your job, Susan. Not yet. Or your room at the YW isn't much of a life, is it? But just don't go trading it in for something worse. I guess I haven't got any right to go balling you out. Oh, I. Sure you have, Martha. You got a reason. But I don't see why you're so worried about Bill and me.

[Hank]

Hey, Martha.

[Susan (Susie)]

What is it? I see the way he looks at you, and I.

[Hank]

Hey, Martha, did you know that Bill here is a machinist?

[Bill Cummings]

Well, I've been.

[Susan (Susie)]

Well, he works at Tartlade, you know. He brought his micrometer from the shop once, and he measured my hair. My hair measures 1.2 thousandth.

[Hank]

I guess you don't like a tray like that overnight.

[Susan (Susie)]

Yeah, I guess you'd know he sets up lays too.

[Hank]

Me, I'm gonna get a chicken farm.

[Susan (Susie)]

Oh, sure.

[Hank]

Now, look, you take 100 chickens, Bill, you give them the benefit of the doubt, and they knock out 50 eggs a day. At the end of the week, you got 350 chickens. And at the end of the year, you're lousy with them. Then all you do is sit back and watch them. Wait. You get the picture.

[Susan (Susie)]

Yeah, but first you gotta get the job to get the money to get the chickens. Try getting that picture.

[Hank]

All right. Sure. But didn't I just read in the paper that instead of 8 million unemployed, there's really only Mama?

[Susan (Susie)]

Mama. Uncle Jake's Barber meet and go in the car too. Can we, Mommy? No, it's too close to supper. But I want to go. I want to go. Oh, you always bawling. It don't make no difference to me, mom, but Barbara might get upset and be sick like she does when she don't have her way, huh, Barbara? Timmy, I just said she might.

[Hank]

Aw, let the kids go, Martha.

[Susan (Susie)]

Oh, well, but get in there and wash first. Okay. Come on, Barbara. You see, I told you.

[Bill Cummings]

I think maybe we better be getting along too. Sissy.

[Susan (Susie)]

Oh, so soon? Yeah, I guess.

[Hank]

Say, Bill, I hear you're studying to be an artist.

[Bill Cummings]

Now, wait a minute.

[Hank]

Is this supposed to be a secret or something?

[Susan (Susie)]

Well, you think so? Isn't it, Bill?

[Bill Cummings]

It's just I'm not much good at it yet, and it's kind of silly to talk about it. Well, what do you say, Susie?

[Susan (Susie)]

Well, bye, Martha. So long, sis. Don't forget what I said. I won't.

[Bill Cummings]

Thanks for the beer, Hank.

[Hank]

Just don't do nothing I wouldn't do.

[Producer (William Keeley)]

You love bites.

[Susan (Susie)]

Goodbye, Terry. Bye, Barbara.

[Hank]

Bye. Hey, Susie.

[Susan (Susie)]

Yeah?

[Hank]

Maybe I'll come in that bookstore and buy a book someday.

[Susan (Susie)]

Yeah, why don't you, Hank? Martha, the kids can read it to you.

[Bill Cummings]

You know, we've been so busy walking, I. I never asked you. Did you like the movie?

[Susan (Susie)]

Oh, it was all right, I guess. Liked it. Bill, let's stop here a minute.

[Bill Cummings]

Okay.

[Susan (Susie)]

You know, whenever I take a walk, I like to stop here. Now, why? Because you once painted a picture of this bridge over the Harlem River. And tonight it's just like it was in your painting. Quiet and dark and the river glistening down there.

[Bill Cummings]

And what?

[Susan (Susie)]

One lonely star in the sky.

[Bill Cummings]

Yeah. First star. Go on, make a wish.

[Susan (Susie)]

Starlight, star bright, first star I see tonight. I wish I may, I wish I might. I wish it'd come true tonight.

[Bill Cummings]

What'd you wish?

[Susan (Susie)]

Oh, that every day was Sunday. Do you know what I mean?

[Bill Cummings]

Yeah, me too. Susan, a guy's gotta be practical. A guy's gotta try and look ahead.

[Susan (Susie)]

Yeah.

[Bill Cummings]

A guy's gotta depend on a job for a living. What rights he got to think of marriage?

[Susan (Susie)]

What right?

[Bill Cummings]

Well, supposing he loses his job?

[Susan (Susie)]

Well, I know. You're thinking Hank, aren't you? Hank and my sister.

[Bill Cummings]

No, no, not especially. Besides, they were that way. Cause the heat may be. It's been hot today.

[Susan (Susie)]

You should see him in the wintertime.

[Bill Cummings]

All right, take Hank then. I don't get it. There's a guy with a wife and two kids and no job. Can you imagine how he feels? He must be sorry he ever got married.

[Susan (Susie)]

Martha loves him.

[Bill Cummings]

That makes it even worse. I don't know what they expected, what they got handed to them. Isn't much of an argument for marriage, is it?

[Susan (Susie)]

Is it?

[Bill Cummings]

Oh, Susan, how can I be sure of anything? How can I promise a girl security or guarantee her happiness?

[Susan (Susie)]

Bill, do you love me?

[Bill Cummings]

Yes.

[Susan (Susie)]

Are you asking me to marry you?

[Bill Cummings]

Yeah, I guess I am. Since you put it that way, I guess I am. Are you surprised?

[Susan (Susie)]

No.

[Bill Cummings]

Gosh, I never thought it'd be anything like this. Hot Sunday night, high bridge in the Bronx. That's all I've got. Maybe it isn't enough, but you'll make a beautiful bride.

[Susan (Susie)]

Susan, all brides are beautiful. Cause they're young and full of hope. And they're kind of all shiny inside. Martha was a bride once. Even though mob. Easley.

[Bill Cummings]

Yeah. What else can I say? That I love you. I've said that.

[Susan (Susie)]

What are we waiting for?

[Bill Cummings]

Bill, are you afraid?

[Susan (Susie)]

Yes, Bill.

[Bill Cummings]

So am I, baby. So am I. When you got married that week, back for the future, we said, why shouldn't we do? All right. Yeah, why shouldn't we? Except now, today in 1946, where am I? Looking for a job. Filling out forms. Questions, more questions. Afraid to go home? Almost afraid. I. I remember our first home in just a tiny apartment. I was swell. I remember what Susie said. Isn't it wonderful? She said to have a place where you can lock the door.

[Susan (Susie)]

You can lock the door and it's all ours. All ours, Bill, and nobody else's.

[Bill Cummings]

That's all I thought about all day, Susie, about hurrying back home.

[Susan (Susie)]

Bill, look. A wedding present for my boss.

[Bill Cummings]

A book.

[Susan (Susie)]

Uh huh. An entire book on how to make good coffee.

[Bill Cummings]

Oh. After all the years you worked in that bookshop, you'd think Higler would give me something.

[Susan (Susie)]

Billy was very nice. And didn't he give me three whole days off on our honeymoon?

[Bill Cummings]

Well, pretty soon maybe we can tell him to find somebody else. I don't like my wife working.

[Susan (Susie)]

Oh, darling, I thought we weren't going to talk about that anymore.

[Bill Cummings]

Yep, that's right. Say, Susie, what would you do if you had 25 bucks?

[Susan (Susie)]

Oh, buy a house maybe, or a car.

[Bill Cummings]

No, I mean it. What would you do?

[Susan (Susie)]

What are you talking about?

[Bill Cummings]

Well, how do you like that? I come home with 25 bucks in my wife.

[Susan (Susie)]

$25?

[Bill Cummings]

Not only that, I got a letter from the boss.

[Susan (Susie)]

Bill, you didn't.

[Announcer (John Milton Kennedy)]

Sure.

[Bill Cummings]

Here. Go on, read it.

[Susan (Susie)]

Dear Mr. Cummings, on behalf of the company, may I extend felicitation on your recent marriage. Remember now as you work, that you have three mouths to feed.

[Producer (William Keeley)]

Three.

[Bill Cummings]

Go on.

[Susan (Susie)]

Yours, your wife's and that of the J.J. wilson. Machinery and Engineering Corporation. J.J. wilson, president. Okay, where's the check?

[Bill Cummings]

Right here. Says, paid the order of William Cummings the sum of $25 to buy something special for Mrs. Cummings, like. Like a new dress.

[Susan (Susie)]

Oh, no, you don't. We're gonna buy you a drawing board.

[Bill Cummings]

I got a drawing board.

[Susan (Susie)]

I mean, a really good drawing board.

[Bill Cummings]

Susie, we're gonna buy you a dress.

[Susan (Susie)]

Drawing board.

[Bill Cummings]

I got a drawing board.

[Susan (Susie)]

I got a dress.

[Bill Cummings]

Now, look.

[Susan (Susie)]

Well, how about a savings account? We'd get one of those little books, and then each week we. Hey, and another thing. J.J. wilson's got his eye on you, huh? Sure he has. He sent you a letter and a check, didn't he?

[Bill Cummings]

Oh, honey, he's got 3,000 men waiting for him.

[Susan (Susie)]

And they all got letters and checks.

[Bill Cummings]

Of course not.

[Susan (Susie)]

But you see, it's like I said. J.J. wilson's got his eye on you.

[Bill Cummings]

Susie, baby, I've never even seen J.J. wilson. The foreman gave me the check.

[Susan (Susie)]

Well, Mr. Wilson knows you got married, doesn't he?

[Bill Cummings]

It's on my file. It's routine.

[Susan (Susie)]

Well, he sent you the letter.

[Bill Cummings]

Yeah. Spelt my name wrong.

[Susan (Susie)]

Well, the point is, you got a check from J.J. wilson. And, Bill, I'm so proud of you. And I love you. I love you.

[Bill Cummings]

Or someday you'll know who I am, Susie. Someday he'll spell my name right.

[Producer (William Keeley)]

Well, how you doing, Sarge? I'm stuck with this thing.

[Bill Cummings]

Well, I'm kind of working at it, Lieutenant.

[Producer (William Keeley)]

You having trouble? You shouldn't miss. Say, that's some list of jobs you've had.

[Bill Cummings]

You seem to be having a little trouble, too.

[Producer (William Keeley)]

I know I am. I know who I am and where I live and what race I am. Those questions I can answer. That's where I stop. There's no space on the forum to say what you'd like to. You see, I never worked before.

[Bill Cummings]

Well, maybe you learned something in the army that.

[Producer (William Keeley)]

Yeah, learned to drop bombs. But that's an old trade. Yeah, I guess a fella's really out of luck until he learns some trade. Then he's safe. Hey, like you, for instance. Turret lathe operator. I sure wish I could do that.

[Bill Cummings]

Oh, you'll do all right, Lieutenant.

[Producer (William Keeley)]

Yeah, sure, I'll do all right.

[Bill Cummings]

He thinks a guy's safe, he's got a trade. Well, keep telling that to yourself, Bill. Sell yourself on that. You're safe. You're safe. Yeah, but things happen that are bigger than the guy Ores trade. You're a bombardier. War's over. No more bombs or you're a turret lathe operator, and there's a depression. No more jobs. The day they hand you the pink slip, you'd rather do anything than go home and tell your wife. So you stop off and buy a drink. Buy another and another.

[Susan (Susie)]

Hello, Bill.

[Bill Cummings]

What do you mean, I'm drunk?

[Susan (Susie)]

Now, Bill, I'm not mad.

[Bill Cummings]

Good.

[Susan (Susie)]

And I don't want to be a nagging wife.

[Bill Cummings]

Good.

[Susan (Susie)]

And I don't expect to know where you are every minute of the time, even if it is half past eleven.

[Producer (William Keeley)]

Good.

[Susan (Susie)]

And I don't want you to feel tied down in any way.

[Bill Cummings]

Good.

[Susan (Susie)]

Will you stop saying good, Bill?

[Bill Cummings]

Good.

[Susan (Susie)]

Now, you knew Martha and Hank were coming here to dinner. You knew I made a special dinner with stuffed peppers and everything. And how do you think they felt? How do you think I felt? I thought you were sick or you had an awful accident or something. And then you come home like this.

[Bill Cummings]

Okay, so I'm drunk.

[Producer (William Keeley)]

So what about it?

[Susan (Susie)]

You're drunk as an old goat. Go on. Go to bed now. What's that box?

[Bill Cummings]

It's my toolbox.

[Susan (Susie)]

What'd you bring it home for?

[Bill Cummings]

That's what it is. My toolbox. Belonged to my father. Made himself. Gave them before he died. It's beautiful. What'd I say? Come on, what'd I say?

[Susan (Susie)]

What do you mean?

[Bill Cummings]

Well, I proposed to you on the bridge that night. What'd I tell you?

[Susan (Susie)]

You said you loved me.

[Bill Cummings]

Yeah? Yeah. What else?

[Susan (Susie)]

Well, that you wanted to marry me.

[Bill Cummings]

Go on.

[Susan (Susie)]

Well, you said you couldn't promise me happiness.

[Bill Cummings]

That's right. What else?

[Susan (Susie)]

For guarantee security.

[Bill Cummings]

I did, and I was right. I'm always right. Remember that lovely little letter I got from J.J. wilson?

[Susan (Susie)]

Yeah.

[Bill Cummings]

That's a day I got another lovely little letter. Only this time he didn't single me out. All the boys got one.

[Susan (Susie)]

Let me see it now.

[Bill Cummings]

Sit down. I'll read it to you. Dear Mr. Or you read it.

[Susan (Susie)]

Dear Mr. Cummings. Owing to circumstances beyond my control, J.J. wilson, machinery and Engineering Corporation, is forced to curtail its production. Therefore, I regret to say your services are no longer required.

[Bill Cummings]

Well, now you know. Let me spell my name wrong.

[Susan (Susie)]

Come here, Bill.

[Bill Cummings]

Oh, Susie. Susie. I lost my job.

[Susan (Susie)]

Yeah. Yeah, I know. But it's gonna be all right. Maybe better. I've still got my job, and we've saved some money.

[Bill Cummings]

Ah, 35 bucks.

[Susan (Susie)]

Well, my salary won't go far either. But what are we supposed to do, Break down and cry? Well, I'm not gonna. See, you still got your trade. And you got your tools. And you got Me?

[Bill Cummings]

Oh, Susie, it's just that I love you so. I.

[Susan (Susie)]

Who will? And kiss me.

[Bill Cummings]

Our honeymoon is over now, isn't it, baby?

[Susan (Susie)]

Listen, Bill, all it takes to make a honeymoon is just you and me. Do you understand that?

[Bill Cummings]

Yeah, I understand.

[Susan (Susie)]

Don't ever forget it, Bill. Not ever.

[Producer (William Keeley)]

In a few moments, we'll bring you act two of from this Day Forward, starring Joan Fontaine and Mark Stevens. Here's Libby Collins, our Hollywood Reporter. What's new and exciting, Libby?

[Susan (Susie)]

Well, for one thing, Mr. Keeley, this afternoon I saw Paramount's exciting new picture, two years before the Mast.

[Producer (William Keeley)]

Charles Dana's classic tale of adventure aboard a sailing ship in 1834. Life at sea was a bit rugged then, wasn't it, Libby?

[Susan (Susie)]

Oh, that's understating it, Mr. Keely. And while the picture was being filmed, life for the cast was rugged too. You know, they built a full size reproduction of the ship complete with 90 foot mast. I watched Alan Ladd and William Bendick shinny up that mast to furl the sails during a raging studio made storm. It was breathtaking and really dangerous as well.

[Producer (William Keeley)]

And the love interest?

[Susan (Susie)]

Oh, very exciting. Paramount brought Esther Fernandez from Mexico to play the feminine lead.

[Producer (William Keeley)]

Mexico's Academy Award winner.

[Susan (Susie)]

Mm. She's known and admired throughout Latin America and she'll make a hit with American audiences too. She's quite lovely.

[Producer (William Keeley)]

How did she like us north of the border?

[Susan (Susie)]

Oh, very much. She told me one thing that made her feel quite at home. And this will interest you. Mr. Kennedy was finding Lux toilet soap in her studio dressing room. It's her favorite beauty age, she said.

[Announcer (John Milton Kennedy)]

Well, Lux hopes a passport to beauty anywhere. Libby. And Esther Fernandez is a beauty, isn't she? In those gorgeous costumes she wore in Two Years before the Mast, she made a delightful contrast to those seafaring characters Alan Ladd and Brian Donlan.

[Susan (Susie)]

Oh, she's a real Latin beauty, all right. Dark hair and eyes and smooth olive skin. A real luxe complexion that's specially lovely in close ups. No wonder so many famous stars depend on active lather facials.

[Announcer (John Milton Kennedy)]

Why not? It's a beauty care that's simple, easy, effective.

[Susan (Susie)]

Here's all you do. Smooth the creamy luxe oak, lather well in, rinse with warm water, then cold and pat with a soft towel to dry. A daily care that really makes skin softer, smoother.

[Announcer (John Milton Kennedy)]

Recent tests by skin specialists proved it. Actually, three out of four complexions improved in a short time with gentle luxe soap care. Why don't you try this fine white soap? Remember, luxe toilet soap is Hollywood's own Beauty soap. Mr. Keeley returns to the microphone.

[Producer (William Keeley)]

We continue with act two of from this Day Forward, starring Joan Fontaine as Susan and Mark Stevens as Bill. At the U.S. employment Service, Bill Cummings still pours over the printed forms he must fill out in order to apply for a job, and his heart pounds with despair and desperation. For Bill remembers another time when he was out of work, and one evening in particular that started when he called for Susan at Mr. Higler's bookshop.

[Bill Cummings]

Gonna be much longer, Susan?

[Susan (Susie)]

Oh, Bill. We're just closing now. Say, Bill, any luck?

[Bill Cummings]

No.

[Susan (Susie)]

Well, I'll just get my things. Is it all right if I leave, Mr. Higgler?

[Producer (William Keeley)]

Oh, yes. Run along, Susan. Ah, Mr. Cummings. How are things going with you? Any luck?

[Bill Cummings]

Nope.

[Producer (William Keeley)]

No job yet.

[Announcer (John Milton Kennedy)]

No.

[Producer (William Keeley)]

I see. Well, good night, Susan.

[Susan (Susie)]

Good night, Mr. Higler.

[Producer (William Keeley)]

Bright and early in the morning.

[Hank]

Don't forget.

[Susan (Susie)]

I won't.

[Bill Cummings]

The whole world have to know I'm

[Announcer (John Milton Kennedy)]

out of work, Bill.

[Susan (Susie)]

Oh, Martha phoned.

[Bill Cummings]

Yeah, Hank. Find anything?

[Susan (Susie)]

No. She wanted to know if we'd take care of the kids tonight.

[Bill Cummings]

Why not?

[Susan (Susie)]

Come on then, Bill. We'll have some supper and go over.

[Hank]

Hey, Ma. Ma, will you kindly open the window up there?

[Susan (Susie)]

What do you want?

[Hank]

Hey, Ma, would you lend me a buck? No. Me and Martha are going over to Jake's to hit him for a loan. We gotta get there, don't we?

[Susan (Susie)]

Who's staying with the kids?

[Hank]

Bill and Susan. We're waiting for them now, Ma. How about it?

[Susan (Susie)]

Nothing doing. Now you? Aye.

[Hank]

Oh, hiya, kids. You get a job yet, Bill?

[Producer (William Keeley)]

No.

[Hank]

Hey, you see, Ma, he ain't waking either. I guess that makes us tramps, Bill. Lovely woman. My mother got 6,000 bucks cash up there in her heart like a gangster.

[Susan (Susie)]

So you're going to chase?

[Hank]

Fine thing. Hit my brother for a loan every couple of weeks. Oh, here comes Martha. No luck with the old lady, Martha?

[Susan (Susie)]

Well, I got enough of car fare. One way we can. Oh, hello, Susan. Hello, Bill.

[Bill Cummings]

Hi, Martha. The kids upstairs?

[Susan (Susie)]

Yeah. It's awful to rush off like this, but we promised Jake. Go on, run along. Swell of you to do this. Oh, the kids have had supper and they're ready for bed if they're still hungry. There's some dried prunes in the sink. We'll be back early. Don't worry about anything.

[Bill Cummings]

Thank goodness for Jake, huh?

[Hank]

Yeah.

[Producer (William Keeley)]

I'd rather work for it, though.

[Hank]

Oh, well, you can't have everything.

[Susan (Susie)]

Come on, Mother. I want another kiss, too. Aunt Susie, you gotta kiss me, too. Oh, well. There, Timmy. Now, Uncle Bill, now, be just outside. Gee, I sure hope dak and put the bite on Uncle Jake tonight. Yeah, so do I. Now go to sleep. Aunt Susie. Oh, yes, darling. Could I have a drink of water now? You've had two already, and I'm afraid. Oh, no, I wouldn't. I wouldn't. Oh, well, yeah, I guess I would at that. Never mind. Go to sleep now, won't you? Good night. Good night. Good night.

[Bill Cummings]

What'd they want?

[Susan (Susie)]

Oh, nothing. Just darling. Good night, Uncle Bill.

[Bill Cummings]

Good night. I don't know how Martha does it.

[Susan (Susie)]

No. Swell kids, though.

[Bill Cummings]

They're wonderful.

[Susan (Susie)]

Oh, Bill, wouldn't it be something if. Timmy, I can't sleep now. This is an outrage. But I gotta talk to Uncle Bill about something.

[Bill Cummings]

Well, Timmy, what is it?

[Susan (Susie)]

Well, you see, Uncle Bill, if you. Well, I can get your next meal for you.

[Bill Cummings]

What do you mean, Timmy?

[Susan (Susie)]

Come on, you can.

[Bill Cummings]

Oh, wait a second. Go on, Timmy.

[Susan (Susie)]

Well, I heard mom telling Papa you got canned from your job and that you didn't know where your next meal was coming from. And I thought. Well, I thought I'd get it for you, Uncle Bill.

[Hank]

How?

[Susan (Susie)]

Oh, it's easy. I do it for Papa all the time. I just go to the butcher and tell him I want a bone for my dog. I bring the bone home and mom makes soup out of it. I can do it for you and Aunt Susie tomorrow. It's real easy. Uncle Bill can't do it. Takes a kid.

[Bill Cummings]

Doesn't the butcher ever get wise?

[Susan (Susie)]

Nah. Anyway.

[Bill Cummings]

Anyway. What?

[Susan (Susie)]

He knows I ain't got a dog.

[Bill Cummings]

Well, thanks, Timmy. I appreciate your offer very much, but. Well, you get a little wrong. Your mom was kind of joking, see.

[Susan (Susie)]

Mom don't joke about that.

[Bill Cummings]

Well, this time she was Pop.

[Susan (Susie)]

Yeah, but Mom. No, sir.

[Bill Cummings]

Look, Timmy, your mom was just joking. I lost my job. Sure, but what I mean.

[Susan (Susie)]

What do you mean, Uncle Bill? What. What Uncle Bill means is he's gonna find a job right away and you're not gonna have to worry about it, see? And everything's gonna be fine, Timmy. Fine. I figured you was gonna be like Pop and I wanted you to. Yeah, we know all about it, dear. Ma, it's gotta be a chilling. Okay. Just so long as you know Uncle Bill. I'll tuck you in again. Good night, Uncle Bill.

[Bill Cummings]

Goodnight, Timmy.

[Susan (Susie)]

Aunt Susie, I'm sorry if I made Uncle Bill feel bad. Timmy, look, everything's gonna be wonderful, see? And Uncle Bill's gonna get a job and your father's gonna get a job and you're never gonna have to Worry about getting soup bones from the butcher. You're gonna have steak to eat all you want, see? And you're gonna have a dog, a real dog. And he's gonna have to take too. Yeah, Aunt Susie, sure. Don't cry, Aunt Susie. I just don't cry, Aunt Susie, please. Employment service. Just one moment. Employment. Well, Sergeant, you've answered all the questions.

[Bill Cummings]

Well, there's one I didn't answer.

[Susan (Susie)]

Which one is that? Oh, you have to answer it. Well, I'd rather not, but it's regulations.

[Bill Cummings]

But I'm not going to answer it.

[Susan (Susie)]

Well, you don't seem to understand.

[Bill Cummings]

That's the trouble. I do understand. That's why I can't answer it.

[Susan (Susie)]

Well, you better talk to Mr. Hoffman then.

[Bill Cummings]

Okay, I'll talk to Mr. Hoffman.

[Susan (Susie)]

Well, that's his office right over there.

[Bill Cummings]

Thanks.

[Producer (William Keeley)]

Excuse me.

[Bill Cummings]

Are you Mr. Hoffman?

[Producer (William Keeley)]

What's the trouble, Sergeant?

[Bill Cummings]

I've been trying to talk to that girl out there. She keeps saying, fill in the form. Fill in the form. I can't seem to get through her head what I'm trying to say. Finally she said, I better see you. Sit down.

[Producer (William Keeley)]

Let's have your paper.

[Bill Cummings]

Yes, sir. You see, if I do answer this particular question might keep me from getting a job and I need a job.

[Producer (William Keeley)]

Which question is that?

[Bill Cummings]

Well, I better give it to you straight. I have a police record.

[Producer (William Keeley)]

Oh, let me see that form.

[Bill Cummings]

You see, I used to do a little artwork. And my wife, well, she was working in a bookstore. And her boss, Mr. Higler, well, it seems he wrote a book and he was looking for someone to illustrate it. And one night when my wife came home, she.

[Susan (Susie)]

But look at it, Bill. It's a check. $50, 50 bucks.

[Bill Cummings]

He gonna give you a bonus.

[Susan (Susie)]

Now look who's made out to.

[Bill Cummings]

To me?

[Producer (William Keeley)]

What for?

[Susan (Susie)]

Oh, cause you're a great artist. Cause you're my husband. Cause I love you. Oh, darling, don't you see? I told you about that book he'd written. Mr. Higler. Well, he wants you to do some sketches.

[Bill Cummings]

You've shown my work?

[Susan (Susie)]

Of course. And they convinced him.

[Hank]

Just like that.

[Bill Cummings]

Bill, he's gonna pay me 50 bucks to draw.

[Susan (Susie)]

Oh, no, that's just in advance. The full price is $300. 3.

[Bill Cummings]

$300.

[Producer (William Keeley)]

Susie, we're rich.

[Susan (Susie)]

What's even better than that? Your drawings, Bill. In a book. Oh, darling, darling, what do we do first? I mean, when you're a famous artist. I know. We'll build a house. Not a big house, a medium house, but big enough for Joe's boyfriends.

[Bill Cummings]

Joe.

[Susan (Susie)]

Our daughter, Johanna. She'll be the oldest.

[Bill Cummings]

Sure. Oh, Susie, you don't know how scared I've been. I just didn't know where to turn next. Say, by the time I finish the drawings, maybe I'll hear from the union. Maybe they have a job for me. When does Higler want his drawings?

[Susan (Susie)]

In three weeks. Why? That means my husband is earning $100 a week.

[Bill Cummings]

Hey, that's not bad.

[Producer (William Keeley)]

That's not bad at. But what connection had all that with the police? Rector Targent?

[Bill Cummings]

Well, I. I did the illustrations. Characters, mostly. In the. In the. The book was a biography.

[Announcer (John Milton Kennedy)]

Biography?

[Bill Cummings]

Of Judah R. Upton. You've heard of Upton?

[Producer (William Keeley)]

Who hasn't?

[Bill Cummings]

Well, Higler published the book himself. He still owed me over $200, which I never got. Wanna know why? You William Cummings? That's right. I'm from police headquarters. I have a warrant for Warren.

[Susan (Susie)]

What are you talking about?

[Producer (William Keeley)]

You illustrated a book by Gordon Higler.

[Bill Cummings]

Oh, what about it? Mr. Upton's filed a complaint. Criminal libel.

[Producer (William Keeley)]

Libel?

[Bill Cummings]

But I've never even read the book. Higler wouldn't let me.

[Susan (Susie)]

My husband only do what Mr. Higler asked him to. How could he not?

[Bill Cummings]

You have to come with me, Cummings. Oh, if I were you, Mrs. Cummings, I'd call in a lawyer. Oh, he's right, Susie.

[Susan (Susie)]

But who?

[Bill Cummings]

Hank's brother. Try to get hold of Jake, Susie, right away.

[Hank]

Gotta relax, Susie. I told you a dozen times.

[Susan (Susie)]

Jay Crispiel.

[Hank]

Where they got Higler? In there now before the magistrate. And as soon as they're done with Higler, they'll bring Bill in.

[Susan (Susie)]

Are you sure they'll let me in the courtroom, Jake?

[Producer (William Keeley)]

Of course they let you in.

[Bill Cummings]

And look, Susie, all I want you

[Hank]

to do is smile and look sweet.

[Susan (Susie)]

Would you think Bill was a criminal, Susie?

[Hank]

I just spoke to Mr. Yeagen.

[Bill Cummings]

He's the assistant district attorney. He says to plead guilty to being an accessory.

[Hank]

He'll get off easy that way.

[Susan (Susie)]

Guilty of what? He didn't do anything.

[Hank]

Jake. Yes, George?

[Bill Cummings]

That's the bailiff Who?

[Producer (William Keeley)]

The judge is about through with Higler. The defendant, Gordon Higler, is hereby held for action of the grand jury. Bail is fixed at. What is your suggestion, Mr. Yagin? On behalf of the people? $1,000, your honor.

[Hank]

$1,000.

[Producer (William Keeley)]

Next case. Now, your honor, I'd like to make a recommendation in this next case. I'd like to suggest that the charge be changed to accessory to a criminal libel.

[Hank]

For what reason?

[Producer (William Keeley)]

Our investigation has disclosed that the material charged to be criminally libelous was editorial content. Your Honor. And not the illustrations. Very well.

[Bill Cummings]

Where's the defendant? Here, sir.

[Producer (William Keeley)]

William Cummings?

[Bill Cummings]

Yes, sir.

[Producer (William Keeley)]

You're represented by counsel?

[Bill Cummings]

Counsel?

[Producer (William Keeley)]

Do you have a lawyer?

[Hank]

Jacob Beasley, your honor.

[Bill Cummings]

Oh, yes sir.

[Producer (William Keeley)]

How do you plead?

[Bill Cummings]

Well, I. You see my lawyer here.

[Producer (William Keeley)]

How do you plead?

[Bill Cummings]

Well, I just don't know, you, Honor.

[Producer (William Keeley)]

Guilty or not guilty, your honor. Who are you?

[Susan (Susie)]

Oh, I'm his wife and I just wanted to say that.

[Producer (William Keeley)]

Quiet now. If you have anything to say, young woman, this is neither the time nor place.

[Hank]

I'm terribly sorry, your honor.

[Bill Cummings]

Susan, you gotta keep quiet.

[Susan (Susie)]

Lemme alone. Your honor, he didn't do anything. I got him that job. It's my fault. He didn't do anything.

[Producer (William Keeley)]

Well, if you didn't do anything. Mr. Cummings, how do you plead? You're charged with being an accessory to a criminal libel.

[Bill Cummings]

Guilty.

[Producer (William Keeley)]

Mr. Yagin. The people will accept bail of $500, your honor. $500 bail.

[Hank]

Thank you, your honor.

[Bill Cummings]

I'll take care of everything.

[Hank]

Oh, you better wait for Bill and me out on the street.

[Bill Cummings]

We won't be long. It's like I was just telling Bill, Susie.

[Hank]

In a few days there'll be a hearing, see.

[Bill Cummings]

Bill gives him the facts.

[Hank]

He had to make a living, see.

[Bill Cummings]

He didn't know what kind of a book it was. See. Higler told him what to do when he did it.

[Susan (Susie)]

Yeah, but what do they do to Bill?

[Producer (William Keeley)]

You don't, judge.

[Hank]

You'll say, don't do it again, Jake.

[Bill Cummings]

Come on, I'll ride you home. Oh, thanks, Jake. I think we just soon walk.

[Hank]

Okay, make it easy now.

[Bill Cummings]

Susie, I.

[Susan (Susie)]

Bill, it was all my fault. I haven't shown your drawings to Mr. Higler. I'm stuck, right.

[Bill Cummings]

I've got to get a job, Susie. I've got to get a job.

[Producer (William Keeley)]

Well, how did the case come out, Sergeant?

[Bill Cummings]

I was like Jake Beasley said, Mr. Hoffman. Suspended sentence and probation.

[Producer (William Keeley)]

Then what in the world are you worried about now? Where's that form? Here now where it says what kind of employment were you engaged in? Then just put down artist, employer, self rate of pay, $100 a week. How's that?

[Bill Cummings]

Oh that. That's swell, Mr. Hoffman.

[Producer (William Keeley)]

Now take this outside and wait for an interviewer. Good luck. Thanks.

[Announcer (John Milton Kennedy)]

Mr. Hoffman.

[Hank]

You in.

[Susan (Susie)]

Just a minute, sergeant. Oh, the time you don't account for

[Producer (William Keeley)]

here on the farm.

[Susan (Susie)]

You were unemployed then.

[Bill Cummings]

Oh yeah. Do you want me to put down?

[Susan (Susie)]

No, that's all right. We're not concerned with that.

[Bill Cummings]

We're not concerned with that. Sure lady, why should you be? Get your own Problems are yours to me or mind to you. Births, deaths, anniversaries. Anniversaries. Susie and I, we. We spent our first anniversary moving. Rent was cheaper four flights up if you climb over the trash cans. We got finished moving. We went out for a walk. All the way to that bridge over the Harlem River.

[Susan (Susie)]

Well, I know what you're thinking, darling. Gee, there must be something we can do.

[Bill Cummings]

Yeah, like what, for instance?

[Susan (Susie)]

Oh, now, don't get sore.

[Bill Cummings]

You're right, Susie. And I've been thinking. There's no reason why you got to want supporting me like this.

[Susan (Susie)]

You cut that right out.

[Bill Cummings]

I've been thinking about getting out of town, Hitting the road. Maybe I could pick up a job in Detroit. Cleveland.

[Susan (Susie)]

Oh, you make me so darn mad.

[Bill Cummings]

Okay, I won't go out of town. Susie?

[Susan (Susie)]

Hmm?

[Bill Cummings]

Did you think I forgot today?

[Susan (Susie)]

Forgot what?

[Bill Cummings]

Our anniversary. A lot of guys do, you know.

[Susan (Susie)]

I don't mind, Bill.

[Bill Cummings]

What do you mean, you don't mind? I. I got a hold of a little money and I figured.

[Susan (Susie)]

Where'd you get it?

[Bill Cummings]

Picked it off a tree. Central Park.

[Susan (Susie)]

Bill, you sold your toolbox.

[Bill Cummings]

I just hawked it.

[Susan (Susie)]

Well.

[Bill Cummings]

Well, it's our anniversary. What are we supposed to do, sit home and look at the toolbox? I got your presents, Susie. It's not much, baby. Put it here.

[Susan (Susie)]

She. It's a bracelet built. Oh, it's gorgeous.

[Bill Cummings]

Yeah, yeah, it's. Hey, wait a minute. I've been robbed. There's a stone missing.

[Susan (Susie)]

That's nothing.

[Hank]

Yeah, but.

[Bill Cummings]

But look, there's another one missing.

[Susan (Susie)]

Oh, well, it doesn't matter. There's still eight stones. That's a lot of stones. Here, put on my wrist. Gee, it's got a slide fastener and everything.

[Bill Cummings]

Yeah, it's a little stiff or something. No, I. I can't seem to.

[Susan (Susie)]

You put on my other wrist.

[Bill Cummings]

Well, what for?

[Susan (Susie)]

Well, my right one, I use a lot, and it might get in the way of things and get more broken. And my. My left arm, I don't use it so much.

[Producer (William Keeley)]

Oh. Oh, sure.

[Susan (Susie)]

Oh, Bill, it's charming. It's just what it is. It's. It's just charming.

[Bill Cummings]

It's darn fast. Nerd.

[Susan (Susie)]

Oh, Bill.

[Hank]

Oh.

[Bill Cummings]

Oh, Susie, it just broke apart just like that.

[Susan (Susie)]

The stones built, they fell all over the pavement.

[Bill Cummings]

Well, I got them.

[Susan (Susie)]

You look over there. I'll.

[Bill Cummings]

Oh, my head.

[Susan (Susie)]

Anniversary, Bill.

[Bill Cummings]

Oh, same to you, baby. Come on, let's go home.

[Announcer (John Milton Kennedy)]

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

[Producer (William Keeley)]

In just a moment, we'll return with the third act of from this Day Forward, starring Joan Fontaine and Mark Stevens. Our guest tonight is a young lady who literally sailed into a picture contract. Fact, she's Ms. Nan Leslie, rated as one of RKO's most promising actresses. And I'm going to ask her to tell you how she did it.

[Susan (Susie)]

Well, Mr. Keeley, sailing is my favorite sport. Someone snapped my picture at the wheel of a boat, and it appeared on the COVID of a national magazine. An RKO executive saw it and offered me a screen test.

[Producer (William Keeley)]

Pretty exciting, eh?

[Susan (Susie)]

I was thrilled, of course, but I wanted to finish high school. I began to study dramatics after school. A year later, when RKO again offered me a test, I jumped at the chance, and here I am.

[Producer (William Keeley)]

Well, what pictures have you done lately, Nan?

[Susan (Susie)]

Well, I had a part in Sister Kenny. A small part, but how exciting to be in the same picture with Robin Russell.

[Producer (William Keeley)]

That was luck, to be in one of the big pictures of the year.

[Susan (Susie)]

It proved especially lucky for me, for in my next picture, the Devil Thumbs a Ride, I was given the lead.

[Producer (William Keeley)]

Well, congratulations. We'll be watching for you, and we'll

[Announcer (John Milton Kennedy)]

see a very lovely new star. We're not surprised, Ms. Leslie, that a photograph of you led to your first screen contract. If I may say so, that luxe complexion of yours looks mighty photogenic.

[Susan (Susie)]

Thank you, Mr. Kennedy. I've been a luxe girl for a long time. I've always known Lux was Hollywood's favorite beauty soap. So naturally, I wasn't a bit surprised when I found out that Rosalind Russell depends on daily luxe soap care, too. And what a complexion she has.

[Announcer (John Milton Kennedy)]

Yes, we're proud that Rosalind Russell is one of the nine out of ten famous and beautiful stars who use luxe toilet soap regularly. Thanks for reminding us of that, Ms. Leslie. And clear sailing to you. Lovely women everywhere trust their precious complexions to fine white luxe toilet soap. Why don't you try it? See if you're not delighted with the gentle cherishing care it gives your skin.

[Susan (Susie)]

And here's another tip you'll find luxe toilet soap makes a delightful daily beauty bath, too. The rich, creamy lather leaves skin so fresh and sweet. Makes a girl sure of daintiness. Screen stars say they love luxe toilet soaps. Flower like perfume, a delicate fragrance that clings.

[Announcer (John Milton Kennedy)]

Here's your producer, William Keeley.

[Producer (William Keeley)]

Our curtain rises on the third act of from this Day Forward, starring Joan Fontaine as Susan and Mark Stevens as Bill. It's a few minutes later, still in the office of the US Employment Service, Bill Cummings has just come before the interviewer, Mr.

[Announcer (John Milton Kennedy)]

Brewer.

[Bill Cummings]

Well, it was like I was saying, Mr. Brewer, I finally landed a job. Wasn't much, but if you knew how we scrambled to find the dimes and the quarters and the dollars to get my toolbox out of hock, you'd know what the job meant to us.

[Producer (William Keeley)]

And after that you went to to work in a war plant?

[Bill Cummings]

Yeah. All of a sudden there were jobs for everybody. Even Hank. We felt so darn good about it, we almost forgot. It didn't mean prosperity, it meant war. The plant's closed now.

[Producer (William Keeley)]

Cigarette?

[Bill Cummings]

Oh, is it okay?

[Announcer (John Milton Kennedy)]

Oh, go ahead.

[Bill Cummings]

Thanks.

[Producer (William Keeley)]

But your job was a good one, wasn't it?

[Bill Cummings]

Oh yeah, it was fine. Except for being on the night shift. That is non form.

[Producer (William Keeley)]

You didn't like the night shift?

[Bill Cummings]

Night shift's okay. Yeah, sure. For a single man, great for a married man. Well, it got so when I'd get home, Susan would be asleep. And when Susan was awake, I'd be asleep. It was like we were strangers almost.

[Susan (Susie)]

Bill, darling, there's liver and bacon in the icebox. Low on bread. Bread, love, P. S. If you see my husband, tell him I miss him.

[Bill Cummings]

Couldn't get bread. Got rolls. I saw your husband. He says he misses you too. Love.

[Susan (Susie)]

Bill? Is that you? Bill?

[Hank]

Hey.

[Susan (Susie)]

Hey.

[Bill Cummings]

What are you doing up?

[Susan (Susie)]

Oh, I guess I was just dozing. Did you just come in?

[Bill Cummings]

Yeah, but now look, baby, it's five o'.

[Producer (William Keeley)]

Clock.

[Susan (Susie)]

I was waiting for you.

[Bill Cummings]

Or you shouldn't have.

[Susan (Susie)]

Well, Billy, for three weeks now all we've been doing is leaving notes for each other. I never get to see you.

[Bill Cummings]

Well Susie, you. You can't stay up till long hours. Just because I haven't to work at night.

[Susan (Susie)]

Well, how else am I going to see you then?

[Bill Cummings]

Well, we've just got to accept the fact, that's all. Come on now, get to bed.

[Susan (Susie)]

Accept the fact? That's too sensible.

[Bill Cummings]

Listen, when you have to work all day, you can't do without sleep.

[Susan (Susie)]

Oh, I can manage.

[Bill Cummings]

That's just it, you can't.

[Susan (Susie)]

Where are you going?

[Bill Cummings]

Wash up a bit. You just got to stick to routine, that's all.

[Susan (Susie)]

Don't like routine.

[Bill Cummings]

So I work at night, so I have to get used to it. You in bed?

[Susan (Susie)]

Uh huh.

[Bill Cummings]

Nobody can do a job without sleep. I know I couldn't do mine. Thousands of people work at night.

[Susan (Susie)]

I was beginning to forget what you looked like.

[Bill Cummings]

I didn't get my sleep, I'd fall flat on my nose. Anyway, I got a job, baby, and a good one. A little while. Maybe I'll get shifted to days. I sure hope so. Meanwhile, we. Hey, where's my towel?

[Announcer (John Milton Kennedy)]

Susan?

[Bill Cummings]

Oh, never mind. I'll get one. You know, honey, I. I'm kind of glad you did wait up for me, on account of I. Susan.

[Producer (William Keeley)]

Oh.

[Bill Cummings]

Oh, no. Sound asleep. Rest well, baby. I'll be seeing you one of these days.

[Susan (Susie)]

Mrs. Cummings? Oh, Mrs. Cummings? Yes? That you, Miss Dixon? Telephone, Mrs. Cummings. I think it's your husband forward this time of night. Oh, it's all right. We were still up. Should I tell him to hold on? Oh, yes, please. I'll be right there, Ms. Dixon. Keep coming now, Mr. Cummings. Hold the wire. Thanks, Ms. Dixon. Hello, Bill.

[Producer (William Keeley)]

Susie.

[Bill Cummings]

Say, I got wonderful news for you.

[Susan (Susie)]

A raise?

[Producer (William Keeley)]

No, not a raise.

[Bill Cummings]

I got two weeks off with pay.

[Susan (Susie)]

I can see you again. Two weeks with workman's compensation. Oh, Bill. Got my hand caught in the machine and busted a finger.

[Producer (William Keeley)]

Isn't it wonderful?

[Bill Cummings]

What time will Mrs. Dixon be back?

[Susan (Susie)]

Oh, just a few minutes, Girl. She only went to the drugstore.

[Bill Cummings]

Why, that kid sure got a pair of lungs. I. I didn't even know Mrs. Dixon had a baby.

[Susan (Susie)]

Well, if his crying bothers you.

[Bill Cummings]

Oh, no, no, I don't mind.

[Susan (Susie)]

Well, that's how they get their exercise. I told her we'd be glad to take care of baby while she came back.

[Bill Cummings]

Say, what do you suppose he weighs?

[Susan (Susie)]

Oh, I don't know. He's awful heavy, though.

[Bill Cummings]

How old do you think it is?

[Susan (Susie)]

Oh, I guess almost a year. Oh, golly, Bill. Gee, I hope Joanna has red hair too.

[Bill Cummings]

She bet I have.

[Susan (Susie)]

You know, Martha was saying the other day she got a lot of the kids clothes left over and when they were babies, we could use those.

[Bill Cummings]

Oh, well, if we had a baby. Where'd she sleep?

[Susan (Susie)]

Oh, there's plenty of room in the bedroom for crib.

[Bill Cummings]

You'd have to quit your job.

[Susan (Susie)]

Well, I wouldn't have to work, but you make enough now and.

[Bill Cummings]

Oh, Susie, supposing we had a baby. Supposing it had come last winter when

[Announcer (John Milton Kennedy)]

I was out of work.

[Susan (Susie)]

We'd have managed.

[Bill Cummings]

I suppose you'd gotten sick.

[Susan (Susie)]

Oh, we'd have managed.

[Bill Cummings]

I don't know. Gee, when I was a kid, we were really down and out. I want everything to be right for our kid.

[Susan (Susie)]

Well, maybe we'd be lucky. Maybe. If and when Joanna comes, why, we'll be able to give her all the things we want her to have.

[Bill Cummings]

Yeah, if we're lucky. Maybe if things keep going the way they are. Maybe next spring, huh? Susie?

[Susan (Susie)]

Oh, yes, Bill, Yes.

[Producer (William Keeley)]

On the form, Sergeant, you don't list any children?

[Bill Cummings]

No. We only talked about a baby, Mr. Brewer. We never did have her. You see, a few months later, the draft board said they wanted to see me and bang, just like that, I was in the army.

[Susan (Susie)]

Bill, what are you doing? You gotta hurry all mornings for the

[Producer (William Keeley)]

alarm not to go off.

[Susan (Susie)]

What'll they do if you're late?

[Announcer (John Milton Kennedy)]

I don't know. Court martial me or something.

[Hank]

What are you doing?

[Susan (Susie)]

To fix breakfast. And I'm not going to let you out of here without you. Bill.

[Producer (William Keeley)]

What's the matter?

[Susan (Susie)]

Bill, I told you last night. I told you there wasn't any food in the house. And you. You wouldn't let me go to the store. I said I'd skip, but.

[Bill Cummings]

Hey, what are you crying for?

[Susan (Susie)]

I'm not. But there isn't any sugar in the milk sour.

[Bill Cummings]

Oh, Susie, Susie, it doesn't matter.

[Susan (Susie)]

You're going to be inducted without your breakfast.

[Bill Cummings]

Well, the army will give me breakfast.

[Susan (Susie)]

Oh, but I wanted to get breakfast for you.

[Bill Cummings]

Okay, then we'll have coffee together. I'm getting like, black coffee.

[Susan (Susie)]

Bill, you're bleeding.

[Bill Cummings]

I just cut myself shaving. I. Where's my styptic pencil?

[Susan (Susie)]

Your what?

[Bill Cummings]

My styptic pencil. You know, when I cut myself shaving, I.

[Susan (Susie)]

Bill, I threw it out.

[Producer (William Keeley)]

You what?

[Susan (Susie)]

I was cleaning up and I saw some things you didn't want. At least I didn't think he'd ever want them again. I threw him out.

[Bill Cummings]

Oh, you threw it out.

[Susan (Susie)]

Oh, Bill, it wasn't that. I was in a hurry. You make me feel as though I was. But, Bill, I. I was just cleaning up.

[Bill Cummings]

Oh, it's all right, Susie. It's just a little cut. Come on now, give me a kiss.

[Susan (Susie)]

Oh, Bill. Oh, Bill.

[Bill Cummings]

Hey, the time.

[Susan (Susie)]

Oh, it's 6:25. Already?

[Bill Cummings]

Keep calm, baby.

[Susan (Susie)]

They'll call you a deserter.

[Bill Cummings]

Never mind. I'll make it for my sweater.

[Susan (Susie)]

Oh, your sweater. Oh, here it is.

[Bill Cummings]

My papers.

[Susan (Susie)]

Your papers? Yes, and here are your papers. Bill, you're going to have your coffee.

[Bill Cummings]

I haven't got time, baby.

[Susan (Susie)]

Bill, the army wouldn't want you without your coffee.

[Bill Cummings]

Oh, okay.

[Susan (Susie)]

I'll get the cup and sit down. Now, wait a minute, Bill. The coffee. Huh? I forgot to turn it on.

[Bill Cummings]

Oh, Susie.

[Susan (Susie)]

Susie, darling, what am I going to do without you?

[Bill Cummings]

Just take care of yourself, do you hear? Goodbye, darling.

[Susan (Susie)]

Oh, God, you're.

[Bill Cummings]

See you later, baby. See you later.

[Susan (Susie)]

Goodbye, Bill. Goodbye.

[Producer (William Keeley)]

Goodbye, baby.

[Susan (Susie)]

He's gone. He's gone. He's. Bill, Come back. Come back. Bill. Oh, don't you remember? We set the clock ahead last night. On purpose, Bill, we set the clock ahead. We got 15 minutes more of it. Employment Service. Sorry. The office is about to close. 8am tomorrow morning.

[Bill Cummings]

Well, I. I had a lot of experience with the tank repair outfit overseas, Mr. Brewer. Same kind of a job a foreman would have, only. Well, maybe a little more responsibility.

[Producer (William Keeley)]

You did, huh?

[Bill Cummings]

How long at.

[Producer (William Keeley)]

Good night, Sam. Good night, Charlie. Well, I can't promise you anything, sergeant. Yeah, I understand, but with your experience and back. See you downstairs. Don't get up, sergeant. There's someone. I want a phone. Good night, Ms. Helmer. I hope he's still in. Hello, Mr. Garrity. There. Thank you.

[Bill Cummings]

Look, I. I don't want to keep you. Been swelling.

[Producer (William Keeley)]

Hold on, now. Hello, Garrity? This is Sam Brewer. Still looking for that foreman. Well, I've got just the man for you. Good. What's that? Okay, he will. Much obliged. Here's where you'll find Garrity. Take this card. Be there in the morning. It's just an interview, sergeant, but he won't fill the job till he talks to you.

[Bill Cummings]

Oh, thanks, Mr. Brewer.

[Producer (William Keeley)]

Good luck.

[Bill Cummings]

I'm sorry to have kept you so long.

[Producer (William Keeley)]

Not at all. That's our job. Let me hear from you. Oh, if you're going downtown, I.

[Bill Cummings]

No, I. I gotta go uptown. Thanks, though. Susie's sister, she's moving today.

[Producer (William Keeley)]

The one you called Martha?

[Bill Cummings]

Yeah. She and Hank are the kids. It looks like they finally gonna get their chicken farm. Well, thanks again, Mr.

[Producer (William Keeley)]

Brewer.

[Hank]

Hey, Susie. Give me a hand with the sofa. What is.

[Susan (Susie)]

Susie, no. Don't you dare.

[Hank]

Huh? What's the matter? Can't she.

[Susan (Susie)]

Well, I guess we'll have to tell him, Susie. Yeah, I guess so. Hank, I'm gonna have a baby.

[Hank]

What? You? A baby, Susie. Congratulations.

[Susan (Susie)]

Thanks, Hank. Ma.

[Hank]

Ma, you know what? She's gonna have a baby.

[Susan (Susie)]

Another one.

[Hank]

Not Martha. Susie. Hey, Susie. Does Jake know?

[Susan (Susie)]

Nobody knows.

[Hank]

I'm gonna tell Jake. He's down helping the movie.

[Susan (Susie)]

Oh, everybody will know now but Bill. Gee, I wish you'd get here. Say, Martha, tell me, what's it like? It isn't easy, Susie. Well, the doctor said I was born to have children. The doctor never had any. You just hang on to one thought all the way through. The first time you hold that kid in your arms, you forget everything that happened. And right away you want to have another one.

[Hank]

Hey, Susie, what you gonna call him?

[Susan (Susie)]

Johanna.

[Hank]

Jo. Johanna. Hey, Jake. Johanna. What's the matter? Susie, don't you like kids?

[Susan (Susie)]

Oh, you. When are you gonna move the icebox?

[Hank]

Plenty of time. Plenty of time. Take it easy. Now, look, Susie, anything you want to know about babies, just come to Hank. I can tell you all about it.

[Susan (Susie)]

Oh, yes, you can always.

[Hank]

Bill.

[Susan (Susie)]

In here.

[Bill Cummings]

Sure looks like you're moving.

[Hank]

Hey, Bill, you heard about Susie? She's gonna have a baby. Hey, what about the gas stove? Oh, hello, Bill. You got a job? Wait a minute. Wait a minute. Didn't you hear what I was just.

[Bill Cummings]

I got an interview for the morning.

[Hank]

Ah, interview.

[Susan (Susie)]

Gee, that's swell, Bill.

[Hank]

Certainly it's swell. You'll get a job. Okay, an interview. I tell you, it's all. In a few years, you'll be buying a farm out in Jersey just like me and Martha.

[Bill Cummings]

Susie, about the baby.

[Susan (Susie)]

I just saw the doctor.

[Hank]

Listen to Hank talking about a farm. The guy's without a job. He's got a wife and now a baby to support. What's the matter? Ain't you got any faith in the future? But, Susie, I was just saying this isn't any time to be making big plans.

[Susan (Susie)]

We're gonna have a baby.

[Hank]

How do you know what's gonna happen next? How do you know there won't be another depression? How do you know the world isn't gonna take another nosedive? I don't know who. Don't you put your finger in my face. Are you just like Papa was? May he rest in peace. Just look at Susie. Worry to death, aren't you?

[Susan (Susie)]

No, I'm not.

[Hank]

And him. Look at Bill. Just back from fighting the war without a job. No wonder the guy's sunk. Listen, stupid, give him time, will you? Time for what? How's he gonna eat? Where's he gonna live without a job? He'll get a job, they say. U.S. unemployment office. It's a great thing. Sure, sure. But they can't find your job if there isn't any. Am I right or wrong, Bill? You tell me if I. Hey, where'd he go? I failed, Susie. Where'd they disappear to?

[Susan (Susie)]

They're gone, see? Try and get a word in edgewise with you experts, both of you. Now, I'll give you two minutes to get that icebox on the truck.

[Hank]

Sure, Martha. Sure. Come on, Jake. I think there's still a bottle of beer in that ice box.

[Susan (Susie)]

Looks just the same, doesn't it, Bill? Our bridge and our river. Down there, water is still shiny as ever.

[Bill Cummings]

Susie, you're sure the doctor couldn't be mistaken? No, Bill, you said you were going to be all right.

[Susan (Susie)]

Yes, Bill.

[Bill Cummings]

You're strong enough, aren't you?

[Susan (Susie)]

Couldn't be healthier.

[Bill Cummings]

Well, it sure looks like I better get that foreman job when I see him tomorrow.

[Susan (Susie)]

Foreman? Oh, Bill, that's wonderful. Yeah, you better get it, Bill.

[Bill Cummings]

Yeah.

[Susan (Susie)]

Scared?

[Bill Cummings]

Yeah, sure, I'm scared, honey. But there's nothing wrong with being scared. Why, we'll be scared lots of times.

[Susan (Susie)]

Starlight, star bright, first star I see tonight.

[Producer (William Keeley)]

Huh? Where?

[Bill Cummings]

I don't see any stars.

[Susan (Susie)]

There aren't any, darling. We don't need them anymore.

[Producer (William Keeley)]

Our hearts go out to Susan and Bill as they face the future. And our thanks go to our stars themselves as they face the footlights. Joan Fontaine and Mark Stevens. Joan, we're especially grateful to you for hurrying back from New York to take part in tonight's show.

[Susan (Susie)]

I wouldn't have missed it, Bill.

[Bill Cummings]

Were you in New York on business? A pleasure, Joan?

[Susan (Susie)]

No, just a vacation and some shopping, Mark.

[Producer (William Keeley)]

Well, you deserve a vacation after your splendid work in Paramount's production of the Emperor Waltz. Incidentally, Mark, I understand your latest production weighs 11 pounds and looks like a Stevens.

[Susan (Susie)]

How is the new baby, Mark?

[Bill Cummings]

Well, I'd say he was a howling success, Joan.

[Producer (William Keeley)]

I imagine it keeps you pretty well pinned down.

[Bill Cummings]

Well, we keep him pretty well pinned up.

[Susan (Susie)]

Does it call you Daddy yet?

[Bill Cummings]

No, my wife isn't telling him who I am until he gets a little stronger.

[Susan (Susie)]

Well, if it were a she, you'd have to introduce her deluxe Toilet.

[Producer (William Keeley)]

So don't tell me you use Lux Soap as a baby, Joan.

[Susan (Susie)]

Well, I use it faithfully, Bill. It's a wonderful complexion.

[Producer (William Keeley)]

Care well from a girl with a wonderful complexion. That's praise indeed.

[Bill Cummings]

What's the good word for next Monday, Mr. Keeley?

[Producer (William Keeley)]

Next Monday night we have a treat not only for those who love exciting drama, but for those who love great music, too. It's Republic's brand new screen hit, I've Always loved you. Starring a great favorite of this theater, Joseph Cotton. Along with Joe is Barry Sullivan and that brilliant discovery of the screen, Catherine McLeod, playing her original screen role in a deeply moving drama featuring some of the world's finest music.

[Susan (Susie)]

Sounds like a triple hit, Bill. We'll be listening. Good night.

[Producer (William Keeley)]

Good night and all our thanks. From this day foam. Our sponsors, the makers of Luxe Toilet Soap. Join me in inviting you to be with us again next Monday evening when the Lux Radio Theater presents Joseph Cotton, Katherine McLeod and Barry Sullivan in I have Always Loved you. This is William Keeley saying good night to you from Hollywood.

[Announcer (John Milton Kennedy)]

We all know there's a soap shortage. It's caused in part by the worldwide shortage of fats and oils used in the manufacture of soap. Industrial fats are used also in the manufacture of many other necessary items such as automobiles, refrigerators, washing machines, paints and textiles. That's why it's still urgent for American housewives to keep on saving used kitchen fats. True, cooking fats of all kinds are short, too. But with the increasing meat supply, you'll find it easier to fill your fat salvage tin. Don't waste a single drop of the precious fats so vitally needed to step up production of the household goods we all want and need.

[Producer (William Keeley)]

Save every scrap.

[Announcer (John Milton Kennedy)]

Put the used fat in a clean tin can and take it as quickly as possible to your butcher. He will pay you for every pound you turn in. American women have been doing a wonderful job of saving fats and oils, two of the most essential materials today. If they will continue to save, they can help immeasurably in speeding peacetime production. Mark Stevens appeared through the courtesy of 20th Century Fox, producers of Darryl F. Zander the Razor's Edge. Heard in our cast tonight were Eddie Marr as Hank, Anne Stone as Martha and Leo Cleary. Norman Field, Charles Seale, Herb Butterfield, Noreen Gamille, Howard Jeffrey, Norman Nilsen, Thomas Mitchell, Cliff Clark, Dorothy Scott and Alan Lockwood. Our music was directed by Lewis Silvers. This program is broadcast to our men and women overseas through cooperation with the Armed Forces Radio Service. Our Lux Radio Theater production of from this Day Forward has come to you with the good wishes of the makers of luxe toilet soap. Hollywood's own beauty soap. The complexion care used regularly by nine out of ten lovely screen stars. This is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear I've Always Loved you with Joseph Cotton, Katherine McLeod and Barry Sullivan.

[Susan (Susie)]

Rely on spry S, P R yes,

[Producer (William Keeley)]

it's spry for tender flaky nut sweet pastry every time make that next pie

[Susan (Susie)]

with pure all vegetable spry shortening and hear him say wonderful the reason why

[Producer (William Keeley)]

S, P, R Y For all you

[Bill Cummings]

bacon fry Rely on spry Be sure

[Announcer (John Milton Kennedy)]

to listen in next Monday night to the Lux Radio Theater presentation of I've Always Loved you with Joseph Cotton, Catherine McLeod and Barry Sullivan. This is CBS, the Columbia Broadcasting System.