Lux Radio Theatre - Up Pops the Devil

Summary

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Podcast Episode Summary

Harold's Old Time Radio: Lux Radio Theatre – "Up Pops the Devil"

Release Date: June 21, 2026
Host: Harold's Old Time Radio
Featured Play: Up Pops the Devil
Starring: Fred MacMurray (Steve Merrick), Madge Evans (Anne Merrick)
Special Guests: Jimmy Starr (Hollywood columnist), Howard Greer (dress designer)
Production Notes: Directed by Cecil B. DeMille, Music by Louis Silvers

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Episode Overview

This episode presents a radio adaptation of the Broadway play Up Pops the Devil—a smart, witty exploration of marriage, ambition, changing gender dynamics, and the struggle between personal aspiration and domestic life. Centered on Steve Merrick, an aspiring writer, and his wife Anne, the story examines the strains placed on their marriage when Anne becomes the breadwinner so Steve can write full time. The play is brought to life by strong performances and lively period banter, with interludes of charm and old Hollywood glamour.

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Key Discussion Points & Plot Highlights

1. Introduction to the Golden Age Radio and Cast

• Host Cecil B. DeMille sets the stage, praising Hollywood’s resilience and introducing the cast (00:51–03:42).
• Madge Evans is lauded for her successful pivot from child star to leading lady.
• Fred MacMurray, known for "True Confession" and his love of skeet shooting, is introduced as Steve Merrick.

2. Establishing the Theme: Dreams vs. Responsibilities

• Anne visits her old flame, Gilbert Morrell, a publisher, to pitch Steve’s manuscript (03:42–04:43).
• Quote:
  “You expect to get anywhere in this writing game? You’ve got to make it your whole job, not just Sunday mornings and late at night.” — Gil, (04:43)
• Steve’s friends tease him about married life and lost incentives for men "who are supported" (09:22–09:48).
• Anne and Steve celebrate their anniversary with mutual gifts, highlighting financial strain (10:09–10:37).

3. A Bold Arrangement: Role Reversal in Marriage

• After an awkward dinner with Gil, Anne takes a chorus girl job, enabling Steve to quit his job and write full-time (15:02–17:38).
• Quote:
  “Don’t you see, darling? I can support you...It’s a perfect solution.” — Anne Merrick, (16:39)
• Steve resists at first, wrestling with pride and societal expectations.
• The couple agrees: Anne works, Steve writes.

4. Domestic Tensions Grow

• Several months pass; Steve, now a stay-at-home husband, finds it difficult to write amid the drudgery of domestic tasks (20:01–20:59).
• Anne becomes the practical breadwinner, while Steve struggles with inertia and self-worth.
• The couple’s arguments escalate—about money, household duties, and Anne’s friendship with Gilbert Morrell (28:03–31:26).
• Notable banter about household “allowances”, and conflicting needs for respect and recognition.

5. The Breaking Point

• Steve, frustrated and emasculated, goes out with the neighbor Luella, leading Anne to reveal she’s been supporting him (35:33–35:53).
• Quote:
  “Every time he took you out, I paid for it. I’ve worked hard to get that money.” — Anne, (35:33)
• A raw confrontation ensues, culminating in Steve’s decision to leave and find his own way (37:49).

6. Interludes from Hollywood & Fashion (Production Specials)

• Jimmy Starr delivers lively “news scoops” from Hollywood (38:38–43:17).
• Howard Greer, famed Hollywood dress designer, discusses silent-film fashion challenges and modern style trends (54:40–58:09).

7. Attempted Reconciliation

• Two months later, Anne and Steve meet over lunch to discuss divorce but both struggle to let go (44:30–47:15).
• Quote:
  “These two months I’ve been so lonely for you, I could hardly go on. I telephoned you again and again, pretending it was the wrong number just so I could hear you say hello.” — Steve, (46:47)

8. Secrets and Final Reunion

• The real reason behind Anne’s work: she’s pregnant, but hides it from Steve out of fear he’ll feel pressured (33:40–34:15; revealed at 52:48).
• The episode culminates when Steve and Anne argue over renting out their apartment—only to finally admit their love and reunite, committed to starting over as a family (52:37–54:09).
• Quote:
  “Darling. All I want in the world is to sit back and let you take care of me, darling.” — Anne, (54:09)
  “That’s just what I’m going to do.” — Steve, (54:15)

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Notable Quotes & Memorable Moments

• On the Writer’s Life:
  “You’ve got to make it your whole job, not just Sunday mornings and late at night.” — Gil (04:43)
• On Marriage & Gender Roles:
  “A man’s got to feel important. He’s got to have the little woman waiting at home for him, telling him how grand he is and asking for car fare.” — Barney (09:46)
• On Financial Strain:
  “We’ve always spent more than we make…and we’re still alive, aren’t we?” — Steve (28:29)
• Raw Honesty:
  “She’s supporting me, Loella. She buys my clothes, she buys my food. She pays the rent. Now everybody knows it. Are you satisfied?” — Steve (35:45)
• On Loneliness and Love:
  “I telephoned you again and again, pretending it was the wrong number just so I could hear you say hello.” — Steve (46:47)
• On Parenthood:
  “Are we gonna have a baby? ... Why didn’t you tell me?” — Steve (52:43, 53:03)
• Final Reconciliation:
  “All I want in the world is to sit back and let you take care of me, darling.” — Anne (54:09); “That’s just what I’m going to do.” — Steve (54:15)

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Notable Segments & Timestamps

• [00:51–01:29]: Cecil B. DeMille’s opening and cast introduction
• [03:42–05:00]: Anne pitches Steve’s manuscript to Gil
• [15:02–17:38]: Anne proposes supporting Steve to write; he reluctantly agrees
• [20:01–21:13]: Steve’s unsuccessful attempts to write at home
• [28:03–31:26]: Major argument over money and Anne’s friendship with Gil
• [35:33–35:53]: Confrontation—Anne exposes the truth to Luella
• [38:38–43:17]: Hollywood news segment with Jimmy Starr
• [44:30–47:15]: Steve and Anne’s awkward, heartfelt reunion over their impending divorce
• [52:43–54:15]: The truth about Anne’s pregnancy and the couple’s final reconciliation

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Episode Tone & Style

The episode is breezy yet deeply emotional, filled with banter typical of 1930s screwball comedies but underpinned by real issues of pride, self-respect, and changing marital expectations. The performances bristle with warmth, frustration, and ultimately genuine affection. Woven throughout are wry asides, quick repartee, and a sense of old Hollywood magic.

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For New Listeners

If you've never heard classic radio theater—or this bittersweet romantic comedy—this episode offers a vivid sample of period wit and subtle social commentary, enlivened by excellent performances and rich, engaging dialogue. The drama holds up as a study in the give-and-take of marriage and the ongoing negotiation between dreams, reality, and love.

Skip to (20:01) for a taste of 1930s marital negotiation and (44:30) for the emotional denouement.

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Transcript

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[Steve Merrick]

From hollywood, california, the lux radio theater presents fred mcmurray and madge evans in up pops the devil.

[Cecil B. DeMille]

Lux presents Hollywood. Or perhaps I should say you present Hollywood. For your loyalty to our products makes this program possible. Heading tonight's presentation are Fred McMurray and Madge Evans. Our guests, Jimmy Starr, ace screen columnist, and Howard Greer, internationally famous dress designer. Our music is directed by Lewis Silvers, while the entire production is under the personal direction of Hollywood's most eminent personality. Ladies and gentlemen, Mr. Cecil B. DeMille.

[Narrator]

Greetings from Hollywood, ladies and gentlemen. For years the motion picture business has had its unwritten laws, an invisible code authored by experience and enforced by tradition. For example, it's become almost dogma that if a film isn't an immediate success, it never will be. That the public will stay away from pictures about religion or Hollywood. That anyone achieving success in Western films will fail in all other kinds. That a star who has slipped can never stage a comeback. That no one famous as a child can ever duplicate that fame as an adult. The exceptions to all but the last unwritten law have been many. But the only girl I know renowned as a child and again as a leading woman is Madge Evans. In films since she was three years old, her star has never waned. Though born of English parents, a world famed artist not long ago termed her the typical American girl, which in her case means a girl with ash blonde hair and gray green eyes who weighs 116 pounds, owns three dogs and reads and walks for recreation. We hear Madge tonight as Anne Merrick and Fred McMurray as Steve, her husband. Fred is dividing his time these days between Paramount Studio, where he's playing opposite Carol Lombard in True Confession, and the home which he's recently purchased in Brentwood Heights. Give Fred some time off and you're pretty sure to find him skeet shooting or improvising tunes on his old love, the saxophone. From the original New York cast come Janet McLay as Luella May Carroll and John Marston as Gilbert Morrell onto the play the Lux Radio Theater presents Up Pops the Devil by Gilbert Hackett and Frances Goodrich. Starring Fred McMurray and Madge. The 40th floor of a New York City skyscraper. In the inner sanctum of a publisher's office. Gilbert Morell, the firm's editor, is hunched over his desk, absorbed in a blue covered manuscript. There's a knock at the door and his secretary appears.

[Anne Merrick]

Mr. Morrell.

[Gilbert Morrell]

Mm?

[Anne Merrick]

Mrs. Merrick is here.

[Gilbert Morrell]

Oh.

[Gil]

Well, I'll say to come in, will you?

[Anne Merrick]

Hello, Gil.

[Gilbert Morrell]

Anne.

[Gil]

How are you? That'll be all, Miss Hart. Yes, sir. Anne, sit down. Well, you're looking splendid.

[Anne Merrick]

And feeling it.

[Gil]

Marriage agreeing with you beautifully.

[Gilbert Morrell]

Well, good.

[Gil]

It's been ages since I saw you.

[Anne Merrick]

Well, did you read the manuscript?

[Gil]

Oh, yes. Just finished it.

[Anne Merrick]

And?

[Gil]

Well, it's. It's pretty good.

[Anne Merrick]

Oh, is that all, Gil? Just pretty good?

[Gil]

You want me to be frank? Is it yours?

[Anne Merrick]

Mine? Oh, no. It's Steve's.

[Howard Greer]

Steve's?

[Anne Merrick]

My husband.

[Gilbert Morrell]

Oh.

[Gil]

I didn't know he was a writer.

[Anne Merrick]

He isn't exactly. I mean, he's never had anything published, but he loves writing. I think it's the only thing in the world he really wants to do.

[Gil]

And when does he find time for his writing?

[Anne Merrick]

Sunday morning, Saturday afternoon?

[Gil]

Just then?

[Anne Merrick]

Well, he has his job other days, and sometimes he writes late at night. Gil, I thought his last one was a grand story. I still think so.

[Gil]

Oh, now, don't act that way. I don't say he can't write. I don't say the story isn't good. It is, Ed, but it's not good enough. You expect to get anywhere in this writing game? You've got to make it your whole job, not just Sunday mornings and late at night. You've got to really work at it then.

[Luella May Carroll]

If.

[Anne Merrick]

If Steve gave up his job, you think he could make a living at writing?

[Gil]

Yes, eventually.

[Anne Merrick]

Just when is eventually?

[Gil]

Oh, I should say in a year and a half. Maybe even a year. That's entirely up to him.

[Anne Merrick]

Oh, I wish you'd tell him that.

[Gilbert Morrell]

Me?

[Anne Merrick]

We were going out tonight. It's our first anniversary. A celebration. Can you join us?

[Narrator]

Well, I don't know.

[Anne Merrick]

We'd love to have you. And I know you'll like Steve.

[Gil]

All right. Count me in.

[Anne Merrick]

May I use your phone?

[Gil]

Certainly.

[Anne Merrick]

Steve ought to be in. It's Saturday.

[Gil]

Where are you living?

[Anne Merrick]

Oh, we've got a two by four apartment on eight Street.

[Gil]

Venice Village. Do you like it?

[Anne Merrick]

Well, it's. It's hectic, but it's cheap.

[Gilbert Morrell]

Hello?

[Steve Merrick]

Hello?

[Jimmy Starr]

Yeah.

[Steve Merrick]

Yes, this is Steve. Oh, Hello, Anne.

[Laundry Man]

What?

[Steve Merrick]

Well, wait a minute, wait a minute. Hey, take it easy, will you? Buy.

[Barney]

Hello?

[Steve Merrick]

Yes, that's the piano. It's by and George. They. They just dropped in. I said it's Byney and George. Hey, Byney, will you lay off a minute?

[Barney]

Hello?

[Steve Merrick]

Yeah, I said. I said it's. Oh, hello, Anne. How are you?

[Narrator]

Yeah, yeah.

[Steve Merrick]

That is, I was working until these two lease breakers came in.

[Barney]

Honey, I like that guy.

[Steve Merrick]

I'm insulted. Come on, Bonnie, let's go home.

[Barney]

Not after that. I'm gonna heckle him.

[Steve Merrick]

Okay, darling. You coming right home? I'll hop in the cab then, huh?

[Jimmy Starr]

All right.

[Steve Merrick]

Goodbye, darling.

[Barney]

It's a fine thing. A couple of bosom pals drop in to congratulate a guy on his first anniversary and what happens you could die

[Steve Merrick]

of while he makes love to his wife. It's depressing. I'm sorry, George, but Saturday's my afternoon at the typewriter. You fellas should have let me know you were coming.

[Barney]

How's the new novel, Steve?

[Steve Merrick]

Rotten, thanks. I wrote a novel once, but I left it laying around the house and my wife threw it out. She thought it was trash.

[Barney]

Yeah, she was probably right. Right. The best things you ever wrote, George, were the movie reviews for the examiner, remember?

[Gil]

Yeah.

[Steve Merrick]

The picture at the Circle Theater this week is first rate entertainment. But the stage presentation conceived and executed by by Hatfield is truly a sight.

[Barney]

The exit march was enjoyed by all.

[Narrator]

I miss those.

[Barney]

George, you ought to go back to being a critic.

[Steve Merrick]

Yeah, I ought to go back to being something. Hey, look, fellas, I hate to bust up the reminiscences, but Anne and I were figuring out a little celebration and.

[Barney]

Come in, come in.

[Narrator]

Everybody's welcome.

[Steve Merrick]

Hey, shut up, will you? Oh, hello.

[Luella May Carroll]

Oh, I hope you'll forgive me for breaking in on you like this, but I'm in terrible trouble.

[Steve Merrick]

Well, what's the matter?

[Luella May Carroll]

I wonder if you could help me. There's something upstairs in my room.

[Steve Merrick]

What is it?

[Luella May Carroll]

I'm just terrified.

[Steve Merrick]

Well, what is it?

[Luella May Carroll]

I think it's a bat.

[Steve Merrick]

Oh, a bat?

[Anne Merrick]

Mm.

[Luella May Carroll]

It flew in the window. Oh, I'm just so scared.

[Steve Merrick]

Where is your room?

[Luella May Carroll]

Right upstairs. I left the door open.

[Barney]

Yeah, it's a good idea. It'll probably fly right out again.

[Luella May Carroll]

Oh, hello.

[Gil]

Hello.

[Luella May Carroll]

Do you really think it'll fly out again?

[Narrator]

Oh, of course.

[Steve Merrick]

I wouldn't worry about it if I were you.

[Luella May Carroll]

I'm such a baby, if it got in my hair, I'd just naturally die.

[Steve Merrick]

Oh, but bats don't get in people's hair.

[Luella May Carroll]

When I flew in, I thought, what'll I ever do? And then I thought of coming down here and asking you. I hope you don't mind, but I almost feel as if I know you. I mean, we've passed each other in the hall so often. My name's Luella. Luella May Carroll.

[Steve Merrick]

How do you do?

[Luella May Carroll]

How do you do? You're Mr. Merrick, aren't you? Yes, I know. I've seen your name on the doorbell. Well, if you're sure it's all right for me to go upstairs again.

[Steve Merrick]

Oh, I think so.

[Luella May Carroll]

Well, goodbye.

[Steve Merrick]

Goodbye.

[Luella May Carroll]

Goodbye.

[Barney]

Bye.

[Luella May Carroll]

Bye.

[Barney]

Well, now, what would you call that?

[Steve Merrick]

That, my friend, is the pretty little girl upstairs. She has bats and I know where. Come on now, fellas. Clear out for a while, will you? We'll meet you at the Savoy at seven. Who's we? Ann and I. We're celebrating and you're both invited. But no tucking your napkin under your collar, Barney.

[Barney]

I can fix that. I won't wear a collar.

[Steve Merrick]

How about you, George? Can you make it?

[Anne Merrick]

Me?

[Jimmy Starr]

No, no.

[Steve Merrick]

I've got to get back to Westchester. The little woman's invited half of Park Avenue up for cocktails. Oh, well, thanks just the same. Say, I've got to beat it. Just about got time. So long, Vinnie.

[Narrator]

So long.

[Steve Merrick]

So long, Steve. Someday I'll take a day off from the wife and we'll get together for a real.

[Gilbert Morrell]

Okay.

[Steve Merrick]

So long, George.

[Narrator]

Well, there he goes.

[Barney]

He used to be a real guy, that fella. Look at him now, running home with his tail between his legs.

[Steve Merrick]

Today's the first time I've seen him in months.

[Barney]

Yeah, it's the first time anybody's seen him since he married the Steckle Millions. You know, it's a darn shame taking a fella like that and trying to make a pink tea expert out of him. He could really write once.

[Steve Merrick]

Why didn't he keep it up?

[Barney]

No incentive. The guy's being supported and he knows it. Anyway, she makes him spend most of his time being social.

[Steve Merrick]

She certainly got him licked.

[Barney]

I tell you, a man's got to feel important. He's got to have the little woman waiting at home for him, telling him how grand he is and asking him for car fare.

[Steve Merrick]

How do you know? Bachelor.

[Barney]

I look at guys like you.

[Steve Merrick]

Well, take a look at the outside door, will you, Barney? I've got some work to do before Anne gets home.

[Luella May Carroll]

Steve.

[Anne Merrick]

Steve, are you home?

[Barney]

Here.

[Steve Merrick]

Oh, hello, darling. I was just getting dressed.

[Anne Merrick]

Hello, darling. Did you get my present this morning?

[Narrator]

Swell.

[Steve Merrick]

Just what I needed. Did you get mine?

[Anne Merrick]

No, not yet.

[Steve Merrick]

Oh, that's right. I only bought it this afternoon.

[Anne Merrick]

Oh, well, I guess that's why.

[Steve Merrick]

Here you are. Plush box and everything.

[Anne Merrick]

Oh, Steve, you didn't.

[Steve Merrick]

Go on, take a look.

[Anne Merrick]

Oh, Steve, it. It's.

[Steve Merrick]

It's a bracelet.

[Anne Merrick]

Oh, it's beautiful.

[Steve Merrick]

Do you like it?

[Anne Merrick]

Like it? Oh, but you shouldn't have spent so much money.

[Steve Merrick]

Oh, what's the difference? I'm going to be a rich and famous author someday. Quick, give us a kiss.

[Anne Merrick]

Look at your mouth.

[Steve Merrick]

Matter if I got too much rouge on?

[Anne Merrick]

You have. Now give me a handkerchief. I thought you'd be all dressed. Darling.

[Steve Merrick]

No three shakes.

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[Steve Merrick]

Oh, mine is coming along.

[Anne Merrick]

Oh, is he?

[Steve Merrick]

Yeah, I invited him. I. I had to. To get rid of him this afternoon.

[Anne Merrick]

But I invited someone, too. Gilbert Morell.

[Steve Merrick]

Morel? The publisher.

[Anne Merrick]

I. I sent your manuscript to him.

[Steve Merrick]

Say he's important.

[Cecil B. DeMille]

What did he say?

[Anne Merrick]

He wants to speak to you at dinner.

[Steve Merrick]

You know, you had your nerve to send my stuff to him.

[Anne Merrick]

Oh, it was all right. I used to know him years ago. I think he was my first love. A real school girl crush.

[Steve Merrick]

Oh, yeah. Am I supposed to be jealous?

[Anne Merrick]

Mm, terribly.

[Steve Merrick]

Well, I am.

[Anne Merrick]

Hurry, darling.

[Luella May Carroll]

We can't keep him waiting.

[Gil]

And that's what I told Anne. A year, a year and a half. It's up to you, Steve.

[Anne Merrick]

You could do it, Steve. I know you could.

[Gil]

But it would have to be. All righty, Steve. Nothing else?

[Steve Merrick]

No other job, huh? Well, thanks, Doctor. I feel much better. Let's forget the whole thing.

[Anne Merrick]

Oh, Steve, that's childish.

[Steve Merrick]

Now, darling, let's not talk about it.

[Anne Merrick]

You know you don't want to stick at that filthy job you have now.

[Steve Merrick]

Did I ever say that?

[Laundry Man]

No.

[Anne Merrick]

But I know.

[Steve Merrick]

Now, will you be a good little wench and shut up?

[Anne Merrick]

I don't know what's the matter with you.

[Steve Merrick]

There isn't anything the matter with me except that I'm too smart and I have a good appetite. What do you suppose we live on? While I was learning to be A writer.

[Anne Merrick]

We get along.

[Gil]

Don't you know someone who could stake you?

[Gilbert Morrell]

No.

[Steve Merrick]

My friends are almost as poor as I am.

[Anne Merrick]

Steve, you're impossible.

[Steve Merrick]

So is the whole idea.

[Anne Merrick]

You know very well that I could.

[Steve Merrick]

Could what?

[Anne Merrick]

Nothing. Viney, dance with me, will you?

[Gilbert Morrell]

Sure.

[Narrator]

This is what you get for arguing.

[Barney]

Steve. I'm dancing with a miss.

[Steve Merrick]

Keep your toes in an.

[Barney]

Not bad. Not bad at all, Anne.

[Anne Merrick]

Oh, I was always light on my feet. As a matter of fact, I took dancing lessons for years. Barney, my teachers all said I was terrific. You didn't know that, did you?

[Barney]

Sounds like a buildup.

[Anne Merrick]

It is, Barney.

[Barney]

Yeah? What for?

[Anne Merrick]

I'm angling for a job in the stage show at the Circle.

[Barney]

Yeah, sure.

[Anne Merrick]

I mean it, Barney.

[Barney]

Go on.

[Steve Merrick]

You wouldn't want that.

[Anne Merrick]

Why not?

[Barney]

You wouldn't work in a chorus.

[Anne Merrick]

What's wrong with it?

[Barney]

It's too hard.

[Luella May Carroll]

Hard?

[Spinquest Promo Announcer]

Yeah.

[Barney]

You start rehearsing at 10. Then you give a performance. Just as you start to take off your costume, you hear your music.

[Steve Merrick]

Another performance.

[Narrator]

Rehearse.

[Barney]

Grab a sandwich. Another performance. Rehearse. Another performance. Now, when you get home at night, you're lucky if you can stand up.

[Anne Merrick]

I could do it. Vineyard. I'm sure I could.

[Barney]

Well, if you want the job, I'll get it for you.

[Anne Merrick]

But thanks, Barney. I'll remember that.

[Steve Merrick]

Watch out for the footstool, honey.

[Anne Merrick]

Oh. Well, it's small, but it's home.

[Steve Merrick]

Turn on the lights, huh? Here, I'll take your wrap.

[Anne Merrick]

Thanks. I still say you're going to write a grand book someday, Steve.

[Steve Merrick]

My best critic and severest friend.

[Anne Merrick]

He's nice, isn't he? Gilbert, I mean.

[Steve Merrick]

Swell.

[Anne Merrick]

I used to be crazy about him. I still think he's pretty grand.

[Gilbert Morrell]

Whoa.

[Anne Merrick]

He said such nice things about you. He said you could write. And now I want to tell you something.

[Steve Merrick]

Oh, going to work on me again, huh?

[Anne Merrick]

Yes, darling. Are you still happy?

[Steve Merrick]

You know I am. They say the first year is the hardest. Can you believe it's a year?

[Anne Merrick]

Seems like 10.

[Steve Merrick]

What?

[Anne Merrick]

I mean seven.

[Steve Merrick]

What?

[Anne Merrick]

Well, two weeks. But you're getting it for a bargain.

[Steve Merrick]

This is the day we were going to decide things.

[Luella May Carroll]

Yes.

[Anne Merrick]

Any complaints?

[Steve Merrick]

Plenty.

[Anne Merrick]

What?

[Steve Merrick]

Well, you never asked me where I've been. You're not jealous, you don't nag. And above all, you look too pretty in the morning.

[Anne Merrick]

I'll make a note of that. Must nag, mustn't look pretty.

[Steve Merrick]

But in spite of that, I'm hooked for life. Have you any complaints?

[Anne Merrick]

Yes. One.

[Steve Merrick]

Shoot.

[Anne Merrick]

I want you to do what Gilbert says Give up your job now, Anne, I want you to write.

[Steve Merrick]

I don't want anything but you now.

[Anne Merrick]

You don't.

[Steve Merrick]

Now and forever. Ann. This is the first time I've ever been happy in my life. This is the first time I've ever had a real home. Anyone I cared for, anyone I wanted

[Narrator]

to take care of.

[Steve Merrick]

And I'm not going to throw it away on a chance. But Steve, now it's all set. We've had a year. We're still on speaking terms. We're going on, Steve.

[Anne Merrick]

Don't you see? You're going to hate me if I keep you from your writing.

[Steve Merrick]

I couldn't hate you.

[Anne Merrick]

You will someday. After this magic is gone, it won't ever go. It's because of me you won't do it, isn't it?

[Steve Merrick]

You know, I just thought of something.

[Anne Merrick]

What?

[Steve Merrick]

You've got the loveliest smile.

[Anne Merrick]

Answer me, Steve.

[Howard Greer]

What?

[Anne Merrick]

It's because of me you won't give up your job because I'm dependent on you?

[Steve Merrick]

Well, yes.

[Anne Merrick]

Then I'll have to leave you.

[Steve Merrick]

I'd like to see you try it. Hey, what goes on?

[Narrator]

Who are you calling?

[Anne Merrick]

A very dear friend of mine, darling.

[Steve Merrick]

That's nice. Do I know him?

[Anne Merrick]

I think you've met the gentleman. Hello? Hello, Byney, by NY. It's Anne. I wanted to ask you something. Did you mean that about the job at the Circle?

[Steve Merrick]

Say, let's not do these things tonight. I'm tired.

[Anne Merrick]

Look, what if I wanted. Or I wouldn't be calling you.

[Steve Merrick]

You don't want that job.

[Luella May Carroll]

I can have it. Hooray.

[Anne Merrick]

When do you want me to report? Tomorrow morning. 9:30. I'll buy me. You're a darling. I'll be there at 9:30.

[Steve Merrick]

You'll never get up that.

[Anne Merrick]

Wait a minute, Viney. How much does that job pay?

[Luella May Carroll]

What? I'll be there at 9.

[Anne Merrick]

Goodbye.

[Gilbert Morrell]

How the heck you will.

[Anne Merrick]

Steve, it's wonderful. Do you know what that job pays? $50 a week and finally says it's definite. And it'll go on week after week.

[Steve Merrick]

Anne, do you really want to do it?

[Anne Merrick]

Why, of course I do. Then you can give up your job.

[Steve Merrick]

My job? What are you talking about?

[Anne Merrick]

Don't you see, darling? I can support you. What if we cut out all the parties? We can easily live on that, Steve. Just until you finish the book. Why, it's a perfect solution.

[Steve Merrick]

Are you serious?

[Anne Merrick]

Of course I am.

[Steve Merrick]

Now you listen to me. I think it's great of you to think of this thing, but I won't let you do it.

[Anne Merrick]

Why not?

[Steve Merrick]

Well, it's impossible. What the. I don't want to write. We're happy.

[Anne Merrick]

Look here, Steve, you're just discouraged because Gilbert turned down the book.

[Steve Merrick]

I'm not discouraged. I'll write.

[Anne Merrick]

This is your chance. Will you take it?

[Steve Merrick]

No.

[Anne Merrick]

All right, then. We said we'd separate after a year if we weren't satisfied. I'm not satisfied.

[Steve Merrick]

Say, what's the matter with you?

[Anne Merrick]

I mean it, Steve.

[Steve Merrick]

You mean, if I don't quit my job, sit back and let you do the work, you'll leave me?

[Anne Merrick]

Yes.

[Steve Merrick]

I couldn't do it. I can't have you supporting me.

[Anne Merrick]

Well, then I'm lending you the money. Is that better?

[Steve Merrick]

Sounds better.

[Anne Merrick]

Will you do it? It won't be long. Not more than a year.

[Steve Merrick]

A year? I could write four books in a year.

[Anne Merrick]

Then prove it.

[Steve Merrick]

All right, I will.

[Anne Merrick]

It's all set.

[Steve Merrick]

Now, wait a minute.

[Anne Merrick]

It's all set all right.

[Steve Merrick]

When do we start?

[Anne Merrick]

Tomorrow. Here's your first loan to bind the bargain.

[Steve Merrick]

What's that for?

[Anne Merrick]

Household money.

[Steve Merrick]

Household money?

[Anne Merrick]

That's your job now. Well, I'm going to bed. I've got to get up at 8. You'd better come too. You've got to get up at 7 and get my breakfast.

[Steve Merrick]

Oh, yeah.

[Laundry Man]

Oh, no.

[Cecil B. DeMille]

The Knox Radio Theater's production of Up Pops the Devil continues in just a moment. In the meantime, we take you to the dormitory of a Western college to the attractive room of one of the girls who happens to come from Hollywood. A large partial post package lies on the desk.

[Anne Merrick]

Why, Jeannie, what do you care what's in my package? Well, I'm hungry and I thought maybe there was something to eat in. You greedy little thing. This isn't food at all. It's something to wear. Well, next to food, I like clothes. Come on, open it and let me see. Oh, all right. But you open it if you want to. Oh, Marcia, look. It's some new undies. Gee, they're lovely. I never saw anything so beautiful. I didn't expect these. Why, they're just like those of mothers I like so well. And look, there's something else tucked down here in the box. A big package of Luxe Flakes.

[Gilbert Morrell]

Uh huh.

[Anne Merrick]

Isn't that a surprise? No, not exactly. Mother always sends Lux along with anything special just to be sure it gets the care it deserves. She doesn't realize how fussy I am about always having Lux on hand to protect my undies and sweaters and things. Why should you worry? You never wear your things out. And anywhere you have so many. Jeannie, don't be silly. I want to keep my things nice looking just as long as I can. That's why I always lux them. Well, these things are so exquisite, I'd be afraid to wash them at all. But haven't you heard the slogan? Anything safe in water is safe in lux. Mother says that's because luxe flakes haven't any harmful alkali. When you come to Hollywood, you can ask her. She'd love to tell you all about it.

[Cecil B. DeMille]

Mr. DeMille takes us back to our play.

[Narrator]

We continue with Up Pops the Devil, starring Fred McMurray and Madge Evans. With Anne working in the chorus and paying the bills. Steve went ahead rapidly on his new book. But now, after four months, the situation is beginning to pall. It's late afternoon, and Steve at his typewriter is trying vainly to concentrate. Interrupted repeatedly by the routine of housekeeping.

[Steve Merrick]

Who is it?

[Laundry Man]

Laundry. Laundry?

[Steve Merrick]

We'll bring it in.

[Laundry Man]

Evening, Mr. Merrick.

[Steve Merrick]

Hello. Just leave it there, will you? Say, it's about time you came. I've been waiting for a shirt since Thursday.

[Laundry Man]

Well, I was up here this afternoon. There was nobody home.

[Steve Merrick]

Well, why didn't you leave it? The other fellow always did.

[Laundry Man]

Yeah, that's why he got fired. Too easy. Didn't collect the bills. Say, you smelled something burning.

[Steve Merrick]

Holy cats. It's a dinner.

[Spinquest Promo Announcer]

Wait a minute.

[Steve Merrick]

You cooking?

[Laundry Man]

But I can guess what it is. Don't tell me now. Blanketed chicken. Is that right?

[Steve Merrick]

I don't know what it is now. It's all black. Hey, leave that stuff and beat it, will you?

[Laundry Man]

But the boss said that.

[Steve Merrick]

Oh, ye gods. Hello? What? No, it isn't. You've got the wrong number, madam. What are you waiting for? Pick up the dirty stuff, will you? I'm busy.

[Laundry Man]

Where is it?

[Steve Merrick]

It's in the bedroom. Look for it. Who is it?

[Luella May Carroll]

Hello, Steve, it's me.

[Steve Merrick]

Hello, Luella. What do you want?

[Luella May Carroll]

I've got something to tell you.

[Steve Merrick]

Listen, Noelle, I'm awfully busy.

[Luella May Carroll]

Oh, you look so cute in that apron.

[Gilbert Morrell]

Oh.

[Luella May Carroll]

Oh, don't take it off. I like it.

[Steve Merrick]

Luella, what do you want?

[Luella May Carroll]

I. I told you I have something to tell you.

[Steve Merrick]

Well, look, couldn't it wait for a while? You told me four things this morning and three things this afternoon. I'm up to my neck right now and I.

[Luella May Carroll]

But something terrible has happened. Steve, you just got to help me.

[Steve Merrick]

What's the matter this time of year? Curling iron busted again.

[Luella May Carroll]

Now, don't laugh at me. I'm serious.

[Steve Merrick]

Well, come on. What Is it?

[Luella May Carroll]

Sister Belva's gonna be married. Isn't that mean?

[Gilbert Morrell]

Yeah.

[Steve Merrick]

Yeah. That's terrible. Excuse me, will you?

[Luella May Carroll]

Well, it is me, and she's gonna be married right away. And that means I've got to go home.

[Steve Merrick]

That's fine. I mean. I mean.

[Luella May Carroll]

Yes, I've got to get the train tonight. That's what's so awful. See you. What must I do?

[Steve Merrick]

What do you mean?

[Luella May Carroll]

Well, how do I get my tickets?

[Steve Merrick]

Oh, that's easy. There's a man at the station who sells them.

[Luella May Carroll]

Could you come with me?

[Steve Merrick]

I'm sorry, Luella, but I couldn't make it now. I'm as busy as a dickens.

[Luella May Carroll]

Oh, Steve, you never do anything I ask you to. You never take me anywhere.

[Steve Merrick]

Now, Luella, please. Can't you see I'm busy?

[Anne Merrick]

Oh, all right.

[Luella May Carroll]

Should I come back later?

[Steve Merrick]

Yeah, yeah, yeah, do that. Goodbye, Louella.

[Luella May Carroll]

Goodbye. See you later.

[Laundry Man]

I guess this is stuff.

[Steve Merrick]

You mean, huh?

[Laundry Man]

Why the dirty laundry. Is this it?

[Barney]

Oh, for.

[Steve Merrick]

Yes, that's it. Leave the clean stuff by the door.

[Laundry Man]

Sorry, mister. I got orders not to leave this laundry until you pay what you owe.

[Steve Merrick]

Oh, yeah? I owe you a couple of bucks.

[Laundry Man]

$10.25.

[Steve Merrick]

What?

[Laundry Man]

Why, you ain't paid a cent in a month.

[Steve Merrick]

All right. Come back tomorrow.

[Laundry Man]

Sure, I'll bring the laundry back then, too.

[Steve Merrick]

Oh, hey, wait a minute. Leave me one shirt, will you?

[Laundry Man]

And have him fire me. So long.

[Steve Merrick]

So long, Shylock. Hello? No, madam. No, madam. I've told you seven times this is not Jake's Delicatessen Store.

[Jimmy Starr]

Go away.

[Steve Merrick]

Go away.

[Barney]

All right, girls. Back at 8:30 tonight. 8:30 for the last show.

[Gil]

Hello, Anne.

[Anne Merrick]

Hello, Barney.

[Barney]

How are you? You look tired.

[Anne Merrick]

I am a little. I'll be all right.

[Barney]

Why don't you take a night off and get Doc?

[Anne Merrick]

Thanks. We need the money too much. Lend me a nickel, will you, Barney?

[Barney]

Say, it isn't that bad, is it?

[Anne Merrick]

I want to make a phone call.

[Narrator]

Sure.

[Laundry Man]

Here.

[Anne Merrick]

Thanks, Barney. Hello, is this Dr. Coyle's office? Dr. Coyle, please. Hello, this is Mrs. Merrick again, Doctor. Just about the same. Will you be in for half an hour?

[Cecil B. DeMille]

All right.

[Anne Merrick]

I'll drop in on my way home. Thank you.

[Steve Merrick]

Who is it?

[Anne Merrick]

It's Anne. Oh, I forgot my key. How are you, darling?

[Steve Merrick]

All right, I guess.

[Anne Merrick]

What's the matter?

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[Steve Merrick]

I ruined the dinner, that's all.

[Anne Merrick]

Again, huh?

[Steve Merrick]

What'd you say?

[Anne Merrick]

Nothing. I don't care about dinner anyway.

[Steve Merrick]

What's wrong with you?

[Anne Merrick]

I'm all right.

[Steve Merrick]

You don't look well.

[Anne Merrick]

Oh, I'm just tired.

[Steve Merrick]

I'm a dirty swine.

[Gilbert Morrell]

Here.

[Steve Merrick]

You've been working all day. You come home tired and the dinner's spoiled.

[Anne Merrick]

It doesn't matter. All I want is coffee. How did your work go today?

[Steve Merrick]

Oh, fine. I worked hard.

[Anne Merrick]

That's grand.

[Steve Merrick]

Everything's going along all right now.

[Anne Merrick]

I'm glad. I'm such a fool. I get so terribly anxious, Steve.

[Steve Merrick]

Oh, why?

[Anne Merrick]

Well, I want you to finish this.

[Steve Merrick]

Gee, I'm going to soon. Sure. I'm shooting right ahead.

[Anne Merrick]

Now, where is your work?

[Steve Merrick]

Oh, look, never mind about that. Come over here.

[Anne Merrick]

And Steve.

[Jimmy Starr]

What?

[Anne Merrick]

Is this all you've done? One page.

[Steve Merrick]

Oh, holy cats. Yes, that's all I've done.

[Anne Merrick]

Why did you lie to me?

[Steve Merrick]

Because I'm so tired of arguments.

[Anne Merrick]

Did you try? Did you ever sit down and try to write?

[Steve Merrick]

Yes, I've tried. Trying doesn't get you anywhere.

[Anne Merrick]

Oh, Steve. What's the matter?

[Steve Merrick]

I'm in a rut. I never go anywhere. I never see anybody. I just stick around here all day.

[Anne Merrick]

You said before you couldn't write because you had no time. You had a job. People kept dropping in. Now you've got nothing but time, and still you can't write.

[Steve Merrick]

Well, I'm dull. No man can write when he's dull.

[Anne Merrick]

What do you want to do?

[Steve Merrick]

I don't know. I knew I'd do it.

[Anne Merrick]

Darling, do you know you didn't kiss me when I came in?

[Steve Merrick]

This whole business has gotten under my skin the last few weeks. It's made it impossible for me to be close to you.

[Anne Merrick]

Is that it? I just wanted it because I haven't changed. I still want you.

[Steve Merrick]

Oh, Anne, I'm sorry I spoiled your dinner.

[Anne Merrick]

I wasn't hungry.

[Steve Merrick]

I'm just an egg.

[Anne Merrick]

You're a swell egg.

[Steve Merrick]

You know, if you could get a night off, maybe we could go someplace. Couldn't you take one night off?

[Anne Merrick]

No, I mustn't.

[Steve Merrick]

Well, you said the other girls did.

[Anne Merrick]

Yes, but they docked them for it.

[Steve Merrick]

They couldn't dock you. You've just been paid today.

[Anne Merrick]

Oh, don't worry. They take it out of next week. No, I'll go back to the factory.

[Steve Merrick]

Hey, look, how about me calling for you at the stage door tonight? You pretend you don't know me and I'll pick you up, huh?

[Anne Merrick]

Oh, darling, you'd better spend that time working.

[Steve Merrick]

All right. Oh, Ann, could you let me have $10 tonight?

[Anne Merrick]

$10? That's a lot of money, Steve.

[Steve Merrick]

I know.

[Anne Merrick]

Well, take it out of the household money.

[Steve Merrick]

There isn't any.

[Anne Merrick]

Don't be silly. I put $28 behind the clock last Saturday. Where did it go?

[Steve Merrick]

Well, the milk bill, the butcher, the grocer and the laundryman and. Listen, will you let me have $10?

[Anne Merrick]

What do you want it for?

[Steve Merrick]

If I could only have some money without having to account for it. I'm only borrowing it.

[Anne Merrick]

But we're spending more money than we make, Steve.

[Steve Merrick]

We've always spent more than we make. And we're still alive, aren't we?

[Anne Merrick]

I think the best plan is for me to keep the money and pay the bills.

[Steve Merrick]

Where do I come in?

[Anne Merrick]

Well, I. I'll give you an allowance.

[Gilbert Morrell]

Oh.

[Steve Merrick]

How much were you planning to give me?

[Anne Merrick]

Well, do you think $7 a week would be all right?

[Steve Merrick]

$7? Don't you think that's too much?

[Anne Merrick]

Well, then, would $5 do?

[Steve Merrick]

Good Lord, $5 a week.

[Anne Merrick]

Well, Steve, we're both working for the same thing, aren't we? You know, everything I have is yours.

[Steve Merrick]

Then give me $10.

[Anne Merrick]

What for?

[Steve Merrick]

Oh, for Pete's sake.

[Anne Merrick]

Here it is.

[Steve Merrick]

I don't want it.

[Anne Merrick]

That's childish.

[Steve Merrick]

Let's not talk about it.

[Anne Merrick]

All right. It's there on the table. I've got to go, man.

[Steve Merrick]

What time are you coming home tonight?

[Anne Merrick]

Right after the show, of course. Why?

[Steve Merrick]

You were late last night.

[Anne Merrick]

Gil turned up.

[Steve Merrick]

That's a habit of his, isn't it? I notice he doesn't turn up down here.

[Anne Merrick]

He doesn't want to interrupt your work.

[Spinquest Announcer]

My work?

[Steve Merrick]

A lot he cares about that.

[Anne Merrick]

Oh, darling, please. He's crazy about the first chapters you sent him.

[Steve Merrick]

Yeah, he must be.

[Anne Merrick]

Steve, what makes you act this way?

[Steve Merrick]

Oh, I'm sorry. I don't know what the. Where'd you go?

[Anne Merrick]

Out for a sandwich. And then to his place alone. Should I have had a chaperone?

[Steve Merrick]

If it's just the same to you. I wish you wouldn't.

[Anne Merrick]

A little over a year ago, you wouldn't have said that, Steve.

[Steve Merrick]

Well, we weren't married then. You're my wife now.

[Anne Merrick]

Oh, I see. Well, I need some diversion. After Working.

[Luella May Carroll]

Work?

[Steve Merrick]

You call that work? You try hanging around this place all day, never going anywhere, never seeing anyone.

[Anne Merrick]

Seems to me Luella's here enough, keeping you from your work.

[Steve Merrick]

What?

[Anne Merrick]

Does she know how things are?

[Steve Merrick]

What do you mean?

[Anne Merrick]

That I'm working so you can stay home and write.

[Steve Merrick]

Of course she doesn't.

[Anne Merrick]

Then I'll tell her.

[Steve Merrick]

What are you trying to do? That girl doesn't mean a thing to me. You know that. But she's the one person left who doesn't know I'm being supported. Can't you leave me one person who's got some respect for me? Even if it's only someone I pass in the hall? You made me a fool before everyone

[Anne Merrick]

else made a fool of you. I'm just trying to make you amount to something.

[Luella May Carroll]

Stevie, won't you please take me to the.

[Anne Merrick]

Oh, hello, Luella. Anything I can do for you?

[Luella May Carroll]

I just wanted to ask Steve something. I'm such a baby. I don't know what I'd do without him. And I've gotta go home tonight. Back to Villeport. Sister Belva's being married.

[Anne Merrick]

How nice.

[Luella May Carroll]

Couldn't you come to the station with me, Steve?

[Steve Merrick]

I'm sorry, Louella.

[Luella May Carroll]

I told you, just to the ticket office. Those men are always so cross.

[Anne Merrick]

I'm afraid he can't. Steve's got to work tonight. His publisher's waiting for him to finish his book.

[Steve Merrick]

Oh, wait a minute. I think it would be fine. Luella.

[Spinquest Promo Announcer]

What?

[Steve Merrick]

I'd be delighted to do it for you.

[Anne Merrick]

Oh, I see. Well, I've got to go. Good night, Steve. You'll find your allowance on the table.

[Luella May Carroll]

Good night. Allowance? What did you.

[Steve Merrick]

Shut up.

[Luella May Carroll]

See you.

[Steve Merrick]

All right. I'm sorry. Let me alone, will you?

[Luella May Carroll]

I'm sorry, too. I guess I've kept you from your

[Anne Merrick]

work lots of times.

[Luella May Carroll]

Thank you and goodbye.

[Jimmy Starr]

Goodbye.

[Steve Merrick]

Wait. You're not going yet.

[Luella May Carroll]

Oh, I must.

[Steve Merrick]

You're not?

[Luella May Carroll]

I haven't got my reservation yet.

[Steve Merrick]

Well, forget it.

[Gilbert Morrell]

I'll.

[Steve Merrick]

I'll see that you get your ticket and I'll put you on your train.

[Luella May Carroll]

Oh, Stevie, could you.

[Steve Merrick]

Of course I could. But first of all, we're going out on a party. A grand farewell party. What do you think of that?

[Luella May Carroll]

Oh, that'd be marvelous.

[Gil]

I'd like to see Ann Merrick, please.

[Narrator]

Sorry, no one allowed backstage.

[Gil]

But the show's over.

[Narrator]

She.

[Gil]

Well, never mind. Here she is.

[Laundry Man]

Ann.

[Anne Merrick]

Oh, Gil.

[Gil]

I got your message. Anything wrong?

[Anne Merrick]

Oh, I don't know whether it's wrong or right. Let's get out of here.

[Gil]

Hungry?

[Anne Merrick]

Well, I didn't have any dinner.

[Gil]

Come on, I know a place. I think you need a little cheering up.

[Steve Merrick]

I have had no luck lately.

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[Steve Merrick]

10 bucks for 30. I'm headed over to spinquest.com right now.

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[Anne Merrick]

That's the story, Gil. Oh, I shouldn't have done it. I guess he's probably sore. I can't blame him much.

[Gil]

Well, I'm afraid this arrangement is getting under his skin. You know Steve's always been on his own, done as he pleased. Now that he has to account for

[Anne Merrick]

everything, up pops the devil.

[Gil]

Yes, it's too bad. I don't know if I should tell you this. Steve asked me for an advance last week.

[Anne Merrick]

He did?

[Gil]

It was okay, but when he heard it had to come out of my own pocket, he turned it down.

[Anne Merrick]

Gil, that's the sort of thing that scares me. I give him money enough for everything. What does he do with it? Every cent counts.

[Gil]

Now, Anne, if you're hard up.

[Anne Merrick]

Oh, wait. You haven't heard my news. Don't laugh too loud, Gil. But I'm going to have a baby, Anne.

[Gil]

Oh, that swell. That's grand.

[Anne Merrick]

I just heard the glad tidings this evening. It. Well, it sort of knocked me for a loop.

[Gil]

Does Steve know?

[Anne Merrick]

No.

[Gil]

I'd like to see his face. Would you tell him?

[Anne Merrick]

But I'm not going to tell him. Not yet.

[Gil]

But it's the thing he needs.

[Laundry Man]

Why?

[Gil]

Don't make him feel like a million dollars.

[Anne Merrick]

Oh, no. I don't want him to feel any responsibility. He'd think he had to go back to his job, give up his writing. I don't want that. I can go on helping Steve and I'm going to do it. Don't you go and tell him.

[Gil]

I won't tell him. But there's one thing I'm going to insist on if I'm to be a party to this. I'm not going to have you worried about money. I'm going to give you a check just so that if you don't feel like dancing, you can quit.

[Anne Merrick]

But I. I couldn't take your money, Gil.

[Gil]

Well, we'll call it a loan then. And we'll take it out on Steve. Just as soon as you make him a rich and successful author.

[Anne Merrick]

Well, all right.

[Gil]

That's a good girl.

[Jimmy Starr]

Oh, yes.

[Anne Merrick]

Well, Gil, you know, I rather like the idea of having a baby now. I'm getting used to it.

[Gil]

Why, of course you do.

[Anne Merrick]

I wonder what Steve will say when I.

[Gil]

Well, what's the matter?

[Anne Merrick]

Don't look now, Gil, but he's here.

[Gil]

Who is?

[Anne Merrick]

Steve. Over there in the corner. He's entertaining our dear little friend from upstairs.

[Gil]

Anne.

[Anne Merrick]

So that's where the money goes.

[Gil]

Stop it.

[Anne Merrick]

He's taking her out on my money.

[Gil]

Don't be silly.

[Laundry Man]

Anne.

[Gil]

Sit down.

[Anne Merrick]

I'm going to speak to him.

[Laundry Man]

Anne.

[Anne Merrick]

Anne, come here.

[Luella May Carroll]

Oh, Stevie, you're just so funny.

[Anne Merrick]

Hello, Steve.

[Luella May Carroll]

Oh.

[Steve Merrick]

Oh, hello. Hello, Gil.

[Gil]

Hello, Steve.

[Narrator]

Sit down.

[Anne Merrick]

I thought you were home working, Steve.

[Steve Merrick]

I was. I'm not now.

[Anne Merrick]

Is this what you wanted the $10 for? Please, Luella. Steve's taken you around a lot, hasn't he? Why, now he's bought your supper.

[Luella May Carroll]

Yes.

[Anne Merrick]

Well, let me tell you this. Every time he took you out, I paid for it.

[Steve Merrick]

Shut up.

[Anne Merrick]

And when he gave you this supper, I paid for it. I've worked hard to get that money.

[Steve Merrick]

Shut up.

[Anne Merrick]

I won't shut up. I wanted you to tell her, but you wouldn't. It's the truth. She ought to know it then.

[Steve Merrick]

Go on, tell her. Tell everybody. She's supporting me, Loella. She buys my clothes, she buys my food. She pays the rent. Now everybody knows it. Are you satisfied?

[Luella May Carroll]

Leaving. Come back. Wait.

[Gil]

And you shouldn't have.

[Anne Merrick]

I don't care. It was the truth. I don't care.

[Howard Greer]

All right.

[Anne Merrick]

All right. Thanks for bringing me home, Gil.

[Gil]

Good night. I call you in the morning,

[Luella May Carroll]

Steve.

[Anne Merrick]

Oh, I'm glad you're here.

[Steve Merrick]

I won't be for long.

[Anne Merrick]

Where are you going? I want to tell you something.

[Steve Merrick]

Haven't you said enough? All I want is to get out.

[Anne Merrick]

Steve. I want to tell you something. Something important.

[Steve Merrick]

There's just one thing I want to tell you. That supper tonight was the first money I ever spent on Luella.

[Anne Merrick]

Then what have you done with the money?

[Steve Merrick]

Well, if you must know, I've been paying installments on your anniversary present. When I bought that bracelet, I didn't know I wasn't going to have any money of my own. That's why I didn't tell you. I didn't want you to know you were paying for your own present. I knew I could pay it back. And. And you're going to get it back. Every last cent of it. I'm gonna get A job and feel like a man again.

[Anne Merrick]

Oh, you can't go back to that job again. You can't.

[Steve Merrick]

Anything would be better than this. You don't think I can do anything? You don't believe in me.

[Anne Merrick]

Don't believe in you? After all I've done for you? After I've nearly killed myself working so hard?

[Steve Merrick]

Oh, if it was so hard, why didn't you quit?

[Anne Merrick]

Because I couldn't.

[Steve Merrick]

Why couldn't you? Because you had to support me. Well, you don't have to support me. I've made money before and I can make it again.

[Anne Merrick]

You don't have to go back to that job. Here's your check. You don't need that job.

[Steve Merrick]

What check?

[Anne Merrick]

Well, it's a. It's an advance on your work. Gilbert gave it to me tonight. Here.

[Gilbert Morrell]

Yeah.

[Steve Merrick]

He wouldn't give it to me. I asked him. He said any money would have to come out of his own pocket.

[Anne Merrick]

Steve, I want to tell you something.

[Steve Merrick]

You think I'm a fool? This check is made out to you.

[Anne Merrick]

What do you mean?

[Steve Merrick]

It isn't for me. For my work. He gave it to you. Girlhood crush, huh?

[Luella May Carroll]

Get out.

[Steve Merrick]

You were up at his place. You've been sneaking out with him every night.

[Anne Merrick]

Get out. I'm making the money. This is my place. And if you don't like what I'm

[Luella May Carroll]

doing, you can get out.

[Steve Merrick]

Yeah, that's.

[Anne Merrick]

Well, go on back to your job. Be a nobody all your life.

[Steve Merrick]

A nobody. A nobody. That's what I've been for four months. Cooking, sweeping, answering bells, having to beg you for every nickel. That's what I've been, a nobody. And I'm sick and tired of the whole business.

[Cecil B. DeMille]

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

[Narrator]

Pausing between scenes of Up Pops the Devil. Our trip to Backstage Hollywood finds us meeting Jimmy Starr. Once a struggling writer like Steve Merrick in our play. He's now motion picture columnist for the Los Angeles Herald and Express. His alliance with films began when he got a job putting up the marquee signs announcing new shows for a theater. But he couldn't spell, so he became a publicity man. He was an extra in the early Tarzan films, worked as a Keystone Cop for Mack Sennett and once danced for three hours with May Murray. Jimmy originated the full page idea for Phil News, and I'm giving him his chance now to originate something on the air.

[Jimmy Starr]

I was hoping you would extend that dare, Mr. DeMille. As a matter of fact, I have some suggestions on how to conduct a radio program.

[Narrator]

Naturally, Mr. Starr. Naturally. I expected that. Remember, we have millions of listeners. And I don't want anything to happen that would offend them.

[Jimmy Starr]

I know, I know. I'm not exactly picking on you, Mr. DeMille. It's guys like Winchell and Fiddler. When they start dealing out news about Hollywood. They miss a chance to tell the story the way it should be told over the radio. After all, we're dealing with sound. My idea is simply this. Now, suppose Simone. Simone and Jean Markey really got serious. I'd explain it with something like this.

[Narrator]

I understand. Wedding bells.

[Jimmy Starr]

Right. And suppose. And that Martha Ray tearing up her marriage license.

[Narrator]

Any others to offer?

[Jimmy Starr]

Certainly.

[Cecil B. DeMille]

What's this?

[Narrator]

Sounds like someone taking a bath.

[Jimmy Starr]

Not quite. But you're catching on. It's a housewife washing dishes. In Luxe Flakes, of course. And this.

[Narrator]

Now you got me there, Jimmy.

[Jimmy Starr]

Well, that's the sound made by the hands of another housewife when she runs them over her husband's face, rough and cracked. You see, she doesn't use Luxe Flakes for washing dishes. Poor woman. She's been using some other soap with that harmful alkali in it.

[Narrator]

I thought that maybe the husband needed a shave.

[Jimmy Starr]

Oh, no. The hands of the same lady on the same husband sound like this when she uses Lux. As smooth and as soft as a song. Even a columnist knows that. Now, here's an easy one,

[Narrator]

very simple. That woman just dropped the dishes she was washing.

[Jimmy Starr]

Wrong again. That's Lupi Vallee and Johnny Weissmuller spending a quiet evening at home.

[Narrator]

Clever, Mr. Starr. But how about stepping from your critical pose for a moment and sticking to your last what's doing around town?

[Jimmy Starr]

Okay, here are a few things that happened only a few moments ago that will make tomorrow's headlines. If you want any more information about the personalities mentioned, write me in care of Deluxe Radio Theater, Hollywood. New scoop number one. Mark down April 13th as the wedding date for Lily Pons and Andre Castellanis who sailed for Europe on that day. Their ceremony will be performed on board. Ms. Pons is always considered number 13. Her luckiest news scoop number two. A lover spat, which may become permanent is the cause of Tyrone Power taking a plane to New York to spend five days visiting Jeanette Gaynor. Sonia, Henny and Tyrone haven't spoken to each other since last Tuesday. News note number three. Greta Garbo is packing up her duds to return to Sweden for four months. The mysterious movie made will slip out of Hollywood sometime within three weeks. But not without first signing a new contract with Metro. Golan Mayer. Screen scoop number four. Virginia Bruce and director J. Walter Rubin are tuning up the wedding bells. They're so in love. Virginia has already put her okay on a lot, on which Walter will build their love nest. Screen scoop number five. Producer David Selznick loudly denies that Paulette Goddard has been assigned the coveted role of Scarlett o' Hara in Gone with the Wind. That's true, but it's a 10 to 1 bet she gets the part. News note number six. Charlie Chapman, who vowed he would never make a talkie, will speak in his next picture. News Note number 7. On location in Bel Air, Katharine Hepburn formed a softball team and challenged some kids playing in a vacant lot. Cary Grant pitched, Katie played third base, and director Howard Hawks covered second base. The final score was 28 to 8 in favor of the movie team. Katie hit a home run, stole two bases, and the kids won't know until they hear this that they were playing with the elusive Katharine Hepburn. And thanks for Letting me talk, Mr. DeMille. And now, letting sound tell the story again. Here's a way to say goodbye to a columnist.

[Narrator]

And that, ladies and gentlemen, was Jimmy Star. And now back to fred mcmurray and madge evans. And up pops the devil.

[Barney]

Oh, I have had no luck lately.

[Spinquest Announcer]

Wait.

[Lady Luck Britsky]

Lady Luck Bretzky. I got you. I've had so much luck on spinquest.com they have all of my favorite games. Slot games, live blackjack, craps and bubble craps. You can even get a 30 coin pack for just 10 bucks.

[Steve Merrick]

10 bucks for 30. I'm headed over to spinquest.com right now.

[Spinquest Announcer]

Spin Quest is a free to play social casino void where prohibited. Visit spinquest.com for more details.

[Narrator]

Two more months have gone by. Steve and Anne have been separated since the night he left the apartment. But now Anne is planning to see him again, once again to settle the matter of their divorce. In Gilbert's office, she sits, twisting her handkerchief and glancing frequently at the clock.

[Gil]

Where are you meeting him?

[Anne Merrick]

At the Park Crescent. We're having lunch. Would you like to come, Gil?

[Gil]

Good Lord, no.

[Narrator]

What's the matter?

[Gil]

Are you scared?

[Anne Merrick]

Well, I'm not exactly, but I wish it were over.

[Gil]

You hadn't heard from him at all?

[Anne Merrick]

No, just those weekly money orders. He sent me another this morning. $100.

[Gil]

I wish he wouldn't do things like that. I'm trying to dislike him.

[Anne Merrick]

His war debt. He said he'd pay it all back to me.

[Gil]

You've quite a collection. What are you going to talk about at lunch?

[Anne Merrick]

The divorce. He doesn't Know anything about it yet?

[Gil]

Will you tell him you're going to marry me?

[Anne Merrick]

Yes.

[Gil]

And when are you going to tell me?

[Anne Merrick]

Oh, Gil, you're a darling, but I couldn't marry you.

[Gil]

You're still in love with him, aren't you?

[Anne Merrick]

I tell you, I hate him. The only thing we're going to discuss is the lawyer's instructions.

[Gil]

But you might want to tell him about the baby.

[Anne Merrick]

I'll never do that.

[Gil]

But it isn't right not to tell him.

[Anne Merrick]

Gil, please. I know what I'm doing.

[Gil]

I hope so, Anne.

[Narrator]

Will there be anything else, sir?

[Steve Merrick]

I don't think so. And?

[Anne Merrick]

Nothing. Thanks.

[Laundry Man]

Yes, ma'. Am.

[Steve Merrick]

Well, enjoy the lunch.

[Anne Merrick]

Yes, thank you.

[Steve Merrick]

I hear you're not at the Circle anymore.

[Anne Merrick]

No, I left a few weeks ago.

[Steve Merrick]

I. I was glad when you sent for me.

[Anne Merrick]

I'd have sent for you sooner if I'd known where you were.

[Steve Merrick]

Was there anything special you wanted to see me about?

[Anne Merrick]

Yes. It's about the divorce.

[Spinquest Announcer]

Divorce?

[Cecil B. DeMille]

What divorce?

[Anne Merrick]

Ours. I went to see a lawyer.

[Steve Merrick]

Wait a minute.

[Anne Merrick]

What is it?

[Steve Merrick]

Do you mean this?

[Anne Merrick]

Yes, Steve.

[Steve Merrick]

A lawyer. Well, Anne, how could you go to a lawyer?

[Anne Merrick]

What did you expect me to do?

[Steve Merrick]

Well, it's just you and me. What's between us is nobody's business.

[Anne Merrick]

Unfortunately, when we got married, it became the state's business.

[Steve Merrick]

Anne, this is you and me. You can't act like this.

[Anne Merrick]

It's a shame. Isn't it? So much easier just walking out.

[Steve Merrick]

Can't we settle it between ourselves?

[Anne Merrick]

Well, we could have, if we hadn't been such fools as to have gotten married.

[Steve Merrick]

It wasn't marriage that made us unhappy. It was me.

[Anne Merrick]

I'm sorry, Steve.

[Steve Merrick]

I lost my sense of importance. I couldn't write. I couldn't do anything.

[Anne Merrick]

You could fight, though.

[Steve Merrick]

Of course I could fight. I was just trying to convince myself I was somebody I had to fight. Can't you see that? It didn't matter about what it did to me. And.

[Anne Merrick]

Well, I. I guess that's all.

[Steve Merrick]

And you're leaving me for something I said when I was so mad I couldn't see straight. Listen. And you're my whole life. I haven't anything but you. These two months I've been so lonely for you, I could hardly go on. I telephoned you again and again, pretending it was the wrong number just so I could hear you say hello. And then I came to your stage door and followed you. I wanted you so terribly, but I couldn't come back. I had to get on my feet first. And I haven't done so badly, have I? Two stories accepted. And now I'll finish the book and. Oh, Ann, look at me.

[Anne Merrick]

What's the use of all this? I'm going telephone Gil about the divorce. He'll tell you all about it.

[Steve Merrick]

Anne, are you going to marry Gil?

[Anne Merrick]

Yes, Steve.

[Cecil B. DeMille]

I see.

[Anne Merrick]

All right, you. You can come up to the apartment and get your things anytime.

[Steve Merrick]

Thanks. I guess there's nothing there I want very much.

[Spinquest Announcer]

No.

[Steve Merrick]

Give me another one of those, will you?

[Barney]

Yeah. Hey, Steve, how are you?

[Steve Merrick]

Oh, hello, Barney. Where you been hiding? I've been around.

[Barney]

Yeah? Funny, I haven't seen you. I just came from the apartment. Went up to see Ann.

[Steve Merrick]

Oh, yeah?

[Barney]

I haven't seen her since she quit the show.

[Steve Merrick]

She got another job, Barney, Huh?

[Barney]

I. I don't think so.

[Narrator]

What she quit for then, huh? I say, why'd she quit the show?

[Barney]

Don't you know?

[Steve Merrick]

How should I know?

[Barney]

If you don't know, I don't know.

[Steve Merrick]

How was she, Bunny?

[Gilbert Morrell]

Okay.

[Narrator]

Gil Morrell was up, too, for a while.

[Jimmy Starr]

Yeah.

[Barney]

He came to say goodbye.

[Laundry Man]

Yeah.

[Steve Merrick]

There too.

[Laundry Man]

Who?

[Barney]

Say, what is this?

[Gilbert Morrell]

The An?

[Steve Merrick]

The An.

[Barney]

Yeah. Morel's going to Europe for a couple of years.

[Steve Merrick]

You're crazy. How do you like that?

[Narrator]

I'm crazy?

[Steve Merrick]

You mean he's really going?

[Barney]

If he isn't, he's an awful liar.

[Gilbert Morrell]

Alone?

[Barney]

I guess so.

[Gilbert Morrell]

Why?

[Steve Merrick]

Let me out of here. Hey, where are you going along, buddy. Hey, what's the matter with you? I'm crazy.

[Gilbert Morrell]

Hey,

[Luella May Carroll]

Steve.

[Steve Merrick]

And I've got to see you.

[Anne Merrick]

Not now.

[Steve Merrick]

I've got to.

[Gilbert Morrell]

How do you like it, Mama?

[Luella May Carroll]

Well, it seems real nice.

[Steve Merrick]

Who are those people out in the kitchen?

[Anne Merrick]

Please, Steve. They've come to rent the apartment.

[Steve Merrick]

Rent the apartment? I thought you were going to stay here.

[Anne Merrick]

I'm going to stay till I rent it.

[Steve Merrick]

Do you mean to say you're going to let strangers come and live in our house, using our things, snooping in our kitchen, peeking up our chimney?

[Luella May Carroll]

I asked you.

[Anne Merrick]

You said you didn't want the place or the furniture. Now I'm going to rent it furnished. I've got to have the money.

[Steve Merrick]

I'll give you money.

[Anne Merrick]

I don't want your money.

[Steve Merrick]

Well, where will you go?

[Anne Merrick]

I'm going out of town. Where, Mrs. Morrell?

[Luella May Carroll]

Yes?

[Steve Merrick]

Well, when are you leaving? Will you tell me that?

[Anne Merrick]

Just as soon as I rent the apartment.

[Gilbert Morrell]

Oh, Mrs. Merrick, my wife likes the place fine.

[Luella May Carroll]

I certainly do.

[Anne Merrick]

The beds are so comfortable.

[Luella May Carroll]

And I haven't seen a real kitchen since we left California.

[Gilbert Morrell]

It sure is nice and, Mrs. Merrick,

[Luella May Carroll]

I wonder if you'd show me how that range works.

[Anne Merrick]

Why, of course. It's really very easy.

[Luella May Carroll]

Well, I'm sure it is.

[Gilbert Morrell]

Say, that kitchen sure got her, hasn't it? But this chair is what sold me.

[Luella May Carroll]

Yeah.

[Gilbert Morrell]

This is what I call a real chair. Yeah, it sure is. Yes, sir. You sit here at night and snuggle up to that fireplace.

[Steve Merrick]

Yeah, Well, I don't think you'd want to snuggle up to that fireplace. You sit that close and you choke to death. That's one of those fireplaces where all the smoke comes into the room and all the heat goes up the chimney.

[Gilbert Morrell]

Is that so?

[Steve Merrick]

And let me tell you, in one of these old houses, you sure need the heat.

[Gilbert Morrell]

Well, that's all right. I guess that be fixed.

[Steve Merrick]

That cost an awful lot of money.

[Gilbert Morrell]

Not me. That used to be my business.

[Steve Merrick]

Oh, well. Oh, well, I. I hope you used to be in the plastering business too.

[Gilbert Morrell]

Yeah.

[Laundry Man]

Huh?

[Gilbert Morrell]

Why?

[Steve Merrick]

Oh, it's not very important. But that ceiling up there, it has a tendency to fall down.

[Gilbert Morrell]

Is that so?

[Steve Merrick]

Yeah. Pretty near brain me one night, but you get used to it. Just remember to stay on this side of the room.

[Narrator]

Well, I, I.

[Luella May Carroll]

Now I understand.

[Anne Merrick]

I'm sure it won't give you any trouble.

[Gilbert Morrell]

Oh, Mama.

[Steve Merrick]

Yes, Mama?

[Gilbert Morrell]

Come inside a minute. I want to speak to you now.

[Luella May Carroll]

There's nothing to speak about.

[Gilbert Morrell]

Oh, yes, there is. You'll excuse us, won't you?

[Narrator]

Oh, sure, sure.

[Anne Merrick]

Well, what did you tell that man? That man was crazy about this place. What did you tell him?

[Steve Merrick]

I don't know.

[Jimmy Starr]

Oh, yeah.

[Steve Merrick]

I told him about the ceiling falling down.

[Anne Merrick]

The ceiling? When?

[Steve Merrick]

Well, don't you remember that day we found the plaster all over the floor?

[Anne Merrick]

One little.

[Steve Merrick]

Well, it might have been dangerous.

[Anne Merrick]

You're trying to ruin my chances of renting.

[Steve Merrick]

I don't want those people coming in here. I want to live here with you. Oh, and we can be so happy.

[Luella May Carroll]

Don't be silly.

[Gilbert Morrell]

All right. If you say so, Mama.

[Luella May Carroll]

Oh, it's all right, Mrs. Mary. I'll have the ceiling fixed myself.

[Anne Merrick]

But it really.

[Gilbert Morrell]

If it's okay with Mama, it's okay with me. I guess I wouldn't care what the place was like, just so long as that chair went with it.

[Steve Merrick]

That chair doesn't go with it.

[Luella May Carroll]

Steve, you.

[Steve Merrick]

I've changed my mind. That chair doesn't go with it. And that table and that lamp and that couch.

[Luella May Carroll]

Steve.

[Steve Merrick]

And you're not going.

[Anne Merrick]

Let go of me.

[Steve Merrick]

We've changed our minds. We're not Going to sublen.

[Gil]

But.

[Gilbert Morrell]

But it was all set.

[Steve Merrick]

I don't care. Listen, darling. Listen. You can't go off and leave me. I need you. And you need me too. What kind of a life is that, being separated? Me missing you so much and wanting you.

[Gilbert Morrell]

Come along, Mama.

[Steve Merrick]

Don't you see how happy we can be? It'll be like it was at first. I can take. Take care of you.

[Anne Merrick]

Oh, dear.

[Luella May Carroll]

I wish now I'd never seen the place.

[Anne Merrick]

Mrs. Platt. Mrs. Platt.

[Luella May Carroll]

Don't listen to him.

[Anne Merrick]

You can have this place.

[Luella May Carroll]

Oh, I'm afraid, dearie.

[Anne Merrick]

You don't know what you want.

[Luella May Carroll]

But I was like that too, with my first mama.

[Narrator]

Are you coming?

[Steve Merrick]

What did she say?

[Anne Merrick]

Are you satisfied now that you've driven them away? Now that you spoiled my chance of renting? Do you think by doing that that you'll force me to coming back to you?

[Steve Merrick]

What did she say?

[Anne Merrick]

Do you answer me that? Because if you do, you're crazy. I can take care of myself. I've made money before and I'll make it again.

[Steve Merrick]

I know. She said something about you first.

[Anne Merrick]

Oh, she's crazy.

[Steve Merrick]

Anne. Anne. Are we gonna have a baby?

[Anne Merrick]

Yes.

[Steve Merrick]

How long have you known it?

[Anne Merrick]

Two months.

[Steve Merrick]

Two months? Then you knew it when we were separated.

[Anne Merrick]

Yes.

[Steve Merrick]

Why didn't you tell me?

[Anne Merrick]

I was going to.

[Steve Merrick]

Going to? That's swell. You were going to tell me, but you didn't. Did you two perfect strangers from California walk in and tell me I'm about to become a father?

[Gil]

That's great.

[Steve Merrick]

That. Swell.

[Anne Merrick]

Well, you see.

[Steve Merrick]

Why didn't you tell me at lunch that day?

[Anne Merrick]

I didn't want it.

[Steve Merrick]

Why not?

[Anne Merrick]

You'd have said the wrong thing.

[Steve Merrick]

No, you're just trying to get even. Do you mean to say that you were going to walk out that door without even telling me? My own baby?

[Anne Merrick]

It's not your baby. It's yours.

[Steve Merrick]

Hasn't he got a father?

[Anne Merrick]

No.

[Steve Merrick]

What?

[Anne Merrick]

Well, he's a brute.

[Steve Merrick]

The baby?

[Luella May Carroll]

Yes. No.

[Anne Merrick]

I mean, you are.

[Steve Merrick]

Oh. Oh, I am. I don't want to fight anymore.

[Anne Merrick]

I don't want to talk anymore.

[Steve Merrick]

Why don't you kiss me?

[Anne Merrick]

Oh, Steve, darling.

[Steve Merrick]

I'm so crazy about you.

[Anne Merrick]

You've got a funny way of showing it. You were going to let me walk out.

[Steve Merrick]

You had me scared. I thought you meant it.

[Anne Merrick]

You stupid. How could I?

[Steve Merrick]

It was just a lesson, darling. I've learned it already.

[Anne Merrick]

You did it so well I was scared to death.

[Steve Merrick]

You didn't show it.

[Anne Merrick]

Darling. All I want in the world is to sit back and Let you take care of me, darling.

[Steve Merrick]

That's just what I'm going to do.

[Cecil B. DeMille]

Up pops.

[Narrator]

The devil has ended, but our stars pop up again a little later. Now a moment with Howard Greer, owner of one of the most exclusive dress shops in the film capital. If he'd not been a machine gun corporal during the World War, he wouldn't be here tonight talking about clothes. When the war ended, he took the first job he could get. It was with Paul Poiret, the famous French designer. And today the ex machine gunner ranks among the world's foremost stylists. Mr. Greer's clientele has included practically every Hollywood star since the days when Clara Bow was popularizing the third person Neuter and Norma Shearer was making cowboy films. Prior to opening his shop, Mr. Greer worked for me. And I was never sure whether it was because or in spite of me that he left pictures for his own business.

[Howard Greer]

The truth of the matter, Mr. DeMille, is simply this. I'd much rather make clothes for off screen wear. Because private clothes provide the advantage of an added dimension. Once in a while I do get caught in a picture. However, at the moment I'm making the clothes Katharine Hepburn will wear in her next film.

[Narrator]

What do you think, Howard, is your most original contribution in designing costumes?

[Howard Greer]

Well, back in the days when sound first came in, dresses made out of taffetas and beaded materials made so much noise they interfered with the dialogue. So I took a chance, designed an evening dress out of wool. And no one was more surprised than I when six months later, Paris came out with a complete line of woolen evening gowns. Today, however, sound has been so perfected that we can use all types of materials without encountering any trouble at all.

[Narrator]

The current issue of Life magazine showing the popularity of white fox furs is another proof of your ability to set styles.

[Howard Greer]

The present popularity of white fox is practically the result of a panic. A few years ago when silver fox was dominating styles. A wholesale fur company found itself stuck with thousands of white fox skins. They offered me all I could use on dresses to divert some interest from silver to white and dyed fox. Previously, furs had been used only as collars, cuffs and trimming. I used the skins intact as sleeves again. Paris followed. At the moment, both white and silver fox are very much in favor. Incidentally, the first suit showing silver fox sleeves is one I happened to make for Tallulah Bankhead to wear in her play Reflected glory. So maybe Ms. Bankhead really started the present first sleeve vogue for women who want to learn what's going to be worn and how they can apply those ideas to themselves. I know of no better school than the screen and like the screen, if you don't mind my saying it. The sponsors of this program are doing a fine service in helping women to be better dressed. Their product, Luxe Flakes, is the best I've ever encountered for keeping all washable material, no matter how fine, looking like new so much longer. My advice is to buy fewer but better clothes. If they're washable, take care of them in Luxe Flakes and you'll find in the long run, you'll be spending much less money and will look more attractive.

[Narrator]

Your recent showing of Fall and Winter Clothes Howard was one of Hollywood's important events. What are some of the style highlights it indicated?

[Howard Greer]

Well, in the first place, it's going to be a more colorful season. Street dresses will be the shortest in 10 years with straight lines and square shoulders. Shoes are apt to be ankle height. You'll see a new type of glove allowing plenty of room for rings with the three smaller fingers all in one compartment. Something like a mitt. At least I hope you'll see it because I invented it. Hats are madder than ever and anything goes. Box coats will be exceedingly popular and colors for all clothes will be warmer and more vivid. Lines for evening are simple, but fabrics are extravagant and luxurious. And last, the zipper fastener will be used for everything, even the most delicate kind of evening dress. But now I think I've held things up just about long enough. Thanks for listening.

[Narrator]

Thank you. Well, most people go to the the city to work and to the mountains for a vacation. Fred McMurray and Madge Evans have just done the opposite. Madge returned last week from a nice quiet rest in New York and Fred has been in the San Bernardino mountains working on his new film.

[Steve Merrick]

Which only proves again that the movies are a tricky business. You know, just before I came here tonight, I was working on the set of True Confession and thinking how mad we must appear to people who happen to drop in and hear the language of motion pictures.

[Anne Merrick]

You mean our dialogue?

[Steve Merrick]

No, I. I mean a conversation like this.

[Narrator]

Look out, Fred.

[Steve Merrick]

We're going to kill that baby and put a silk around the broad. We'll drop that gobo over your head and don't look at the blimp. Just make sure you're behind the eight ball.

[Anne Merrick]

The average person needs an interpreter on a movie set.

[Narrator]

Perhaps we should explain that in screen language. When you kill a baby, you merely turn off a small spotlight and a

[Steve Merrick]

silk around abroad Is a diffuser hung in front of a wide rectangular light.

[Anne Merrick]

While a gobo, for those who are interested, is an oblong shield that keeps light out of a camera lens.

[Narrator]

The blimp being the padded camera covering the deadened sound. And the eight ball simply a new type of microphone. I might add that we're not referring to food and drink. When we tell an electrician to take his keg of beer and spaghetti and put them in a corner, the keg of beer is just another variety of small light. And the spaghetti, the wire cable.

[Anne Merrick]

It's practically another language. But what about all this hard work Fred was doing up in the mountains? The story I heard was that he went to Lake Arrowhead.

[Narrator]

Yes, to go swimming.

[Anne Merrick]

Oh, what a hardship.

[Steve Merrick]

Well, let me explain. Magic Arrowhead may belong to sunny California in summertime, but in October, I think the Eskimos take possession of the lake.

[Anne Merrick]

If it was that cold, why didn't they use a double?

[Steve Merrick]

Well, they did take a double up there. But it seems that while the double was a beautiful swimmer. And incidentally, as a good friend of mine, the only stroke he knew was a dog paddle. Now, suppose you tell us about that trip to New York.

[Anne Merrick]

Oh, nothing very exciting, Fred. Just a nice change and a chance to see some of those Broadway shows. I was rather amazed to find out how many of our Hollywood neighbors are now in plays there, or soon will be. Mona Barry, Frances Farmer, Frederick March and Florence Eldridge. Ian Keith, Walter Houston and Nan Sunderland. But it's very good to be back home and to be with all of you here in the Lux Radio Theatre. Once again, many thanks.

[Steve Merrick]

Good night, C.B.

[Narrator]

good night. Good night, Madge. Good night, Fred. I'll see you behind the eight ball.

[Cecil B. DeMille]

Thank you, Fred McMurray and Mad. Ladies and gentlemen, this is your announcer, Melville Ruick. Mr. DeMille returns in a moment with great news concerning next week's program. Mr. McMurray and Mr. DeMille appeared through. Courtesy of Paramount Studios. Charles Tannen Hurt. His Byny Hatfield and Lewis silvers are from 20th Century Fox, where the latter was in charge of music for Lancer Spy. Also in tonight's cast were Frank Nelson as George Kent, Dink Trout as laundry man, Marie Hammond as Mrs. Platt, Lou Merrill as Mr. Platt, Anne Morrison as secretary and Robert Whitney as head waiter. And now our producer.

[Narrator]

Next Monday night, one of the finest actors the screen has ever known comes to the Lux Radio Theatre. Most of us, I'm sure, recall his brilliant performance for us last season in Men in White and more recently on the screen in Captain's courageous. His name Spencer Tracy. He stars for us in the celebrated story by Sinclair Lewis that became a national bestseller and a box office triumph as a motion picture aerosmith. In it, Mr. Tracy plays the part of a modern microbe hunter struggling to be true to both his wife and science. And starring with Mr. Tracy will be Ms. Fay Ray. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Spencer Tracy and Pey Ray in Arrowsmith. This is Cecil B. DeMille saying good night to you from Hollywood.

[Cecil B. DeMille]

Our play tonight was from the original by Albert Hackett and Francis Goodrich. Danger, love at work and loveliness of you heard during tonight's performance. Welcome. You can't have everything. This is the Columbia Broadcasting.

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