Lux Radio Theater: O.S.S. (A0054)

Summary

The Great Detectives of Old Time Radio

Episode: Lux Radio Theater: O.S.S. (A0054)
Date: January 17, 2026
Host: Adam Graham
Drama: O.S.S., Lux Radio Theater adaptation, starring Alan Ladd (as Martin) and Veronica Lake (as Ellen/Helene Duprez)

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Overview

This episode spotlights the Lux Radio Theater adaptation of O.S.S., a dramatic retelling of espionage operations conducted by the Office of Strategic Services during WWII. Harnessing Golden Age radio drama, the episode fuses suspense, danger, and personal sacrifice, illustrating how ordinary Americans became unsung heroes in the global struggle against the Nazis. After the play, Adam Graham provides insightful commentary and responds to listener feedback, connecting the drama’s themes to real-life OSS exploits.

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Key Discussion Points & Insights

1. Adam Graham’s Introduction

[00:56–03:41]

• Adam introduces a special series focusing on dramatizations inspired by OSS operations.
• O.S.S. (1946) is the first of three featured Hollywood-to-radio adaptations, starring Alan Ladd and Veronica Lake—an iconic pairing from films like This Gun for Hire and The Blue Dahlia.
• Graham notes:

  "There’s a bit more of a Hollywood polish on the story... but the radio version has a really good epic feel of this major spy adventure." (63:50)

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2. The Radio Drama: Plot and Themes

Mission Assembly & Training

[05:00–09:00]

• OSS agents are introduced and trained for undercover work, emphasizing ordinary backgrounds and the need for adaptability.
• The critical mission: sabotage of the Courbet Malone Tunnel in Nazi-occupied France—essential to crippling Axis logistics into Normandy.

"Forget everything you’ve ever been told about fair play and sportsmanship. Forget everything except that your country is fighting for its life." (08:17, OSS Commander)

Character Dynamics and Team Formation

[13:43–16:46]

• Introduction of Helene Duprez (Veronica Lake), initially recruited due to her connections and skills as a sculptor.
• Initial mistrust and gender dynamics within the team are aired and quickly settled.

Martin: "I think you’re the kind that ought to be raising a couple of kids in Cleveland Heights."
Helene: "Let’s clear that up right now, Mr. Martin. I’ll buy my own coffee and find my own bed." (14:00–14:11)

Infiltration, Espionage, and Sabotage

[17:40–32:20]

• The team parachutes into France "jumping blind" due to a lack of contact with locals.
• Their leader Gates is killed, raising the stakes and showcasing the mission's peril.
• Helene leverages her art cover to smuggle plastic explosives (disguised as clay and art supplies).
• The sabotage mission is set against rising suspicion from the Nazi Colonel Meister.

"We have the explosives here for you... tubes of paint... They will be ready for you." (24:57)

Explosive Climax: The Tunnel Sabotage

[29:31–34:37]

• Tension peaks as Helene and Martin infiltrate the train; the tunnel is destroyed using an explosive bust.
• The aftermath sees the team forced to flee, blending with refugees and the French resistance as the Gestapo closes in.

Betrayal, Blackmail, and Escape

[35:03–38:16]

• The survivors make contact with Gestapo agent Brink, who attempts to blackmail them for safe passage, money, and immunity.
• Despite the uneasy alliance, team Applejack continues to relay vital intelligence to OSS headquarters via a meticulously orchestrated courier and radio system.

Final Operations & Ultimate Sacrifice

[42:30–56:12]

• The OSS learns the Nazis have cracked a top American code—grippingly raising operational urgency.
• Boucher dies, but the remaining agents transmit Parker’s crucial intel regarding Nazi troop dispositions, leading to the Allied crossing of the Rhine.

"Thousands of lives will be saved... never come back for me again... never come back." (55:00–55:08, Helene)

Bittersweet Victory and Reflection

[56:17–58:09]

• As victory nears, Martin and Brady reflect on personal sacrifice and the anonymity of heroes:

"Don’t thank me, thank them. The ones who didn’t live to see this. Gates, Boucher, Elaine... I didn’t even know her real name." (56:17–56:35, Martin)

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3. Notable Quotes & Memorable Moments

• On OSS’s Realism:
  "While the characters in this picture are fictitious, the story is based on a composite of actual incidents in the diversified activities of the Office of Strategic Services..."
  (03:41, Keeley quoting General Donovan)

• On Woman’s Role in Espionage:
  "Some of the most successful agents in history were women."
  (14:11, keeps echoing OSS’s real inclusivity and courage)

• On Ordinary Heroes:
  "She might even have lived just around the corner... The courage of ordinary Americans willing to take risk."
  (63:50, Adam Graham’s reflection)

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4. Adam Graham’s Post-Show Reflections

[63:50–70:52]

• Graham distinguishes between the romanticized drama of O.S.S. and the realistic, true-story basis of Cloak and Dagger, noting the balance between Hollywood spectacle and authentic historical detail.
• He remarks on the shrewdness of OSS headquarters, showing skepticism toward German double agents, and the necessity of getting the team out quickly (“…this is not going to last. We need to get these guys out of here now.”).
• Adds trivia: “While Ladd was the star of the film, Geraldine Fitzgerald, not Veronica Lake, played Ellen. But pairing Ladd with Lake was a smart, iconic Paramount move.”
• Connects the work to other Alan Ladd-Veronica Lake collaborations, noting their lasting impact.

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5. Listener Feedback & Historical Context

[68:00–70:52]

• Graham shares moving listener stories about real-life OSS agents, reinforcing the show's emotional resonance and commitment to honoring those who served.
• Example: Neil’s message about Colonel Waller B. Booth and his mission in Nazi-occupied France, tying the fictional drama to authentic heroism.

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Notable Timestamps

| Timestamp | Segment | Highlights | |--------------|-------------------------------------------------|-------------------------------------------------------------------| | 00:56–03:41 | Adam Graham Intro & Context | OSS trilogy intro, Ladd/Lake pairing, historical inspiration | | 13:43–16:46 | Team Formation in London | Cover stories, team dynamics, gender roles | | 24:17–26:54 | Art Supplies as Espionage Tools | Explosives disguised as paints and clay, secret meet-ups | | 29:31–34:37 | Tunnel Sabotage Sequence | Tense infiltration, set-up, and explosion | | 35:03–38:16 | Brink’s Betrayal and Blackmail | Gestapo double-agent, price of immunity, radio communications | | 44:33–46:12 | Death of Boucher & Team in Flight | Peril escalates, transfer of critical intel | | 55:00–55:08 | Helene’s Plea | “Never come back for me again. Thousands of lives will be saved.” | | 56:17–56:35 | Martin’s Reflection on Loss | Tribute to fallen comrades, cost of victory | | 63:50–64:46 | Adam Graham’s Review & Analysis | Comparison to Cloak and Dagger, Hollywood vs. realism | | 68:00–70:52 | Listener Comments and Real-Life OSS | Emotional personal stories, audience engagement |

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Tone & Style

• The radio drama expertly balances suspense, realistic danger, and romance, with sharp dialogue and high stakes.
• Graham’s commentary is informed, lightly humorous, and warmly appreciative of his audience and “the courage of ordinary Americans willing to take risks.” (63:50)
• The show’s blend of fact-inspired fiction and post-show reflection deepens the historical resonance for modern listeners.

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Conclusion

This episode is a compelling showcase of wartime espionage both as thrilling entertainment and as a tribute to real-life courage and sacrifice. Through crackling radio drama and thoughtful commentary, Adam Graham and the Lux Radio Theater cast draw listeners into the shadowy, perilous world of the OSS—and invite reflection on the bravery of agents whose stories, real and imagined, helped shape history.

Transcript

[William Keeley]

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[Veronica Lake]

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[William Keeley]

That you need a partner that helps.

[Veronica Lake]

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[William Keeley]

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[Veronica Lake]

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[William Keeley]

Everything humming right along. Call 1-800-GRAINGER clickgrainger.com or just stop by.

[Veronica Lake]

Grainger for the ones who get it done.

[Adam Graham]

Welcome to the Great Adventurers of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you the first of three adaptations of films about the oss. But first, I do want to encourage you if you're enjoying the podcast, to please follow us using your favorite podcast software. In addition, today's program is brought to you in part by the financial support of our listeners. You can support the show on a one time basis at support/greatdetactives.net and become one of our ongoing Patreon supporters for as little as $2 per month at patreon.greatdetactives.net well, I had plans to do some anthology programs after Cloak and Dagger for a couple weeks before we transitioned into a continuing series. But the amount of interest and enjoyment that people had with the OSS made me think it'd be a good ide to do some specials that focused on the oss. There were actually a few films that were made based on the oss. Now they're not all in the way that Cloak and Dagger was taken directly from real life incidents, though certainly the training and the types of missions that the OSS got involved in were covered. And initially, and you may have heard me say on some podcasts, we're going to do two weeks. I found out that there were three different major films that were made and were later adapted to radio. So we're going to do three weeks of these films and hear how they adapt to radio and hear the way that the OSS is portrayed. Now. Two of these I did do as part of our World War II series, the war, but at least one of them was in really rough shape and we do have some upgraded copies. And so and particularly it would be a good idea to do it again now that we've just listened to the entire run of Cloak and Dagger. Now, the first of these three films was OSS. Now this came to theaters on May 28, 1946, and the Lux Radio Theater version was released on November 18, 1946. And it stars a familiar figure to those who listen to the great detectives for a very long time in Allen ladd of box 13. But now we go to the Lux Radio Theater for oss.

[William Keeley]

This episode is brought to you by Peloton. The new Cross Training series balances your workouts with 15 plus workout types for endless movements on and off your equipment. Stay motivated with weekly personalized plans that guide you from beginner to expert and push past your goals with routines tailored to you. Get the new Cross Training series Term Supply. Lux Presents Hollywood. Lelever brothers company brings you the lux radio theater starring alan ladd and veronica lake in oss ladies and gentlemen, your producer, Mr. William keele. Greetings from Hollywood, ladies and gentlemen, and welcome to the Lux Radio Theater's presentation of Paramount's gripping screenplay oss starring Alan Ladd in his original role, co starred with the talented and lovely Veronica Lake. In introducing tonight's play. I'd like to quote from Major General William J. Donovan who during the war directed the Office of Strategic Services. He says, while the characters in this motion picture are fictitious, the story is based on a composite of actual incidents in the diversified activities of the Office of Strategic Services which conducted intelligence, special operations and unorthodox methods of warfare in support of allied military operations. It is a tribute to the brave, resourceful men and women, living and dead, who volunteered for these dangerous assignments. In other words, tonight's play is more than thrilling entertainment. It is a glimpse into the hazardous behind the lines activities of those loyal Americans who paved the way for victory, whose lives depended hour by hour on meticulous attention to the smallest detail. An agent of the OSS could not afford to look well fed in a country living on starvation diets, well dressed among ill clad people or well groomed in a land where soap was non existent behind the lines. I'm sure a luxe complexion would have been a certain giveaway among women of the OSS Just as it's a hallmark of good grooming among women in civilian life. In fact, I can think of no better countersign or password for admission to the League of Lovely Women than Luxe Toilet soap from LTS we take you now to oss, starring Alan Ladd as Martin and Veronica Lake as Ellen. Here's the curtain for act one. It's 1940 in a colonial mansion set in the peaceful Virginia countryside. A group of men, some young, some middle aged, are gathered for a meeting. From their looks, it could be a salesman's convention. Closer still, a get together of college alumni. But the lesson these men are learning was never taught in any college. There's nothing superhuman about being a good intelligence agent. Yes, it takes guts, brains and patience. But this is a new game to us. You trainees are average Americans. And the average Americans are not brought up to fight the way the enemy fights. But we can learn to become agents and saboteurs if we have to. One of these days, you'll be working in Axis territory. You'll be on the spot every minute of the day or night. Your only chance, your only chance will be to beat the enemy to the punch. Forget everything you've ever been told about fair play and sportsmanship. Forget everything except that your country is fighting for its life. That's all for now. Radio laboratory at 10 o'. Clock. Camera room at noon. Dismissed. Come in. Commander Brady, sorry to drag you out this time of night, but I've just had a visitor. General Donovan. Well, your orders have come through. Operations in France, Colonel. Right. Well, when do we start, sir? Now. The job won't be finished until our troops cross the Rhine. You've got two things to do. First, get information. Second, work with the French underground and sabotage key enemy installations. Now, look at this. Map. These railway lines that feed this area here around the city of Orleans, Right here is one of our priority targets. Recognize it? Yes, sir. The Courbet Malone Tunnel. If we can knock that tunnel out, we'll paralyze the most important traffic line into Normandy. We've assigned the tunnel to Team Applejack. What's its personnel, Commander? Team Applejack leader, Rodney Gates, army Officer, World War I. Civilian occupation, railroad supply salesman in France. Good man. Mature. Judgment, stability and balance. Next. John Martin, lieutenant, junior grade, U.S. navy. Civilian occupation, Publicity man. Knows friends. Little on the cocky side, but he'll do after he's been knocked around a bit. Well, there's balance and brains. We need a little brawn. Bert Parker, Chief petty officer, civilian occupation. Sportsman, Motorboat racer. Sorry, but Parker's been assigned to Germany. He's lived there. If he gets through, he's to lay low as a Ryan barge worker until needed. Well, we've got another muscle man named Boucher who used to be a Hockey player. That should do it. Balance brains and bruin. The ideal setup. Except we'll need one more. Someone who knows the district. Someone to contact the French underground there. What about a woman? They can often get through where a man can't. Personnel in London could recruit. I'd rather see if we can find one here first. Well, see that gates Martin Buchete put over. You too, Commander. I'll be needing your help in finding that girl. So this is where you live, Miss Rogers.

[Veronica Lake]

This is it, Mr. Brady.

[William Keeley]

Alone?

[Veronica Lake]

Oh, no, with Jean Jacques, my cat. Well, it's been very nice meeting you. Thanks for a lovely evening.

[William Keeley]

You're welcome.

[Veronica Lake]

I'm really very glad Uncle Arthur asked you to call me. Well, good night.

[William Keeley]

You're not going to ask me in?

[Veronica Lake]

It's rather late.

[William Keeley]

Oh, now, wait a minute. This is my first trip to San Francisco. My plane doesn't leave until 3am you wouldn't turn me loose in a strange town at this hour. Besides, Uncle Arthur wouldn't approve of that.

[Veronica Lake]

Well, all right. Come in.

[William Keeley]

Thanks, Ms. Rogers. I knew you wouldn't let me down.

[Veronica Lake]

I can't afford a studio and an apartment. So this does for both. Like some coffee later, maybe.

[William Keeley]

So you're a sculptress, huh?

[Veronica Lake]

Seems to me I told you all about that at dinner. Trying to make conversation, Mr. Brady.

[William Keeley]

I'm trying to find out how good a business it is. Sculpting. Financially, I mean.

[Veronica Lake]

It's a bust. No puns intended.

[William Keeley]

You've got quite a collection here. You do all these?

[Veronica Lake]

Yes.

[William Keeley]

Recently.

[Veronica Lake]

You're full of questions. No, not recently. Most of them in France. I studied at Fontainebleau.

[William Keeley]

Oh, when was that?

[Veronica Lake]

Two years before the occupation. Oh.

[William Keeley]

Too bad about the French.

[Veronica Lake]

July 16, 1429.

[William Keeley]

Hmm. I never was much good at dates.

[Veronica Lake]

That's the day Joan of Arc liberated France. After a hundred years of occupation, Joan.

[William Keeley]

Of Arc never ran into a panzer division. No, this time the French are finished.

[Veronica Lake]

I'm sorry, but you don't know the French people as I do. The plain people. Their good common sense, their stubborn pride, their faith, their deep faith.

[William Keeley]

That's a very pretty speech. You're pretty, too.

[Veronica Lake]

Why, in France the evening?

[William Keeley]

We're not in France, we're in San Francisco. And I didn't come up to talk politics.

[Veronica Lake]

I'm not talking politics. I'm talking about the indestructible.

[William Keeley]

Your kisses would be pretty too, Ms. Rogers, if you'd cooperate a little.

[Veronica Lake]

There's the door, Mr. Brady.

[William Keeley]

Uh, not yet.

[Veronica Lake]

You're getting out of here.

[William Keeley]

Right now, I'd rather stay.

[Veronica Lake]

I'd hate to have to fracture your skull. And I'd hate even more to smash this figurine.

[William Keeley]

But if you don't, Uncle Arthur's going to be very disappointed in you.

[Veronica Lake]

Stop that idiotic Uncle Arthur routine. I haven't spoken to that stingy old goat in 10 years. He'd no more have given you my address than turn up at a board of directors meeting without his clothes. Now, just who are you, Mr. Brady, and what do you want?

[William Keeley]

You're a bright girl. You're right. Uncle Arthur definitely did not ask me to look you up. You see, it's not Mr. Brady. It's Commander Brady, Office of Strategic Services. Ever hear of us?

[Veronica Lake]

No.

[William Keeley]

Then put down that figurine and relax. You and I are going to do some serious talking. Oh, that kiss. Just a sort of test, Ms. Rogers.

[Veronica Lake]

Message for you, Colonel Field.

[William Keeley]

Go ahead, read it.

[Veronica Lake]

San Francisco says yes. It's signed Brady.

[William Keeley]

Good. Call the laboratory. Tell them Brady will be in for a full report on Thursday. Yes, Commander, it's already here. Take a look. That's the kind of clay a sculptor would use. Is it? It's what you ordered. Plastic explosive that looks, feels and tastes like modeling clay. That's wonderful. Going into the art business, Not a bad idea. Wait a minute. Why couldn't we develop a whole line of art store merchandise? More plastic explosive to put up in tubes. Like tubes of paint, time pencils as crayons, reels of fuse, picture wire. It could be done. Now, you're sure of this stuff? You can actually model with this explosive? Definitely. Let me use your phone. This is Commander Brady. Get me Colonel Field, please. Now, look, start turning out that clay. We'll need a lot of it. Pack it well. It'll have a long way to go. And the tubes, the picture wire? That too. Right away. High priority. You can. Colonel Field. Brady, Applejack can go to London tomorrow. The girl? I'll wire her now. Everything set? She can join us later over there. Oh, and from now on, we're referring to Ms. Rogers as Helene Dupre. Well, gentlemen, now that Helene Dupre is here with us, Team Applejack is complete. As soon as your clothing and documents are in order, you'll be leaving this hotel. You'll be leaving London, you'll be leaving England.

[Veronica Lake]

I don't mind saying I'm scared to death.

[William Keeley]

Don't worry. We all are. Will you, men? Any questions? The. The young lady, Commander, she's. She's going with us? Yes. Why? We'll come to that. Later, Martin, what's on your mind? Well, all right. How do we treat her?

[Veronica Lake]

Because I'm a woman.

[William Keeley]

That's right.

[Veronica Lake]

Forget it.

[William Keeley]

Look, it may get pretty rugged the other side of the Channel. Tough to buy a cup of coffee and tough to find a place to sleep.

[Veronica Lake]

Let's clear that up right now, Mr. Martin. I'll buy my own coffee and find my own bed.

[William Keeley]

Yeah, Suppose you get picked up. Some of the most successful agents in history were women. Yeah, I know women like Marta.

[Veronica Lake]

Harry, how do you know what kind of woman I am?

[William Keeley]

Well, I think you're the kind that ought to be raising a couple of kids in the Cleveland Heights. There's bound to be a lot of excitement where we're going. And I want to be sure everybody's going to keep calm. Now wait a minute, Martin. Helene wouldn't be here in London unless we thought she qualified. Nothing personal, sir. I'm only concerned about operating successfully.

[Veronica Lake]

I think we will if Mr. Martin stops worrying about my sexual treat me like any other member of the team.

[William Keeley]

Right. Now you all know where you're going and you know your objectives. The Courbet Malone Tunnel is the jackpot. The first thing to do after landing is to contact FFI headquarters at an inn called Le Cheval Noire. When you've got something to tell us, use your radio. Now let's go over your cover up stories. Gates. My name is Raoul Jesse, a Parisian. I used to be an automobile salesman. When the war came, the office was closed. I've been unemployed most of the time since. My health is bad. Lung trouble. I couldn't stay at a farm near the city. Bad lungs, you said. I have X rays to prove it. Here, let me see. Certainly bad, all right, but whose lungs are they?

[Adam Graham]

Mine.

[William Keeley]

If I were the Gestapo, I'd have you shot. These are American made. X rays. French X ray plates are different. Have French ones made? My name is Albert Bonatti. I'm an ice skating instructor. I work winter resorts all over. Saranac Lake, Sun Valley, San Moritz. I'm looking for a man I heard was going to open a skating rink in Orleans. I can't find him and I'm short of funds. I'll take any kind of work I can find. You're a pretty husky young fellow. Why aren't you a prisoner of war or in a labor battalion? That's right. I forgot to tell you. Here are my papers. I'm not French, I'm Swiss. The war caught me in France and I haven't been able to get back. That's better. Martin. My name is Philippe Martin. I lost my mother when I was 8. Went to live with my aunt in the United States. Came back from military service in 1935. Trained 18 months, then got a job as correspondent for American newspaper. Called back up in 39. Fought at Sedan. Was captured with my division. Later released by the Germans to work for them at the Renault factory. When the factory was bombed out, I was sent to Orleans to work in the railroad yacht. Too glib, Martin. Otherwise okay, Helene.

[Veronica Lake]

My name is Helene Duprez. My home is Noleau, where my family's lived for generations, on the Routier. I'm a sculptress graduate of Fontainebleau. Every year, my husband and I used to spend our vacations near there. He was a writer. His name was Jean. This year I've come alone. Jean was killed in the Order.

[William Keeley]

A writer, I said. I was a correspondent. My articles would have appeared in the United States.

[Veronica Lake]

You can find Jean Dupree's work in the back issues of many French magazines.

[William Keeley]

Oh, then Helen Dupree is real.

[Veronica Lake]

She was my roommate at Fontainebleau. We were inseparable. People used to call us the sisters.

[William Keeley]

Oh. What happens if you run into her?

[Veronica Lake]

I won't. She's missing. This is her last letter. She says, goodbye, my sister. It will be evening soon, and I shall walk down to the beach and out onto the surf, thinking of you. Thinking of Jean. Shall I go on?

[William Keeley]

No, I. I'm sorry. Well, I suggest you all go to your rooms now and get some sleep. Chances are you'll leave tomorrow night. You will be dropped, of course, by parachute. I'll see you in the morning. I've just been talking to the pilot. How do you feel, Helene?

[Veronica Lake]

Oh, just fine.

[William Keeley]

No. Is that what the pilot wanted to find out? When do we jump? We just flew over our destination. There should have been a signal from the ground. Well, there wasn't any. Hey. That means there'll be no FFI to meet us. That's right. You want to turn back? I say we should jump blind. Any objections?

[Veronica Lake]

No.

[William Keeley]

Let's jump. Good. We'll jump blind, then. Oh. Our pilot assures me our plane has been spotted by the Nazis. We expected that, didn't we? Yes, but that may make things a little tough down below since there's no one to meet us. Still want to jump? Let's go. Okay. I'll tell the pilot to run us in. I have counterintelligence for you on the telephone. Here, Colonel. Oh, thank you. Hello, master? Speaking. There's A lone unidentified plane over your area. Strong formation of British planes was reported earlier. This one may be a stagger. It made me parachutors. I suggest that the area be coming immediately. Guman y hair coming. Possibility of parachuters in this area. Watch that inn, Le Cheval Noir. They have been rendezvousing there. Don't raid it. And you watch it. Get ready to jump. Good luck, everyone. See you at the end. Helene, the Chevelle Noir.

[Veronica Lake]

I'll be there, Mr. Martin.

[William Keeley]

All right, start jumping. In just a moment we'll continue with the second act of OSS starring Alan Ladd and Veronica Lake. Meanwhile, here's Libby Collins, our Hollywood reporter, looking mighty pleased about something too.

[Veronica Lake]

I guess it's the movie I saw this afternoon, Mr. Keeley. You can't beat a good western. They're such a lot of fun.

[William Keeley]

Sounds as though you saw that new Republic picture.

[Veronica Lake]

That's it. Plainsman and the Lady. A real thriller diller. Starring William Elliot, Vera Ralston and Gayle Patrick.

[William Keeley]

I've seen Bill Elliot in dozens of hard riding films, Libby. But I always thought of Vera Ralston as an ice skating star.

[Veronica Lake]

Oh, she is and was once Olympic skating champion. But in Plainsman and the lady she again proves herself a fine dramatic actress. Vera's had quite an exciting career, you know. She escaped from her native Czechoslovakia on the very last plane before the borders were closed.

[William Keeley]

That was exciting.

[Veronica Lake]

But the real thrill of a lifetime, she says, was getting her American citizenship papers last flag day.

[William Keeley]

Well, this country has gained a stunning new citizen. Vera's a real beauty.

[Veronica Lake]

Oh, she is that, Mr. Keeley. She's one of the most photographed girls at Republic. And the studio says she just can't take a poor picture.

[William Keeley]

I don't wonder, Libby, how could anyone miss with a complexion like Vera Ralston's?

[Veronica Lake]

Mr. Kennedy, you're certainly a man with a single track mind when it comes.

[William Keeley]

To lovely luxe complexions. I admit it.

[Veronica Lake]

Well, you're quite right about Vera Ralston's. She uses luxe toilet soap every day. She told me. Active lather facials with luxe toilet soap are a wonderful aid to beauty. They leave your skin feeling fresh and smooth.

[William Keeley]

Libby, won't you tell the ladies in our audience how Vera Ralston takes her luxe soap facial?

[Veronica Lake]

Well, here's what she does. And it's very simple and quickly done. Smooths on lots of the creamy luxe soap lather and works it in thoroughly. Rinses first with warm water, followed with a splash of cold. Then she takes a soft towel and pats her Skin ever so gently to dry. And that's all there is to a luxe soap beauty facial. And, Mr. Kennedy, screen stars find it a wonderfully effective care.

[William Keeley]

You're absolutely right, Libby. We know from actual tests that luxe toilet soap facials make skin lovelier. These tests were made by skin specialists. And they showed improvement in a short time in three out of four cases.

[Veronica Lake]

Hollywood stars just have to have a complexion care that works.

[William Keeley]

And that's why Lux toilet soap is the favorite beauty soap of nine out of ten screen stars. The loveliest women in the world. Mr. Keeley returns to the microphone. We continue with act two of OSS starting Alan Ladd as Martin and Veronica Lake as Elle. Nearly three days have passed since Team Applejack parachuted into a patch of woods near the French city of Orleans. Now in London, where he's been joined by Colonel Field. Commander Brady has received his first radio message from the saboteurs. The message has just been decoded, Colonel. Well? Not too good. Gates is dead. Gates? The night they landed, he and the girl went to the inn first. Something must have gone wrong. The others found his body in the morning. And the girl? Not suspected. I've ordered Martin to take over their proceeding as schedule. Well, Martin's got a job in the railroad yard. Boucher's become a scissors grinder. He's rented some sort of a hovel to live in. He'll radio us from there as long as he can. Helene? She's made contact with the underground. An old man named Aubert has a shop that sells art supplies. She's found a studio close by. Then things should start happening. They will, sir. They will.

[Veronica Lake]

Scissors.

[William Keeley]

Sharpen knives and scissors. Sharpen knives and scissors. Sharpen.

[Veronica Lake]

Can you sharpen sculpting tools?

[William Keeley]

Anything, madame. Scissor. Sharpen knives and scissors.

[Veronica Lake]

Sharpen how much?

[William Keeley]

I have not sharpened chisels like these in a long time.

[Veronica Lake]

I met Martin an hour ago.

[William Keeley]

Oh, I can do them all right. Where?

[Veronica Lake]

Newspaper stand near the railroad yard. Well, how much?

[William Keeley]

10 francs each, madame.

[Veronica Lake]

10 francs. 20 car train, 6am tomorrow. That's ridiculous.

[William Keeley]

A man must live. But where?

[Veronica Lake]

Lamar? All right. Here.

[William Keeley]

Thank you, madame. I will sharpen them like new.

[Veronica Lake]

10 francs each. Outrageous.

[William Keeley]

Hello? Hello? Yes, this is Colonel Field. What time? Confirmed. Fine. Yes, Brady's with me now. Hope to have another job for you very soon. That was British Air Intelligence, Brady. Well, Applejack's in business. The bombers got the train at Le Mans this morning. Completely destroyed. Any other news for Martin? A little. Helene's rounded up some ffi. They're all meeting tomorrow afternoon in Aubert's art shop. Come in, Madame.

[Veronica Lake]

Monsieur, these two men are my friends. Papa, Monsieur Martin, Monsieur Boucher.

[William Keeley]

Your people here? Over. They are here. How many? Reynal Lefebvre and Madame Riot. They are in back of the shop. The military patrol saws. Come in. We're apt to have visitors if we do. Just remember we're here to listen to Madame Dupre's lecture on art. My friends. Now, Monsieur, come. Important targets Air Force can't seem to get at. Especially the Courbet Malone tunnel. What about it, Reynal? That's the closed military area. Every approach has got it. We tried again last week. We've got to keep trying. It's a must. What about the bridge of roster? That's Lefebvre's group. Who takes a chambre? Repair shops.

[Veronica Lake]

I will.

[William Keeley]

Fine. We have the explosives here for you. I have already made yours up, Monsieur Reynal. Little sack Smart Modeling clay. Plastic explosives. Madame Riot, you will get tubes of paint. They will be ready for. Who's that Patrol. Wait a moment. I have to open the door. It's Colonel Meister. You'll continue with your art lecture, Madame Dupree.

[Veronica Lake]

As I was saying, the so called new trend in art is actually a very old one. We know to return to the classic form, but with a certain utilization of.

[William Keeley]

Colonel Meister. Good afternoon. I am fortunate to find you here. A little Sunday afternoon discussion, Colonel. If I can be of any assistance. I'm quite sure you can help me. But first, if you don't mind, I would like to listen to the young lady. We are honored, Colonel.

[Veronica Lake]

The decadent spiritual attitude of a man like Magliani. The degenerate Impressionism of.

[William Keeley]

Of Cezanne.

[Veronica Lake]

Of course. If I may digress, the Colonel has brought up a most interesting.

[William Keeley]

Close the door, Aubert. No need to disturb the discussion.

[Veronica Lake]

I'll readily understand the absence of.

[William Keeley]

Well, there. What do I see under the counter? New tubes of paint, huh? Yes, Colonel. Ah, let me see. Cerulean, my favorite blue. What about the other colors? I'm sorry, but. No, no, no. I won't bother. I have no time for painting. Sketching is all I can do these days. Oh, there. That young woman in there. An unusually gifted sculptress. May I meet her? But of course. Madame Dupre, if you have a moment, please excuse me.

[Veronica Lake]

Yes, Monsieur.

[William Keeley]

Madame Duprez, may I present a Meister. Madame Paulmeister. The Colonel's sketches. Merely impressions. Aubert, I need another pad. I am sure I have one somewhere. Madame must Permit me to see her work.

[Veronica Lake]

But there's nothing of mine here, Colonel.

[William Keeley]

At your studios, then. I have my car.

[Veronica Lake]

Really, I haven't a thing worth staying at the moment.

[William Keeley]

Madame's modesty becomes her. I shall make the usual allowances.

[Veronica Lake]

Well. Very well, then.

[William Keeley]

My apologies to your friends, Aubert, but I will pick up my pad later. Ah. Very nice studio, madame. Excellent light. Your husband shares it with you?

[Veronica Lake]

I'm a widow, Colonel, but, well, I have been going with another man.

[William Keeley]

I'm sorry? A Frenchman. In the city here.

[Veronica Lake]

He's away. He's an engineer.

[William Keeley]

Oh. The Normandy fortifications.

[Veronica Lake]

He never tells me.

[William Keeley]

Colonel, this statue here is lovely. It's like yourself.

[Veronica Lake]

You're very kind.

[William Keeley]

Amazing technique for one so young. Your hand, madame. Remarkably feminine for this kind of work.

[Veronica Lake]

If the colonel would care for some tea.

[William Keeley]

Your pulse. It's quite irregular. Could I be responsible for that?

[Veronica Lake]

You're very discerning so.

[William Keeley]

And you are an incredible woman. My dear, beauty and talent are rarely combined in a single individual. I confess I find it difficult to believe that these works of art here are yours or that you are what you say you are.

[Veronica Lake]

May I prove it?

[William Keeley]

How?

[Veronica Lake]

Sit down. I'd like you to pose for me.

[William Keeley]

Oh, that may take several sittings.

[Veronica Lake]

Several?

[William Keeley]

I'm delighted, madam. Delighted.

[Veronica Lake]

Perhaps when it's finished, you'll believe me.

[William Keeley]

Perhaps.

[Veronica Lake]

Your head a little more to the side, please. That's it.

[William Keeley]

Myster's been coming here to your studio every day now for two weeks now. What have we got? Nothing. Except a pretty fair likeness of his head.

[Veronica Lake]

I need more time, Martin.

[William Keeley]

Bernie's raising the roof. He wants that Corbett Mallock tunnel destroyed now. As soon as it is, we go back to London. And believe me, I'm ready to go back.

[Veronica Lake]

I'm not.

[William Keeley]

Why? You're up a blind alley with Meister. He hasn't told you a thing. Break it off with him.

[Veronica Lake]

Meister is my department.

[William Keeley]

Don't overestimate yourself. He's dangerous.

[Veronica Lake]

You don't have much confidence in me, do you?

[William Keeley]

I'd feel the same about any girl I was working with.

[Veronica Lake]

I thought we'd settle that. No special consideration for anyone. You're not a man and I'm not a woman. We're weapons. But you could stop worrying about Meister. He's leaving town.

[William Keeley]

Where's he going?

[Veronica Lake]

I don't know.

[William Keeley]

When?

[Veronica Lake]

Tomorrow afternoon.

[William Keeley]

It's a troop train leaving for Normandy. Tomorrow afternoon. It'll pass through the tunnel. Well, Helene, how long would it take you to duplicate this head? You've made exact Duplicate made out of our plastic explosive clay.

[Veronica Lake]

Tomorrow noon.

[William Keeley]

Could you get Meister to. To. Well, I mean, forget it.

[Veronica Lake]

If I could get him to take me with him on the train.

[William Keeley]

I said forget it. Elaine, it's Bob Meister.

[Veronica Lake]

Just a minute.

[William Keeley]

Let him in. I'll wait in the kitchen. Well, I. I had to come early, my dear. Staff meeting. I should be there now.

[Veronica Lake]

Then you won't sit for me?

[William Keeley]

I came only to say goodbye. Will you miss me, Helene?

[Veronica Lake]

Paul. Paul, take me with you.

[William Keeley]

Oh, I'm afraid it's impossible.

[Veronica Lake]

Not for an officer of your importance.

[William Keeley]

I suppose it could be arranged. But.

[Veronica Lake]

Please, Paul. Please.

[William Keeley]

Helene, darling, you are not deceiving me. I know why you want to come with me. I have known how matters stood since the day I met you. Have you? Your engineer. You are trying to get to him in Normandy.

[Veronica Lake]

You're too clever for me, Paul.

[William Keeley]

And you are too unscrupulous for me, Helene. All right, all right. You may come with me.

[Veronica Lake]

Thank you, Paul.

[William Keeley]

After all, our little masterpiece is still incomplete. Bring it with you. Pleasant journey together. A weekend, perhaps, to finish it. And then, my dear girl, go with my blessing. Is that satisfactory?

[Veronica Lake]

Oh, yes.

[William Keeley]

Good. Be ready to leave early in the afternoon. My driver will take you to our compartment on the train. I'll read us in.

[Veronica Lake]

Aylin.

[William Keeley]

I heard what he said. All right. Get to work on that duplicate right away.

[Veronica Lake]

Explosive clay will require a fuse and I don't know how to set one.

[William Keeley]

Obed, we'll bring a fuse here. He'll set it. How will you pack it for travel?

[Veronica Lake]

A wooden box, I suppose.

[William Keeley]

Just make sure you'll be able to open it quickly. Light the fuse when the train stops in the tunnel.

[Veronica Lake]

You're sure it will stop?

[William Keeley]

I'll see that it does. Raynald can get me a railroad inspector's pass. The train takes on water a few miles east of the tunnel. I'll get on, then. As for getting off, we'll both have to take our chances.

[Veronica Lake]

Of course. Good luck, Martin.

[William Keeley]

Yeah, thanks. Maybe I'll see you tomorrow at the tunnel.

[Veronica Lake]

What?

[William Keeley]

Never mind. Get to work. You're the engineer? Yes. What are you doing here? This came aboard. Inspector Martin. Checkride inspection. What do you expect of this piece of junk? Never mind that. You're late. Should have passed the Courbet malone tunnel at 326. We'll pass it in five minutes. All right, then. Slow down. He's got a gun.

[Veronica Lake]

Huh?

[William Keeley]

I said, slow down. Why are you doing this, monsieur? For France. Now jump, both of you.

[Veronica Lake]

Paul, the train stopped. What's the matter?

[William Keeley]

Oh, it's nothing.

[Veronica Lake]

Seems very strange stopping in a tunnel.

[William Keeley]

It makes our journey together longer.

[Veronica Lake]

Paul, I'm worried. Please go and ask someone.

[William Keeley]

No, no, no. Later.

[Veronica Lake]

But I'm really frightened. Please, Paul.

[William Keeley]

All right, Corporal. I had the.

[Veronica Lake]

Martin.

[William Keeley]

Don't ask questions. Hand me that box.

[Veronica Lake]

The fuse is lit.

[William Keeley]

Good. I'll set it by the track here. Be right back. Climb out of the window. Open the door. What's the matter? Climb out, do you hear? You still got a chance. Who is that talking? Hello. Hurry, Colonel. Break this door down. She is gone. The window. A man and woman. Her, Colonel. There. The mounts of the tunnel. You. Guards, stop those people. Fire, said boss. There's a fuse. Burn. Stop those people. Stop them. Come in, Brady. Well? The report's confirmed by aerial reconnaissance, Colonel. The tunnel's destroyed. That's great. Yes, except there's been no word since from Team Applejack. I know. Get a message through to Team Sombrero. Tell them to stand by to take over Applejack's assignments. Martin, Boucher, the girl. They're either dead, Brady, or captured. Hello, Elaine.

[Veronica Lake]

Here. This way.

[William Keeley]

I should have been back long ago. Sorry, I got lost. It's pretty dark in those woods at night.

[Veronica Lake]

It's the only reason we're alive. Light and a place to hide.

[William Keeley]

I found Boucher. Couldn't get a car. Meister's alive and he closed in too fast.

[Veronica Lake]

He can't stay here.

[William Keeley]

I know. I sent Boucher on a Dijon. If you can get to a radio, you'll contact Freddy and have him send a plane to pick us up. When? Where? I don't know. We'll meet Boucher at the park in Dijon tomorrow.

[Veronica Lake]

How will we get there?

[William Keeley]

The highway's full of refugees. We'll have to lose ourselves among them.

[Veronica Lake]

Safer if we travel alone now.

[William Keeley]

You're in pretty bad shape.

[Veronica Lake]

I'll manage.

[William Keeley]

Oh, now look.

[Veronica Lake]

You look. We almost failed in the tunnel because you came back for me. Never come back for me again. Do you understand? Never come back.

[William Keeley]

Okay. Can you find the highway?

[Veronica Lake]

Yes.

[William Keeley]

Depart condition tomorrow.

[Veronica Lake]

It's all right. You can sit down.

[William Keeley]

Hello.

[Veronica Lake]

Hello. Where's Boucher?

[William Keeley]

We've had some luck. He found some ffi. They're getting us jobs at the airport.

[Veronica Lake]

Did he find a radio?

[William Keeley]

No, not yet. We've got to be careful. Mice and his boys would be beating down our necks.

[Veronica Lake]

Do you have any money? I haven't eaten since yesterday.

[William Keeley]

A little. We'll find a restaurant.

[Veronica Lake]

Those men. What? Don't look two of them. They're watching us. Start smiling. That's better.

[William Keeley]

I'm going to kiss you, sweetheart. It's a park bench. That may convince them.

[Veronica Lake]

Too bad, Martin. They're still watching.

[William Keeley]

Come on, we better go. Oh, some more luck. Booth near the door.

[Veronica Lake]

Just get me something to eat.

[William Keeley]

Sit tight. Company's coming. One of those men in the park. Well, good evening. May I join you? Thank you. I'm sorry, but there must be some mistake. Mistake? Monsieur Martin and Madame Duprez.

[Veronica Lake]

You're quite wrong, monsieur.

[William Keeley]

I think not. I am Amadius Brink, Gestapo. Oh, in case you are armed, monsieur, don't forget my colleague, Herr Answold. He is close by. That was fine work, that tunnel job of yours. What are you talking about? These papers, monsieur. A full report of your activities. They just arrived in headquarters. Would you catch or read them?

[Veronica Lake]

This is outrageous. You intrude upon.

[William Keeley]

Madame would prefer to discuss the matter at headquarters. Headquarters? What do you mean, prefer? Fortunately, I had access to these papers before any of the others saw them. What do you want from us? What I want from you isn't the question. What do you want from me? No. Very sensible man, Herr Brink. His side is going to lose the war. And being a practical man, he looks to the future. I could be very useful to you. I have access, for instance, to the weekly Dijon Berlin military pouch. And the courier's my cousin. And what's your price? Immunity. That goes without saying. A small weekly payment and 50,000American dollars deposited in my account in the bank of Switzerland. Maybe we can do business. I was so sure we could. You'll have to get us a radio. Oddly enough, I have another cousin who might be persuaded to lend you 1. For 20,000 francs. We'll be short of funds until we contact our principals. Until then. Only too glad to accommodate you. At a fair rate of interest, of course. Shall we say 15%? Well, I will leave you to think things over. Till tomorrow, then. At the same time.

[Adam Graham]

Here.

[William Keeley]

Oh, Herr Honsville. Just refugees. Such will magni. In love with each other.

[Veronica Lake]

You believe him?

[William Keeley]

There's no choice. I have to.

[Veronica Lake]

Then we were going back to London.

[William Keeley]

Brink is on the level. We don't dare leave if he isn't. We'll get what Gates got. Oh, Helene, I'm. I'm sorry.

[Veronica Lake]

For what?

[William Keeley]

Oh, the way I snap at you most of the time. The way I.

[Veronica Lake]

Aren't you forgetting something?

[William Keeley]

Yeah, yeah, yeah, sure I am. Treat you like any other member of the team. That's what you want, isn't it?

[Veronica Lake]

Yes. Martin. That's what I want. Someday, maybe, if we ever skip it.

[William Keeley]

Here. Here's the menu. It may be our last meal. We pause now for station identification. This is cbs, the Columbia Broadcasting. In a moment, we'll bring you Act 3 of OSS starring Alan Ladd and Veronica Lake. In Hollywood, it's news when an actress gets a studio contract without having to take a screen test. It happened, though, to our lovely young guest of the evening, Miss Lucille Barkley. How does it feel to be a Paramount starlet, Lucille?

[Veronica Lake]

I still can't believe it, Mr. Keeley. You see, I'd come to Hollywood for a summer vacation. The vacation turned into a full time job when a talent scout for Paramount saw me and signed me up.

[William Keeley]

Had you always been interested in an acting career?

[Veronica Lake]

Oh, yes. Back in New York State, where I lived, I was a member of the Rochester Community Theater. Later I studied dramatics in New York.

[William Keeley]

And all to good purpose, it appears.

[Veronica Lake]

Oh, I was very lucky. But for real achievement, Mr. Keeley, I nominate Joan Caulfield. I visited the set when Paramount was filming their big Technicolor production, Blue Skies, and, well, I had a chance to meet her. Just think, in Blue Skies she's co starred with Bing Crosby and Fred Astaire.

[William Keeley]

You're right, that is a success story. Joan deserves it, though. She's exceptionally talented.

[Veronica Lake]

And besides, she's about as photogenic as a girl can be. Lovely features and a truly flawless complexion.

[William Keeley]

Well, Lucille, we're proud of the fact that Joan Caulfield is a luxe girl.

[Veronica Lake]

So she told me, Mr. Keeley, and I wasn't a bit surprised. I've used luxe toilet soap myself a long time and I think it's tops.

[William Keeley]

Many famous stars agree with you there, Ms. Barclay.

[Veronica Lake]

And if I may say so, Mr. Kennedy, lots of ambitious young starlets. Every girl in pictures knows how important it is to have a nice smooth skin for camera close ups.

[William Keeley]

Thank you, Ms. Barkley. We're glad that so many charming women everywhere depend on daily Lux soap care. It's a fact that active lather facials in a short time give skin fresh new beauty. Now here's a suggestion to the ladies in our audience. If you haven't tried Lux Toilet soap as yet, why not see what this gentle care can do for your own precious complexion? Remember, Lux Toilet soap is Hollywood's own beauty soap. Here's Mr. Keeley at the microphone. Act three of OSS, starring Alan Ladd as Martin and Veronica Lake as Ellen. For a month now, OSS headquarters in London has been receiving Amazing information from Team Applejack. And Allied bombers subsequently have been smashing Nazi installations with bewildering accuracy. Back again in London, Colonel Field gets the details from Commander Brady. It's really quite simple, Colonel. Our key man, of course, is Brink. And we're sure of Brink as long as we continue to pay off. But getting the contents of their military pocket. Boucher has a job in the washroom at the airport. He cleans hats, shines shoes. Anyway, the courier with the pouch visits Boucher every time he takes the plane for Berlin. Boucher disappears for a few minutes. He's got a camera in the laundry closet. Photographs the documents on microfilm, returns them to the courier, radios here when he's ready for our plane to pick up the film. And how do we get a plane to Dijon? Mr. Brink again. Another of his cousins owns a farm outside of town. We run a plane in at night. Too good to last. Yes, sir. I've told Applejack they can come back to London whenever they're ready. We'll be contacting them shortly, Colonel. Any message? Yes. My congratulations. Also my urgent suggestion that they leave Dijon. They've done their job. Shoeshine, sir? Brush your hat, sir. The courier. He was here, Boucher, this morning.

[Adam Graham]

Here, Brink.

[William Keeley]

Good. Tell Martin Agustapo, spotters are closing in on your radio. One more message and they'll trace it to your rooming house. Suspend operations until I find another place. Oh, you might shine my shoes. If you please. The film. Boucher here. One of the documents I photographed is red hot. The Krauts have busted a top American code. Martin Broken. It's all on a film. Broken code. Brady's got to know about that quick. How soon can you get to your radio? Anytime now, but I'll ready what we've got. Tell them to get a plane in here tonight. A big one, to take us out with that film. We're through. We've had enough. The radio. If I try to use the radio. Yeah, what about it? Nothing. Where will you be and Helene? Eating break in the park. It's payday. After that, we'll go out to the farm. Come out as soon as you can. We'll be in London tonight. Tonight? Yeah. Oh, you see Helene. Say hello for me, will you? Details of Nazis breaking code on film. Send plane tonight. Pick up Martine and Dupre. Looks like I'll be staying. Couple of men in hallway now. Someone at skylight too. If you can contact my mother, please tell her. You're late. Frank, how long do you think we can hang around the public park. It's unavoidable. Oh, Good evening, madame. My money, monsieur. Here. Thank you. You. You're on your way somewhere. Why? Because it is best if you are. They picked up your radio. O'. Shea. He is dead. Oh, I warned him.

[Veronica Lake]

Dead?

[William Keeley]

He. He didn't tell me you warned him. Did he get through to London? I think so. He was on the air when it happened. Oh. We have a new chief here. He has been inquiring about you. Colonel Meister.

[Veronica Lake]

Meister? Here?

[William Keeley]

Yes, definitely. It would be necessary for me to put your record and description back in the file. Oh, wherever it is you are going. If you would care to rent a car. All right. Where is it? That one across the street. Shall we say 10,000 francs? I'll give you eight. I am a reasonable man. 8,000. Good night.

[Veronica Lake]

Good night.

[William Keeley]

Herr Brink.

[Veronica Lake]

Oh.

[William Keeley]

Oh, Herr Answold. Is not that your car? I just saw who was driving it. My car? Yes. The man and girl. They looked strangely like the couple Colonel Meister just described to me. What couple? The colonel is very anxious to see you. Herr Brink, my trusted cully. I. I don't suppose we could talk in purely business terms here, Arnsville. Shall we say a hundred thousand francs? No, I suppose not. Come along. Pity I was always such a reasonable.

[Veronica Lake]

Look at it. Come across the field. I never thought an airplane could be so beautiful.

[William Keeley]

Oh, London will be there in two hours, honey.

[Veronica Lake]

Boucher didn't die for nothing. He got the message through, or the plane wouldn't be here.

[William Keeley]

The door's opening. Come on. Martin. Elaine.

[Veronica Lake]

Commander Brady.

[William Keeley]

Hey, what are you doing here?

[Veronica Lake]

Are we glad to see you.

[William Keeley]

I wish. I was good at making congratulatory speeches. Oh, skip it. Let's get.

[Veronica Lake]

Here's your film.

[William Keeley]

Great work. Where's Boucher? We. We lost him. When? Early tonight. What happened? I'll tell you on the plan. Martin, I'm here because I have something to ask you. We're only half a jump ahead of the Gestapo. Can we talk about it later? I'm afraid not. The Nazis are licked, Martin. They're falling back to the Rhine. Well, that's fine. That's fine. What's it got to do with me? I'd like you to do one more job. Another job? Some time ago, we put a man into Germany posing as a barge worker on the Rhine. The sector he was assigned to has been selected for one of our crossings. If he's still alive, he'll have invaluable information on troop dispositions and fortifications. I. I don't get it? There's no way for him to get the information to us. We need somebody to go in there and contact him. And send it out on a ground air radio. I brought one with me. How long do you think we can live like this? With our stomachs turning over every time a foot falls or a door opens? You've got plenty of other people working for you. Why do you have to pick on me? Because you're the only available agent who'd recognize our man. The only agent he would recognize. You remember Parker? Yeah, sure. Remember Parker. So what? I'm no hero. I don't want to volunteer for anything. I want my identity back. Don't you suppose Parker wants his identity back? You want me to take that assignment, you've got to order me to take it. Then it's an order. Okay. What was that? I said Elaine. London in two hours. Will you be there when I get back?

[Veronica Lake]

When we go, we go together.

[William Keeley]

You're going now? With the commander?

[Veronica Lake]

That's up to him, isn't it?

[William Keeley]

Meissa's catching up with us. How much longer do you think our luck can hold out? Gates, Boucher. We're next. Go on back to England. I'll handle this deal alone.

[Veronica Lake]

We've worked well together. Two agents are better than one. It doubled your chances.

[William Keeley]

He's right, Martin. As long as she's offered to stay, that's it. You'd better get that plane out of here. You're to make your way to Strasbourg. Here, instructions and directions. Burn them when memorized. You'll meet up with the Madame Prideaux. She has a place in the country. She and her grandchild. You'll work from there. Good luck, Helene. Good luck, Martin. Good luck. What does that mean? Sir, News from Martin. Colonel Field there at the Prideaux farm. Any word about Parker? Nothing yet, sir. How is Martin getting to us? Ground, air, radio. We send a plane over his area. Martin talks to the pilot. They've had contact every day now for about a week. Just don't ease up on him. He's got to locate Parker.

[Veronica Lake]

More bombers, Madame. But there are bombers. Don't be frightened, Girard. Have I fight, Mademoiselle? In the village this morning. German soldiers all over, stealing everything. They may come here. They're retreating.

[William Keeley]

They may. But these potatoes they will not find. And we will have these potatoes planted before the spring is out.

[Veronica Lake]

Who's to plant potatoes, Grandma?

[William Keeley]

Our men will come back, Cheron. Always the men come back home.

[Veronica Lake]

Monsieur Martin has gone to the ocean again. He's told you they made it an airplane. I'd feel better if he didn't have to go so far from the house.

[William Keeley]

Maybe he can talk to our men too.

[Veronica Lake]

Maybe he can tell them when it's safe to come home. Listen. There's a truck on the roll. Germans. Gerrard, the potatoes.

[William Keeley]

Hide them in the cellar.

[Veronica Lake]

I can see them. They're turning in here. M he. He will see the truck.

[William Keeley]

You can trust the boy and me.

[Veronica Lake]

Helene. You're accustomed by now to receiving the bush.

[William Keeley]

They will do nothing. Can you hear me up there? Can you hear me? Slower, pal. More distinctly. We're recording this, you know. I said the Nazis are pouring across the Rhine. Bridges, boats, barges, anything that'll float. What about Parker? No sign of him. He down to the docks every day. Most of the barge ran out when our planes started strafing. If Parker stayed on, we might have shot him up ourselves. Wait a minute. You expecting a truck now? What are you talking about? Your house truck just pulled up. Troops. You better duck.

[Veronica Lake]

Martin.

[William Keeley]

You got a gun? Yes, but take care of yourself. We'll be back at 100. Stand against the wall, all of you.

[Veronica Lake]

Martin, behind you. Look out.

[William Keeley]

Leave them to me. Another. And another. Throw this find in the barn. So there were no men here. Mademoiselle, you look frightened. Do soldiers frighten you? Well then we will leave these soldiers you have all herr looking at. Mademoiselle and I will be in the other room. We will not wish to be disturbed. Sorry if I gave you a scare. You're Helene Duprez, aren't you?

[Veronica Lake]

How did you.

[William Keeley]

No time for questions. I'm Parker. Martin recognized me. That's why I didn't shoot. I heard him, but I had to. I've seen you both down at the docks by now was able to get to you. That's why I got this uniform filling with those drunks inside. I've got to talk fast, so listen carefully. The krauts are heading for the east bank. I have their troop dispositions down cold. Can you get them out?

[Veronica Lake]

Martin has an air ground radio. He keeps it buried in the orchard.

[William Keeley]

Good. I'll get rid of these troops inside, but I'll have to go with them. So it's up to you and Martin to get this information through.

[Veronica Lake]

Go ahead.

[William Keeley]

All right. It's about five miles between Freddisburg and Troban. With nothing but a few patrols between. That's just one of the weak spots. There's another just north of lace. And if our troops cross at these spots, we'll save thousands of lives. Now Repeat after me. The 146th Panzer Division in reserve near Broheim.

[Veronica Lake]

The 146th Panzer Division in Reserve, Neighborheim.

[William Keeley]

The 122nd Grenadiers just west of Linstein.

[Veronica Lake]

The 122nd Grenadiers Just west of Linstein.

[William Keeley]

Division 2 South.

[Veronica Lake]

Then they left about 10 minutes ago. Parker had to go with them. Martin, are you up to talking?

[William Keeley]

I'm. I'm okay. What did Parker tell you?

[Veronica Lake]

I'll write it all down for you. If it gets through on time, thousands of lives can be saved and our job should be over. When will the plane be here?

[William Keeley]

1 o'. Clock. What time is it now?

[Veronica Lake]

12:30. Think you can do it?

[William Keeley]

Yeah. Yeah, go ahead. Start riding.

[Veronica Lake]

Madame Girard. Yes, Mamza. Get some water. I wish I could do more for you. Your head. It's still bleeding.

[William Keeley]

Don't worry about me. Just put it down on paper.

[Veronica Lake]

Here. This is it, Martin. Everything written down.

[William Keeley]

I'll come back as soon as I've contacted the planes.

[Veronica Lake]

You will be leaving us, then? Yes. Where you go, you will be together?

[William Keeley]

We'll be together. We'll be together from now on. Open up here. Open up, Grandma.

[Veronica Lake]

Who can you see?

[William Keeley]

Two soldiers and an officer.

[Adam Graham]

Quick.

[William Keeley]

Enough.

[Veronica Lake]

Hide in the kitchen. They make trouble.

[William Keeley]

Mademoiselle says to find Monsieur Martine. Warn him. She's going to the door now, so hurry.

[Veronica Lake]

Listen, Grandma.

[William Keeley]

Open this door. I'll warn him if need be.

[Veronica Lake]

Yes?

[William Keeley]

Sorry to intrude at this hour, Helene. Well, we never had our little weekend in Normandy, did we? That's a great pity. You have nothing to say? Sure. You remember me? Meister Paul Meister.

[Veronica Lake]

I remember you very well.

[William Keeley]

You are alone here?

[Veronica Lake]

I am here, monsieur.

[William Keeley]

I refer to Martin.

[Veronica Lake]

Then I am quite alone.

[William Keeley]

Unfortunately. We can't spend too much time finding out if you are telling the truth. Sergeant, take the old woman to the car. And the girl, Herr Colonel? Wait outside. I will deal with her. Madame. Come. Helene Duprez, I still find you a remarkably attractive woman. I can almost forgive myself.

[Veronica Lake]

Myself.

[William Keeley]

Not you, my dear.

[Veronica Lake]

Then let's get this over with. All I ask is that I be taken quickly to wherever people like myself are dealt with.

[William Keeley]

Not yet. I find this reunion curiously satisfying. At last, Helene. At last.

[Veronica Lake]

Monsieur Martin.

[William Keeley]

Monsieur Gerard. What's the matter?

[Veronica Lake]

The woman, monsieur. They're taking them away. I heard him.

[William Keeley]

Who?

[Veronica Lake]

He said his name was Maestro. Don't let them take them. As you please.

[William Keeley]

Who is with him?

[Veronica Lake]

Only two others.

[William Keeley]

Soldiers. But Hari.

[Veronica Lake]

She knows I went for you. Please come. Please.

[William Keeley]

The plane up There. I've got to counter it. You could do it later.

[Veronica Lake]

Never come back for me again. Thousands of lives will be saved. Never come back. Thousands of lives.

[William Keeley]

I can't, boy. I can't.

[Veronica Lake]

Never thought Joe would be afraid. Never.

[William Keeley]

Gerard. Listen. Listen. Are you down there, Applejack? Yeah, yeah, yeah, I'm here. Anything wrong? No, nothing. And shoot. Recorders on. 146 Panzer Division Reserve near Brunheim. 122nd Grenadiers just west of Linstein. Linstein. Slow down. The 8th Infantry Division south of Robert Canal. You're losing range, Martin. And slower. Robert Canal. R O B U R G. That's better. What's your rush? 31st Engineers at Lindgren. 31st at Lindgren. The 18th SS Division round horses. Steinbruck. Oh, let's have that last again. I want a clean recording, please. I've got to get back with news like this. So do we, pal.

[Adam Graham]

Repeat.

[William Keeley]

The 18th SS Division around horses. Steinbrook. The 52nd infantry east of Freihoff, north of the highway. Just once more and we'll have it. 18th Division around Horsteinbrook. 52nd infantry east of Freihof, north of the highway. That's it. And tell a park is okay as of a few hours ago. It's, well going. Martin. Sorry to leave you, but I gotta get this back to headquarters. Hello?

[Veronica Lake]

They're gone.

[William Keeley]

Miss you.

[Veronica Lake]

It's too late. They're gone.

[William Keeley]

Hello. Look at them come, Martin. Trucks and jeeps. Planes and tanks. Soldiers. Our soldiers, Martin, crossing the Rhine. Yes, sir. Job's almost finished. Thanks, Martin. Don't thank me, thank them. The ones who didn't live to see this. Gates, Bouchet, Elaine. Tell me about her, Commander. I. I didn't even know her real name. Rogers. Ellen Rogers. Ellen, where was she born? I don't recall. But I can find out for you if you'd like. No, it doesn't matter. It was something somewhere back home. Like the town I came from. The same town, maybe. Yeah. She might even have lived just around the corner. Well deserved applause for an exciting performance by our two stars, Alan Ladd and Veronica Lake. And here they are back at the footlights for the curtain call. Well, one of the real stars of tonight's play, Bill, was William Donovan, whom you mentioned in your introduction. Yes, he was head of the OSS in real life.

[Veronica Lake]

Didn't you make a picture on the career of General Donovan, Mr. Keeley?

[William Keeley]

That's right, Veronica. For fighting 69th, which was course was late in World War I and made a great movie. Incidentally speaking of Pictures, Alan, I understand that since yours were released in continental Europe, you've become the number one box office hit over there.

[Veronica Lake]

And to think they had to wait six years before seeing Alan on the screen.

[William Keeley]

Not to mention you too, Veronica. That's right, Alan. You two have been together in so many pictures, I sort of missed Veronica in your latest Paramount production, two years before the Mask. Yeah, I missed her too, Bill. But we're going back together again when we start shooting Saigon out of town, Darrell. Paramount? Well, that's good news for Ladd and Lake fans. By the way, Veronica, what happened to that famous over the eye hairdo?

[Veronica Lake]

Well, I thought it was about time to see how the other half of the world lived, Mr. Keeley.

[William Keeley]

Say, how long did you wear your hair like that, Veronica?

[Veronica Lake]

How long? Oh, about 24 inches.

[William Keeley]

Well, confidentially, Veronica, I like your present hair even better for one very important reason.

[Veronica Lake]

What's that, Mr. Keeley?

[William Keeley]

It doesn't hide any of that lovely luxe complexion.

[Veronica Lake]

Well, it's certainly not hard to help keep your complexion lovely with luxe toilet soap care. I always use it and it's plain.

[William Keeley]

To see that that loyalty is well rewarded. Say, what are you presenting here next Monday night, Bill? Next week we're proud to bring our audience for a second time this season. Two of Hollywood's top artists and one of the most famous acting teams in motion picture history, Greer Gossen and Walter Pidgeon. They appear in their original screen roles in Metro golden mare's epic drama, Mrs. Parkington. The story of a man who ruled a dynasty with daring and ruthlessness. And a woman who ruled a man with love alone. A great cast, a great playbill.

[Veronica Lake]

Congratulations and good night.

[William Keeley]

Good night and thanks to both of you. Lelever Brothers Company, the makers of luxe toilet soap, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Greer Garson and Walter Pidgeon in Mrs. Parkington. This is William Keeley. Same Good night to you from Hollywood. The main cause of the current soap shortage is the worldwide scarcity of fats and oils. Industrial fats are needed also in the manufacture of many other essential household goods. So please continue to save used kitchen fats. Your butcher will pay you for every pound you turn in. Secretary of Agriculture Clinton P. Anderson says it is urgently important that American women keep on saving and turning in used fats, taking advantage of larger meat supplies to step up their fat salvage. Heard in our cast tonight were Gail Gordon as Brady, Joseph Kearns as Meister, and Richard Benedict as Boucher. Charles Seal, Norman Field, J. Novello, Ralph Sedell, Noreen Gamill, Ed Emerson, George Neese, Howard Jeffrey Henry Rowland, George Sorrell, Truda Marson and Robert Conti. Our music was directed by Louis Silvers. This program is broadcast to our men and women overseas through cooperation with the Armed Forces Radio Service. And this is your announcer, John Milton Kennedy reminding you to tune in again next Monday night to hear Mrs. Parkington with Greer Garson and Walter Pidgeon. Rely on spry Spry, yes, it's spry for lighter, finer, richer flavored cakes every.

[Veronica Lake]

Time make that next cake with pure all vegetable spry the shortening with the magic cake making secret Hear him say.

[William Keeley]

Mmm wonderful the reason why S P R Y for all you bacon fry Rely on spry. Be sure to listen in next Monday night to the Lux Radio theater presentation of Mrs. Parkington with Greer Garson and Walter Pidgeon. And why not tune in a half hour early to hear Joan Davis over most of these stations. This is cbs, the Columbia Broadcasting System. This episode is brought to you by Peloton. The new cross training series balances your workouts with 15 plus workout types for endless movements on and off your equipment. Stay motivated with weekly personalized plans that guide you from beginner to expert and push past your goals with routines tailored to you. Get the new cross training series Term Supply. When it's time to scale your business, it's time for Shopify. Get everything you need to grow the way you want, like all the way. Stack more sales with the best converting.

[Veronica Lake]

Checkout on the planet. Track your cha chings from every channel.

[William Keeley]

Right in one spot and turn real time reporting into big time opportunities. Take your business to a whole new level. Switch to Shopify. Start your free trial today.

[Adam Graham]

If you're the purchasing manager at a.

[William Keeley]

Manufacturing plant, you know having a trusted partner makes all the difference.

[Adam Graham]

That's why hands down, you count on.

[William Keeley]

Grainger for auto reordering. With on time restocks, your team will have the cut resistant gloves they need.

[Adam Graham]

At the start of their shift and.

[William Keeley]

You can end your day now knowing they've got safety well in hand. Call 1-800-granger. Click granger.com or just stop by Granger for the ones who get it done.

[Adam Graham]

Welcome back. Well, a solid story and there are some similarities to Cloak and Dagger, but there's also a bit more of a Hollywood polish on the story and the way it's told. But the radio version has a really good epic feel of this major spy adventure. The film was written by Richard Mabon who wrote the screenplays for 13 of the James Bond films. And there can be a sense of that sort of sense of scale and drama, but it's dialed back obviously here because you're not telling a story about some superhuman person. The big point at the end about Ellen, that she could have been someone who lived right in Martin's hometown, heightens the great truth of how the story of the OSS was the courage of ordinary Americans willing to take risk. One thing I found fascinating about the portrayal was how headquarters realized that the whole situation where they were set up with Brink and they were like, okay, this is great, but this is not gonna last. We need to get these guys out of here now. It should be noted that while Ladd was the star of the film, Geraldine Fitzgerald, not Veronica Lake, played Ellen. But casting Lake with Ladd, it was certainly a decision that made sense for Paramount. The pairing of Alan Ladd and Veronica Lake is iconic. It's one of those duos that people remember. They actually only made four dramatic films together. They also cameoed in three other films as themselves, but they left an impression in the films they've done. And those four, this Gun for Hire, the Glass Key, the Blue Dahlia, and Saigon, have got quite a few fans. And so it made sense for Paramount, with them making Saigon, to have that pairing of Ladden Lake out front, I will admit, with Gale Gordon's character, given that he was operating in San Francisco. I imagine this was the true story of what Gregory Hood was doing during the war. For those of you who are old time radio detectives listeners, listener comments and feedback now. And we have a few comments regarding some of the O episodes. We start over on Spotify regarding the episode Windfall. And Harrison writes, if Mike hadn't given the OSS the microfilm, would it have been a Swiss Miss because the story was set in Switzerland. In all seriousness, another solid story out I loved. I assumed he would end up giving the OSS the film, but it was interesting to see how far Mike would go to get what he wanted. And yeah, I think that they definitely made a compelling drama out of that. And then we had a note from Neil who emailed in. Hi, Adam. I just listened to the final episode of Cloak and Dagger. I really enjoyed this series and will be sorry to see it go. The stories were always suspenseful with some great performances. The show also brought back a memory that I hadn't thought about in years. When I was growing up, our family had a neighbor who had been a career army officer and a real life OSS agent. He wrote a book about one particular mission he'd been involved in, codename Mission Marcel Proust. His mission was to parachute into Nazi occupied France and make contact with and organize cells of the French Resistance forces. Unfortunately, I never read the book. It's out of print now and copies are expensive and hard to come by. I'm sure our former neighbor has long since passed on by now, but I wanted to remember Colonel Waller B. Wally Booth and thank him posthumously for his service. Thank you to Adam for bringing this great show to light and giving fans many hours of radio entertainment over the years. I look forward to whatever you've got for us next. All the best and Merry Christmas. And that's from Neil in Charlotte, North Carolina. Well, thanks so much and I did just a little quick research and found that Mr. Booth did indeed pass. In 1986, however, his grandson Geoffrey Lilly posted a story on his blog about a trip he took to France to follow in his grandfather's footsteps and some of the insights he learned about his life. I did go ahead and forward that on to Neil and I'll include a link to Mr. Lilly's article for those who are curious. But thank you so much. Appreciate the email, Neil. Now I want to thank our Patreon Supporter of the Day. Thank you to Denny Patreon supporter since August of 2025, currently supporting the podcast at the Secret agent level of $4 or more per month. Thanks so much for your support, Danny. And that will do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software for the great detectives of Old Time Radio. We will be back on Monday with Danger with Granger. If you're listening on our Great Adventurers feed. We will be back on Tuesday with the next installment of Tarzan. And of course we'll be back next Saturday with another lux Radio Theater OSS story. And in three weeks we'll be bringing you counterspy. In the meantime, do send your comments to [e-mail] From Boise, Idaho, this is your host, Adam Graham signing off.

[William Keeley]

Bring along an American Express card to.

[Veronica Lake]

Open the door to rewards wherever you go.

[William Keeley]

Morning coffee run with an old friend.

[Veronica Lake]

Earn cash back. Weekend getaway.

[William Keeley]

Earn miles. Dinner at the hotel hottest restaurant in town.

[Veronica Lake]

You get the idea no matter the.

[William Keeley]

Place or the plan. AMEX rewards your inner explorer. See if you pre qualify for an American Express card with no impact on your credit score. Learn [e-mail] check for offers. Your credit score may be impacted if you accept a card. Terms apply if you're the purchasing manager.

[Adam Graham]

At a manufacturing plant, you know having a trusted partner makes all the difference. That's why, hands down, you count on.

[William Keeley]

Grainger for auto reordering. With on time restocks, your team will have the cut resistant gloves they need.

[Adam Graham]

At the start of their shift and.

[William Keeley]

You can end your day knowing they've got safety well in hand. Call 1-800-GRAINGER click granger.com or just stop by Grainger for the ones who get it done. This is the story of the 1. As an H VAC technician, he and his digital multimeter are in high demand, so when a noisy office H Vac turns out to be a failing blower.

[Veronica Lake]

Motor, he doesn't break a sweat. With Grainger's easy to use website and.

[William Keeley]

Product information, he selects the product he needs to keep everything humming right along. Call 1-800-GRAINGER clickranger.com or just stop by.

[Veronica Lake]

Grainger for the ones who get it done.