ANNOUNCER:

Lux presents Hollywood!

MUSIC:

LUX THEME ... THEN IN BG

ANNOUNCER:

The Lux Radio Theatre brings you Ingrid Bergman and Charles Boyer in "Gaslight." Ladies and gentlemen, your producer, Mr. William Keighley!

MUSIC:

THEME ... UP AND OUT

SOUND:

APPLAUSE

HOST:

Greetings from Hollywood, ladies and gentlemen. From Metro-Goldwyn-Mayer studios, home of so many Academy Award-winning pictures and stars, comes one of their recent outstanding successes, the gripping drama you're about to hear. And Lux is particularly happy to bring you the same two stars so widely acclaimed for their performances in "Gaslight" -- Charles Boyer and Ingrid Bergman. A fascinating story of a woman in the toils of a strange love, and a man possessed by an overpowering greed, "Gaslight" had a record run on the stage.

As its name implies, "Gaslight" takes us back to an era of hoop skirts and frock coats, of hansom cabs and eight-course dinners -- a period of nostalgic charm and old-world leisure. Yet if the truth were known, how many women of those days were slaves of the ironing board and kitchen, with few of the labor-saving luxuries we have today, like Lux Flakes? If you've ever read of those old-fashioned washday methods when countless frilly garments were ruinously scrubbed in steaming tubs, you'll appreciate why modern housewives are so grateful for Lux Flakes, and for the way they make lovely things last longer. In fact, it is this preference for Lux that raises our curtain every week and tonight brings you Ingrid Bergman in her Academy Award-winning role of Paula, and Charles Boyer in the role of Gregory, as the curtain rises on Act One of "Gaslight."

MUSIC:

TENSE INTRODUCTION ... THEN IN BG--

VOICE:

(BRISK, CLIPPED) From the records of Scotland Yard. London, 1885. Name -- Alice Alquist. Address -- Nine Thornton Square. Cause of death -- strangulation by person or persons unknown. After exhaustive investigation the Commissioner reluctantly orders the case closed pending the possible disclosure of new evidence.

MUSIC:

CHANGES TO SOMETHING MORE TRANQUIL AND ROMANTIC ... CONTINUES IN BG, TILL END OF SCENE--

HOST:

It's many years later and memories of Alice Alquist and Nine Thornton Square are all but forgotten. On the shores of Lake Como in Italy a young bride and her husband are on the terrace of their villa gazing enraptured at the beauty of the early morning.

GREGORY:

(LOVINGLY) I should not have wakened you, Paula darling, but it's such a wonderful morning.

PAULA:

(DREAMY) Thank you for waking me, Gregory. (CHUCKLES) You know, I was dreaming.

GREGORY:

Dreaming of what, Paula?

PAULA:

Of all the places where we'll be together. Lovely places like this.

GREGORY:

I was thinking of our life, too. Only I heard it in music -- something alive with happiness, with all the feeling of the early morning.

PAULA:

This morning?

GREGORY:

Yes. With the sun rising, lighting your hair as it is now.

PAULA:

When will you write it, darling?

GREGORY:

Oh, someday when we settle down.

PAULA:

Where?

GREGORY:

Where would you like?

PAULA:

Oh, Paris perhaps.

GREGORY:

Paris?

PAULA:

Mm-hmm.

GREGORY:

What about Rome? Or London? How do you feel about London?

PAULA:

London?

GREGORY:

(CHUCKLES) Paula, if you won't laugh, I'd like to tell you something.

PAULA:

(QUIETLY AMUSED) Oh, I won't laugh.

GREGORY:

Ho! It is silly, but-- I was in London once.

PAULA:

Yes?

GREGORY:

A poor and unsuccessful composer. It seemed to me that no place in the world could be colder to the homeless, or warmer to the ones who had a home.

PAULA:

(EMPATHETIC) Oh, my darling.

GREGORY:

How I used to long for one of those quiet little houses in the square -- with the woman I should one day come to love. (UP, QUICKLY) Paula? Could we--? Could we settle down in London? It wouldn't have to be in a house in a square. Perhaps in-- (BEAT) Paula? Why do you look like that?

PAULA:

(VERY SERIOUS) There is a house in a square.

GREGORY:

What house?

PAULA:

Nine Thornton Square. She left it to me.

GREGORY:

She? (REALIZES) Oh. Oh, you mean your aunt? Alice Alquist?

PAULA:

Yes. I'd lived with her since I was a baby. Then - then after it happened, I came here. I've been in Italy ever since. That house comes into my dreams sometimes, but - I haven't dreamed of it since I've known you. I haven't been afraid since I've known you.

GREGORY:

Oh, Paula, if it were true, it would make me very happy.

PAULA:

Yes, it is true! I have found peace in loving you. I could face even that house with you.

GREGORY:

Oh, no, no, Paula beloved. I would not ask that of you.

PAULA:

(INSISTENT, INSPIRED) Yes! Yes. You shall have your wish, darling. We'll go there. There's a lawyer who looked after the estate, a Mr. Mufflin. I'll write him today and you shall have your house. Ha ha! A house in London on a little square! (FADES OUT)

MUSIC:

CONTINUES, FOR A BRIDGE ... THEN FADES OUT

SOUND:

TRANSITIONAL PAUSE ... SCENE FADES IN ... HORSE-DRAWN CARRIAGE GOES BY DURING FOLLOWING--

THWAITES:

Why, it's you! Little Miss Alquist!

PAULA:

(PUZZLED) Yes?

THWAITES:

You don't remember me. I'm Miss Thwaites. I live just across the square; Number Sixteen.

PAULA:

Oh! Oh, yes. How do you do?

GREGORY:

Oh, Paula dear, we mustn't keep Mr. Mufflin waiting at the door.

PAULA:

Coming, darling. (TO THWAITES) I'm sorry.

THWAITES:

Oh, don't tell me you're coming to live here again?

PAULA:

Yes, my husband and I--

GREGORY:

(INTERRUPTS KINDLY) Please, dear.

THWAITES:

Oh, I'll call on you directly you're settled! Goodbye, for the present!

PAULA:

Goodbye.

THWAITES:

(MOVING OFF) Goodbye.

GREGORY:

(CALLS AFTER HER) Goodbye. I'm so glad we are to be neighbors.

MUFFLIN:

I'm sure you will find everything in the house in order, Mrs. Anton. Well, here are the keys. Now, if there's anything further I can do--

GREGORY:

You've been most kind.

SOUND:

KEY IN LOCK, DOOR OPENS BEHIND--

MUFFLIN:

Oh, about your income, Mrs. Anton. Shall we send the monthly draft here or to a bank?

PAULA:

(INDECISIVE) Oh, Gregory--?

GREGORY:

Eh? Oh, I would think here, darling -- at least temporarily.

PAULA:

(TO MUFFLIN) Then to here, if you please.

MUFFLIN:

Certainly. Oh, er, you inquired about servants?

GREGORY:

Oh, yes.

MUFFLIN:

I'll send in a housekeeper tomorrow. She's very capable, but a little hard of hearing.

GREGORY:

Hard of hearing?

MUFFLIN:

So if you'd rather not--

GREGORY:

No, no, no -- no, send her in. We can interview her at least.

MUFFLIN:

Her name is Elizabeth Morgan. I'm afraid I haven't yet found a housemaid.

GREGORY:

Oh, please don't think about it. We are deeply grateful for all you've done.

MUFFLIN:

(MOVING OFF) Well, good day then, and thank you.

PAULA & GREGORY:

Good day.

PAULA:

(BEAT) Well, this is our house. Shall we go in?

SOUND:

SCENE FADES OUT ... TRANSITIONAL PAUSE ... SCENE FADES IN

GREGORY:

It's amazing how well you remember everything. Now, what room is this?

PAULA:

(APPREHENSIVE) The drawing room.

GREGORY:

Well, come, dear. Aren't you going to show it to me?

PAULA:

Will you light the gas, please?

GREGORY:

Hm? Oh, the gas.

SOUND:

MATCH STRIKES

PAULA:

(REACTS UNEASILY) Oh--

SOUND:

LIGHTS FLAME

GREGORY:

There! That's better. (IMPRESSED) Paula! What a handsome room.

PAULA:

I know. But to see it like this -- all the furniture covered and-- So quiet. I - I remember parties in this room, and flowers. There were always flowers.

GREGORY:

Those must have been wonderful days.

PAULA:

It's so dead in here now. The whole place seems to smell of death.

GREGORY:

I'll open a window.

SOUND:

WINDOW OPENS

GREGORY:

There! All be fresh again in a moment. Oh, what is this, dear? This glass case?

PAULA:

Well, that's where she kept all her little treasures. All the things she collected on her concert tours. She was so proud of them.

GREGORY:

The glass is broken.

PAULA:

It was broken that night. All the things were disarranged, but there was nothing missing. Oh, I know all these by heart. This glove--

GREGORY:

Oh! Be careful, darling. The glass.

PAULA:

She wore this glove in Romeo and Juliet; the command performance in Covent Garden.

GREGORY:

One little glove?

PAULA:

Yes, I used to ask her what happened to the other one, but she only laughed and said she'd given it to a very great admirer. She would never tell me who.

GREGORY:

I wish I could have seen her.

PAULA:

You can see her. On the wall. Her portrait.

GREGORY:

Paula! Oh, it's unbelievable. How much you look like her. Only you are still more beautiful.

PAULA:

She's painted there as Empress Theodora. When she sang it in St. Petersburg, the Czar came to every performance. (SLOWLY) It was here that I found her that night. Here in front of the fire under her own portrait.

GREGORY:

(SYMPATHETIC) Darling--

PAULA:

I was in bed when something woke me. I came running down the stairs -- frightened, as if I already knew what had happened. She had been strangled and her lovely face was-- (SUDDENLY TEARFUL) No, no, no, no, I can't stay here. I can't. (WEEPS, THEN IN BG)

GREGORY:

(SOOTHING) Oh, Paula. Paula. Please. That's all past. It's long ago. You must forget about it.

PAULA:

(STOPS WEEPING) Yes, dear. Gregory, your arms -- so strong and safe.

GREGORY:

All those things that remind you so of her, we'll put them away!

PAULA:

Yes.

GREGORY:

We'll make it a new house -- with beautiful new things for a beautiful new life!

PAULA:

(CHUCKLES) Yes, my darling, yes. And then later we'll have people here and parties again.

GREGORY:

(TAKEN ABACK) Hm?

PAULA:

Yes. Wouldn't you like that?

GREGORY:

(RECOVERS, LOVINGLY) Oh, of course, dear, but later. First let us have another honeymoon here by ourselves -- just for a little while.

PAULA:

Yes, I only thought--

GREGORY:

(INTERRUPTS) Now, where do you suppose all this could be stored away?

PAULA:

Well, there's an attic under the roof. Her trunks are there; and all her costumes--

GREGORY:

(LIGHTLY) Well, then, that's where it shall go. And then we'll board it up, so you'll never have to see them again! (SEES SOMETHING) Oh! A piano. This too must go.

MUSIC:

SOLO PIANO AS GREGORY PLAYS A STATELY ROMANTIC TUNE, THEN IN BG--

GREGORY:

Ah! Fine instrument. The action needs regulating, but the tone's still quite good.

PAULA:

(PUZZLED) Gregory--? That song. Why are you playing that song?

GREGORY:

Why not?

PAULA:

That was her song. It was always her last encore at every concert. She said it-- (SEES SOMETHING) Oh, look. Oh, look, here is an old letter.

SOUND:

RUSTLE OF LETTER ... DRAWN FROM AMONG OTHER PAPERS AND UNFOLDED

GREGORY:

Letter?

PAULA:

Yes. (READS) "I beg of you to see me just once more. I followed you to London--" (SURPRISED) The - the date. It was written just two days before she was murdered, ten years ago.

MUSIC:

PIANO OUT ABRUPTLY

GREGORY:

(ABRUPTLY TENSE) Where did you find that?

PAULA:

It was here among this music. It's from someone called Sergis Bauer.

GREGORY:

(UPSET) Give it to me!

SOUND:

LETTER VIOLENTLY SNATCHED

PAULA:

(PUZZLED) Gregory--?

GREGORY:

(RECOVERS) I'm - I'm - I'm sorry. I - I didn't mean to snatch it. It's just that--

PAULA:

But why should the letter upset you so?

GREGORY:

Oh, it isn't that. I'm upset for you, darling. All these things reminding you of her. Oh, my dearest, while you're afraid of anything there cannot be any real happiness for us. You must forget her.

PAULA:

Forget? [X] No. No, not her, Gregory. Only what happened to her.

GREGORY:

Of course, darling. Of course.

MUSIC:

MELANCHOLY ... SNEAKS IN DURING ABOVE AT [X] ... THEN UP FOR BRIDGE

SOUND:

SCENE FADES IN

GREGORY:

(CALLS) Elizabeth? I'd like to see you, please. Elizabeth?

ELIZABETH:

(APPROACHES) Yes, sir?

GREGORY:

Elizabeth, you've been with Mrs. Anton and me now for two months. Are you happy here?

ELIZABETH:

Oh, indeed, sir.

GREGORY:

Good. Er, you've been to market?

ELIZABETH:

Yes, Mr. Anton.

GREGORY:

While you were gone, I've been interviewing a housemaid.

ELIZABETH:

Is she hired, sir?

GREGORY:

I'm not through talking to her. She's in the kitchen. You may tell her to come in now.

ELIZABETH:

Yes, sir.

GREGORY:

Er, just a moment. Outside just now, didn't I see you talking to our neighbor Miss Thwaites?

ELIZABETH:

Oh, yes, sir. She seemed so anxious to call here, sir.

GREGORY:

What did you tell her?

ELIZABETH:

(UNEASY) You - you told me that seeing people is not good for Mrs. Anton.

GREGORY:

(SHARPLY) I asked you a question.

ELIZABETH:

(DUTIFUL) Of course, sir. I told Miss Thwaites that the mistress hasn't been feeling too well lately and perhaps she should wait.

GREGORY:

Thank you, Elizabeth. You may send that girl in now.

SOUND:

SCENE FADES OUT ... TRANSITIONAL PAUSE ... SCENE FADES IN

NANCY:

And, er, might I ask about wages, sir?

GREGORY:

Sixteen pounds a year. Is that satisfactory, Nancy?

NANCY:

Mmmm, yes, sir. Um, what about her?

GREGORY:

Her?

NANCY:

Elizabeth, the housekeeper. Do I have to share a room with her?

GREGORY:

No. If you prefer, you may have a room downstairs. Now, remember, your mistress is very particular about everything being correct.

NANCY:

Is she, sir?

SOUND:

DOOR OPENS AS PAULA ENTERS

GREGORY:

Oh. Oh, Paula? Paula dear, this is Nancy, our new housemaid.

PAULA:

Oh, how do you do?

GREGORY:

You may go now, Nancy.

NANCY:

(MOVING OFF) Very good, sir.

GREGORY:

(AFTER NANCY EXITS, TO PAULA) Well, she seems a nice girl, Paula.

PAULA:

I'm sure she'll do. Are you ready, dear?

GREGORY:

All ready! All ready to have my wife show me the wonderful city of London! Darling, you look like a summer's day.

PAULA:

(CHUCKLES) Oh, it's because I'm so happy.

GREGORY:

Do you know what day this is?

PAULA:

(CHUCKLES) Yes.

GREGORY:

Three months ago today we became man and wife. (REMEMBERS) Oh! Oh, I have a little present for you, Paula.

PAULA:

No?

GREGORY:

Here.

PAULA:

(GASPS, IMPRESSED) Oh, Gregory!

GREGORY:

(WITH A SHRUG) Oh, just a cameo brooch that belonged to my mother. Now it belongs to you.

PAULA:

Oh, I shall wear it always -- always. How sweet of you to give me this. (DISMAYED) No, no-- Oh!

GREGORY:

What's the matter?

PAULA:

The clasp. I've broken the clasp.

GREGORY:

Oh, I'll have it mended.

PAULA:

It just seemed to break off.

GREGORY:

Your bag?

PAULA:

Yes?

GREGORY:

Let me put it in your bag. You might lose it. You know, you are inclined to lose things, Paula.

PAULA:

I am? I didn't realize that.

GREGORY:

Oh, just little things.

SOUND:

PURSE SHUTS

GREGORY:

There! Now the brooch is in your bag for safekeeping.

PAULA:

Yes.

GREGORY:

(LIGHTLY) Now you'll remember where it is.

PAULA:

Of course I'll remember.

GREGORY:

(CHUCKLES) I was only teasing, darling. Now then, where shall we go first?

PAULA:

Well, I have it all planned -- St. Paul's Cathedral, then Buckingham Palace, and then the Tower of London--

GREGORY:

(INTERRUPTS) Are you sure you feel equal to such a schedule?

PAULA:

Of course. I feel perfectly well. Really I do.

GREGORY:

Well, just promise me you won't overtax your strength. Promise me?

PAULA:

Of course I shan't, darling.

GREGORY:

Come then. We'll take it easy. We must not rush.

SOUND:

SCENE FADES OUT ... TRANSITIONAL PAUSE ... SCENE FADES IN ... TOURIST CROWD NOISE

PAULA:

(UNNERVED) Oh, do you mind terribly, Gregory? But I - I just had to get to out into the fresh air again. All those horrible things there in the tower -- the torture chambers, the beheading block--

GREGORY:

(SUSPICIOUS) Are you sure that's why you wanted to leave?

PAULA:

(PUZZLED) Well, yes, yes. But--?

GREGORY:

That young man back there. He nodded to you. Who is he, Paula?

PAULA:

Oh, I don't know. He seemed to know me, but I--

GREGORY:

Do you usually bow to people you don't know?

PAULA:

No. I suppose I met him somewhere.

GREGORY:

Are you telling me the truth?

PAULA:

Of course. Why should I lie?

GREGORY:

You smiled at him. I wonder why.

PAULA:

I did it without thinking, Gregory. I don't know why I did it.

GREGORY:

(HALF TO HIMSELF, SADLY) Like the other things.

PAULA:

(BEAT, PUZZLED) What other things?

GREGORY:

Oh, nothing, darling. Only I've been noticing you're - you're quite forgetful lately.

PAULA:

Forgetful?

GREGORY:

Well, losing things and-- Oh, now, please -- don't look so concerned. It's nothing. You get too tired and--

PAULA:

Yes, yes -- that's probably what it is. I'm tired. Gregory, can't we go home now?

GREGORY:

(WITH ENTHUSIASM) Oh, we still haven't seen the crown jewels! They're in that building there.

PAULA:

They are? How do you know?

GREGORY:

What did you say?

PAULA:

I said, how do you know? You haven't been here before.

GREGORY:

The guide told us, inside. Are you becoming suspicious, Paula, as well as absent-minded?

PAULA:

(QUIETLY) No, of course not, Gregory.

GREGORY:

After we see the jewels we'll go home. Jewels are wonderful things, Paula. Yes. [X] Yes, a man could sell his soul for jewels and find that he has made not too bad a bargain.

MUSIC:

UNEASY ... SNEAKS IN DURING ABOVE AT [X] ... THEN UP FOR BRIDGE

SOUND:

FRONT DOOR OPENS

GREGORY:

(BRIGHTLY) Well, you were right, Paula. There is nothing more beautiful than London sunshine.

SOUND:

FRONT DOOR CLOSES

PAULA:

And I had to spoil the day by bringing you home so early.

GREGORY:

Why don't you rest now for a while?

PAULA:

Yes.

GREGORY:

Would you like me to stay with you and not go out this evening?

PAULA:

Oh, no. You go to your studio as usual. Gregory, can you really compose in that little room you've rented?

GREGORY:

Of course. I have a piano; that's all I really need.

PAULA:

I wish you'd let me see it sometime.

GREGORY:

Hmm. Oh, Paula, you might let me have your brooch, so I can have it repaired.

PAULA:

Yes, yes, of course; I'll get it for you. Wait a minute, here.

SOUND:

PURSE OPENS

PAULA:

(BEAT, TROUBLED) I don't understand. What--?

GREGORY:

Hmm? What's the matter?

PAULA:

Oh, Gregory, I-- I - I can't find it. Wait a minute.

GREGORY:

What?

PAULA:

But it - it must be here in my bag. I - I'll turn everything out. Wait a minute. (SOUND: PURSE ITEMS DUMPED OUT) I know that it was here. I couldn't have lost it; it must be here!

GREGORY:

I'm sure it is.

PAULA:

Yes, it must-- (DISMAYED) No. No, it's gone. Oh, Gregory, it's gone.

GREGORY:

(SLOW AND SYMPATHETIC) Oh, Paula. Didn't I tell you? How did you come to lose it?

PAULA:

(HELPLESSLY) Well, I - I must have pulled it out with something. I-- Oh, I'm terribly sorry, Gregory. Please forgive me.

GREGORY:

Oh, my dear, it's not as serious as that. It was not valuable.

PAULA:

Oh, but your present to me, and your mother's brooch-- I - I don't remember opening my bag. You - you did put it there, didn't you?

GREGORY:

Don't you even remember that?

PAULA:

Yes. Yes, of course I do, but suddenly I'm beginning not to trust my memory at all.

GREGORY:

Oh, I tell you, you're just tired, that's all. Don't worry so, Paula. Don't worry.

MUSIC:

WORRIED BRIDGE

ELIZABETH:

You rang for me, ma'am?

PAULA:

What time is it, Elizabeth?

ELIZABETH:

Close to nine o'clock, ma'am. How do you feel?

PAULA:

I'm all right. Has the master left yet?

ELIZABETH:

Yes, ma'am. A little while ago.

PAULA:

Please see that he has plenty of coal on the grate in his room, won't you?

ELIZABETH:

You already told me, ma'am.

PAULA:

(BEAT) When did I tell you?

ELIZABETH:

After dinner. Don't you remember?

PAULA:

Oh. Oh, yes. Er, Elizabeth--?

ELIZABETH:

Yes, ma'am?

PAULA:

Did you just turn the gas up in the hall?

ELIZABETH:

No, Mrs. Anton.

PAULA:

Well, the light here in the room -- it just went down, the way it always does when another light is turned up.

ELIZABETH:

I didn't touch it.

PAULA:

Oh, but this one went down. Oh, perhaps Nancy lit another jet in the kitchen.

ELIZABETH:

It couldn't have been her; this is her evening off.

PAULA:

(REALIZES) Yes. Yes, that's right. Goodnight, Elizabeth.

ELIZABETH:

Goodnight, ma'am.

MUSIC:

FOREBODING ... THEN IN BG, TILL END OF SCENE

SOUND:

LOUD THUMP! ... MORE THUMPS AND FOOTSTEPS, IN BG ... OUT BY [X]

PAULA:

(CALLS, NERVOUSLY) Elizabeth?

ELIZABETH:

(OFF) Yes, ma'am?

PAULA:

What's that? That noise? Listen!

ELIZABETH:

(OFF) Noise, ma'am?

PAULA:

Yes! Can't you hear it?! Something coming from up there, from the attic! Like footsteps and things being moved around.

ELIZABETH:

(CLOSER) But, ma'am, the attic's all boarded up.

PAULA:

I tell you, I hear something, Elizabeth!

ELIZABETH:

My hearing, ma'am, it's not too good you know.

PAULA:

You hear very well when I speak to you. [X]

ELIZABETH:

Yes, ma'am. I've gotten so I can tell from a person's lips, but--

PAULA:

Sh! Sh! (BEAT, SLOWLY, WEAKLY) It's stopped now. It's gone. I-- I-- Well, you may go, Elizabeth; I'm very sorry.

ELIZABETH:

Please, ma'am, is there anything I can do?

PAULA:

No. Nothing. Goodnight.

ELIZABETH:

Goodnight. I hope you rest, ma'am.

SOUND:

INNER DOOR CLOSES AS ELIZABETH EXITS

PAULA:

(PAUSE, TO HERSELF) What is happening to me? I - must be ill. I - I must be. Oh, no, no, no, no, no--

MUSIC:

UP FOR FIRST ACT CURTAIN

SOUND:

APPLAUSE

HOST:

Before we return with the second act of "Gaslight," starring Charles Boyer and Ingrid Bergman, here's our Hollywood reporter Libby Collins. You look as if you'd seen something exciting, Libby.

LIBBY:

Oh, I have, Mr. Keighley. I've just seen one of my favorite books come to life on the screen.

HOST:

What one is that?

LIBBY:

"The Postman Always Rings Twice." Metro-Goldwyn-Mayer has made a terribly exciting picture out of James Cain's bestseller.

HOST:

With Lana Turner and John Garfield as the stars, that's understandable.

LIBBY:

Mm, they make a marvelous team. "The Postman Always Rings Twice" is so packed with action, it left me practically breathless. And then with all that, I saw Lana Turner herself.

HOST:

Glamorous as usual?

LIBBY:

But definitely. And wearing some suntan nylons that were absolutely lovely.

ANNOUNCER:

As if they'd had Lux care?

LIBBY:

That's right, Mr. Kennedy; they certainly did. These days when stockings are so hard to get, girls everywhere are keen about Lux Flakes for stockings. Luxed stockings stay lovely so much longer.

ANNOUNCER:

Scientific strain tests proved that, Libby. Stockings washed with Lux Flakes lasted twice as long. Identical stockings rubbed with cake soap or washed with a strong soap soon went into runs.

LIBBY:

The studios appreciate what a saving that is. They Lux stockings just as they do all nice washables.

ANNOUNCER:

Freshly Luxed clothes make any girl more glamorous.

LIBBY:

And at such a tiny cost. Another way I save is by Lux-ing undies first and then stockings. My Lux Flakes go further that way.

ANNOUNCER:

A good idea, Libby, because Lux contains vital materials. It shouldn't be wasted. Here's Mr. Keighley at the microphone.

HOST:

We continue with Act Two of "Gaslight," starring Ingrid Bergman as Paula and Charles Boyer as Gregory.

MUSIC:

SECOND ACT INTRODUCTION ... THEN BEHIND HOST--

HOST:

In the few days that have passed the sedate little community called Thornton Square has seen a new visitor, a discreet young man with innocent questions, but who for some reason has avoided the residence of Mr. and Mrs. Gregory Anton. At the moment the young man is in the office of the superintendent of Scotland Yard.

SUPERINTENDENT:

(IMPATIENTLY) Now look here, Cameron. The Alquist case is ancient history. What's causing your sudden interest in a murder that happened ten years ago?

CAMERON:

Oh, it's hard to say, sir. It impressed me very much at the time, probably because I'd met Alice Alquist.

SUPERINTENDENT:

Oh?

CAMERON:

I was just a boy. I know it sounds foolish, but I still think she was the most beautiful woman I'd ever seen. Do you wonder why I was startled when I saw that girl last week in London Tower? A girl who might be the twin sister of Alice Alquist fifteen years ago?

SUPERINTENDENT:

And what does that prove?

CAMERON:

Nothing, I'm afraid. But Number Nine Thornton Square is no longer an empty house.

SUPERINTENDENT:

The girl's her niece; the house belongs to her.

CAMERON:

Well, it's just a feeling I have that something peculiar is going on.

SUPERINTENDENT:

Because that nosy old maid Miss Thwaites--? Because she thinks so? Come now, Cameron.

CAMERON:

But they've been so careful to avoid visitors. I wonder why.

SUPERINTENDENT:

Well, stop wondering. As for the matter of the jewels, that was dropped by order of a most important personage.

CAMERON:

Jewels? What jewels?

SUPERINTENDENT:

(SORRY HE MENTIONED THEM; BRISKLY) Ohhhh, they'd been given to Alice Alquist by-- Well, by someone very highly placed. Crown jewels of His-- Well, of another country. They disappeared.

CAMERON:

(REALIZES) That's why she was murdered.

SUPERINTENDENT:

(BRISKLY DISMISSIVE) Who'd murder a woman for jewels that are far too famous to be disposed of?

CAMERON:

But they've never turned up.

SUPERINTENDENT:

No. (ANNOYED) Now, run along, Brian. I'm very busy.

CAMERON:

(DEFLATED) Yes, sir. Thank you, sir.

SOUND:

OFFICE DOOR SHUTS ... CAMERON'S STEPS DOWN HALL ... THEN OUT DURING FOLLOWING--

CAMERON:

Oh, uh, uh, Williams?

WILLIAMS:

Yes, sir?

CAMERON:

Where's your duty these days, Williams?

WILLIAMS:

Still in the East End, sir.

CAMERON:

How'd you like a more fashionable beat -- one that includes Thornton Square?

WILLIAMS:

Oh, very much, sir.

CAMERON:

It also includes a pretty young house maid named Nancy Frost. She might be susceptible to a policeman's uniform, and, er-- (CONFIDENTIALLY) I need information.

WILLIAMS:

(INTERESTED) Well now, sir, I--

CAMERON:

Well, say nothing about it; we'll see what can be done.

MUSIC:

BRIDGE

SOUND:

SCRAPE OF COAL INTO FIREPLACE

GREGORY:

(WEARILY) If you want coal on the fire, Paula, why don't you ring for the maid?

PAULA:

I'm sorry, Gregory. I didn't mean to wake you.

GREGORY:

Oh, well. Now that you have interrupted my nap, we may just as well be comfortable. Now please, pull the bell cord.

PAULA:

Oh, but it seems so unnecessary.

GREGORY:

What are servants for, Paula? (NO ANSWER) Answer me. What do you suppose servants are for?

PAULA:

To - to do things. To serve us, I suppose.

GREGORY:

Exactly.

PAULA:

It's only I think we should consider them a little. Oh, don't be cross with me.

GREGORY:

I'm not cross with you. It's-- Oh, there are a lot of things--

NANCY:

(APPROACHES) Did you ring, sir?

GREGORY:

No, your mistress rang. (BEAT, TO PAULA) Well, my dear, tell Nancy why you rang for her.

PAULA:

A little coal on the fire please, Nancy.

NANCY:

Yes, ma'am.

SOUND:

SCRAPE OF COAL INTO FIREPLACE ... THEN IN BG, OUT AT [X]

GREGORY:

Well, Nancy, tonight is your night out, isn't it?

NANCY:

That's right, sir.

GREGORY:

Whom are you seeing tonight, Nancy? They have changed the policeman on the beat. Is his heart going to be added to the list of those you've broken?

NANCY:

I don't know I've broken any, sir. [X]

GREGORY:

Ah, now-now-now, I'm sure that's not true. That complexion of yours, that's something not quite true either. Oh, you do it very cleverly. In fact, I'm hoping you'll pass your secret on to your mistress and help her get rid of her pallor.

NANCY:

(MOVING OFF) I'm sure I'd be pleased to do anything I can, sir.

SOUND:

INNER DOOR CLOSES AS NANCY EXITS

PAULA:

(UPSET) Gregory! How can you talk to Nancy like that?

GREGORY:

But, my dear, you are so anxious to regard the servants as your equals, I thought I would treat her as one.

PAULA:

No wonder that girl despises me, the way you encourage her in it!

GREGORY:

Despises you?

PAULA:

Her whole manner; the way she looks at me!

GREGORY:

Looks at you? Paula? You're not imagining things again? You're not, are you?

PAULA:

Of course I'm not!

GREGORY:

Paula, don't turn away! We must have this out. Do you really think Nancy despises you? (NO ANSWER) Paula?

PAULA:

(DEFLATED, QUIETLY) No, Gregory.

GREGORY:

Well, I'm glad of that. It hurts me when you're ill and fanciful.

SOUND:

DURING ABOVE, INNER DOOR OPENS

NANCY:

I beg your pardon.

GREGORY:

Nancy, have you been there listening to us?

NANCY:

Oh, no, sir. Miss Thwaites is calling. (WITH CONTEMPT) She wants to know if the mistress is at home.

GREGORY:

Oh, that old busybody again?

NANCY:

She has a nephew with her -- a Mr. Cameron.

GREGORY:

Er, tell them Mrs. Anton is not at home.

PAULA:

Gregory, really, she's been so very nice--

GREGORY:

(FIRMLY) If you let her in once, you'll always have to have her. And I do not want people all over this house! Well, Nancy don't stand there!

NANCY:

Yes, sir.

PAULA:

(PAUSE AS NANCY EXITS; SADLY) I would have liked to have seen her.

GREGORY:

(APOLOGETIC) Oh, but, my dear, I thought you were only trying to be polite. Why didn't you say you really wanted to see her?

PAULA:

But how - how could I in front of that girl?

GREGORY:

Oh, Paula, you must get over this ridiculous fear of the servants! All you had to say was, "Show her in, Nancy." (NO ANSWER, CHUCKLES) Well? Am I right?

PAULA:

(BEAT, WHISPERS) Yes, Gregory.

GREGORY:

Heh! You would not have time to see her anyway.

PAULA:

Why not?

GREGORY:

You'll want to dress. We're going out tonight.

PAULA:

We are? You didn't tell me. Or - or have I forgotten?

GREGORY:

(CHUCKLES) Paula, you silly child. Of course you haven't forgotten. Look, theater tickets! A surprise for you. We're going to the theater tonight.

PAULA:

Oh! Oh, Gregory, how wonderful! (CHUCKLES, THEN BUILDS TO HYSTERICAL LAUGHTER) Oh, my darling! (KEEPS LAUGHING, IN BG)

GREGORY:

(DRY) And you thought I was being cruel to you.

PAULA:

No! No, you're not cruel.

GREGORY:

Keeping people away from you. Making you a prisoner.

PAULA:

I'm sorry, I'm sorry, I'm sorry.

GREGORY:

Oh, darling, it's been days since I've heard you laugh like this.

PAULA:

(STOPS LAUGHING, STILL HAPPY) Yes, it's been days since I've been so happy! I want to laugh and I want to dance and I--! (STOPS SHORT, BEAT, SOBERLY) What is it? (WHISPERS) What is it?

GREGORY:

(RESIGNED) The wall. Something is missing from the wall.

PAULA:

Missing?

GREGORY:

Oh, Paula-- Paula, I don't want to upset you. If you will put things right when I'm not looking, we'll assume it did not happen.

PAULA:

But what--?

GREGORY:

You mean you don't know?

PAULA:

No, I - I-- (REALIZES) The little picture's been taken down again. Who took it down? Why?

GREGORY:

Why, indeed. Why was it taken down before, Paula?

PAULA:

But I haven't taken it. Why should I? Gregory, I swear-- No, don't ring for the servants!

GREGORY:

I must!

PAULA:

No, please! No, Gregory, don't shame me before the servants again!

GREGORY:

Will you stop being hysterical?! We must get to the bottom of this once and for all! Things like this cannot-- Oh, Elizabeth, come in.

ELIZABETH:

Yes, sir?

GREGORY:

Elizabeth, do you notice anything missing from this room?

ELIZABETH:

Missing? No, I - I don't think so, sir.

GREGORY:

Look at the wall. (BEAT) Well?

ELIZABETH:

Oh. Yes. The little picture.

GREGORY:

Did you take it away?

ELIZABETH:

Oh, no, sir. Why ever should I?

GREGORY:

You go to church, don't you, Elizabeth?

ELIZABETH:

Why, yes, sir.

GREGORY:

Please hand me my Bible there.

ELIZABETH:

The Bible? Yes, sir.

GREGORY:

Thank you. You will kiss this Bible -- as a solemn oath that you've been telling the truth. (BEAT) Thank you, Elizabeth. Now send Nancy in here.

ELIZABETH:

(MOVING OFF) Yes, sir.

PAULA:

(INCREASINGLY HYSTERICAL) Gregory, please, no. Not that girl. I'll say anything. I'll say that I did it. I did it, Gregory! I'll not have that girl--! Please!

GREGORY:

Paula, please have the goodness to control yourself!

PAULA:

(WHIMPERS)

GREGORY:

You've thrown suspicion on the servants; they must be cleared of it! Now sit down! (BEAT) Did you hear? Sit down.

NANCY:

(APPROACHES) Elizabeth said you wanted--?

GREGORY:

Nancy, a picture has been removed from the wall there. I want to know if you took it.

NANCY:

Oh, no, sir.

GREGORY:

Shall I ask Nancy to kiss the Bible, Paula, or will you accept her word?

PAULA:

(QUIETLY) Of course I'll accept it.

GREGORY:

That's all, Nancy; thank you.

NANCY:

(MOVING OFF) It was there this morning I'm sure.

PAULA:

(BEAT) Give me that Bible. Give it to me. (BEAT) I swear on the Bible I didn't take that picture down.

GREGORY:

(WITH PITY) Go and look for it. See if you can find it. Perhaps here in the library.

PAULA:

(EXHALES) We found it in here the last time, didn't we? But I--

GREGORY:

I think it may be here again.

PAULA:

(REALIZES) The shelf. It's there on the shelf.

GREGORY:

So. So you knew where it was all the time.

PAULA:

No, I didn't know, Gregory; I didn't.

GREGORY:

Paula, I think you better go to your room.

PAULA:

Then we--? We're not going to the theater?

GREGORY:

Oh, I'm afraid you're far from well enough for the theater, my dear.

PAULA:

(DEJECTED) Oh. Gregory, if I took that picture down--

GREGORY:

If?

PAULA:

If I do all these senseless meaningless things -- they're so meaningless -- then I don't know what I do any more.

GREGORY:

Yes, Paula, that's just the trouble.

PAULA:

Then if that is true, you must be gentle with me. Please, Gregory, please.

GREGORY:

You better go to your room.

PAULA:

What are you going to do?

GREGORY:

I'm going out -- to work, to try to forget all this.

PAULA:

No, please don't leave me now. I get so frightened when you go out night after night.

GREGORY:

Frightened?

PAULA:

Yes.

GREGORY:

You never told me that before.

PAULA:

I hear noises and footsteps. I imagine things. The light in my room-- The light dims and-- I'm frightened of myself. Oh, Gregory, please take me in your arms. (TEARFUL) Please, please take me in your arms, Gregory! Don't leave me, please!

GREGORY:

Goodnight, Paula.

PAULA:

(SOBS, WHISPERS) No--

GREGORY:

I hope to find you much better in the morning.

PAULA:

(SOBS, WHISPERS) Gregory--

MUSIC:

BRIDGE

CAMERON:

Well, Williams, come in.

WILLIAMS:

I just wanted to report, sir. Miss Nancy Frost and I, we're goin' out this evenin'.

CAMERON:

(CHUCKLES) Oh, fine.

WILLIAMS:

Any luck this afternoon, sir?

CAMERON:

Not very much, I'm afraid. I persuaded Miss Thwaites to adopt me temporarily as a nephew and go visiting, but the Antons wouldn't see us.

WILLIAMS:

Too bad, sir.

CAMERON:

But meet her I shall. I've just called a friend of mine, Lady Dalroy. She's giving a musicale at her home Friday night. She knew Mrs. Anton slightly years ago. She's been kind enough to add her name and her husband's for the list of guests.

MUSIC:

THE MUSICALE'S CLASSICAL STRINGS ACT AS A BRIDGE, THEN CONTINUE IN BG, TILL END OF SCENE--

SOUND:

SLIGHT MURMUR OF GUESTS

LADY DALROY:

Well, Brian, I hope you're properly ashamed arriving so late.

CAMERON:

Covered with remorse, Lady Dalroy.

LADY DALROY:

Business at Scotland Yard, I suppose.

CAMERON:

My lady, not so loud. Tonight I'm just another guest.

LADY DALROY:

Well, you're in for a disappointment, Brian. A note came late this afternoon. Mr. and Mrs. Anton were unable to accept the invitation.

CAMERON:

Oh? (DISAPPOINTED) Oh, I - I see.

LADY DALROY:

Mm, she's apparently ill. Very tiresome of her.

CAMERON:

Did - she send the note?

LADY DALROY:

No, her husband. Brian, who is this Mr. Anton? What does he do? Where does he come from?

CAMERON:

I was hoping to find that out tonight.

LADY DALROY:

(CHUCKLES) Don't look so glum. Come into the music room. Zaretsky's going to play for us. You still enjoy the piano, don't you? (NO ANSWER) Brian?

CAMERON:

Hmm? Oh. Sorry. I'm afraid my mind was miles away. (FADES OUT)

MUSIC:

THE MUSICALE'S CLASSICAL STRINGS FILL A PAUSE, THEN FADE OUT

SOUND:

SCENE FADES IN

GREGORY:

Talk to me, Paula. Why are you all dressed up like this?

PAULA:

(FLAT MONOTONE) Because I'm going to Lady Dalroy's reception.

GREGORY:

But I sent a note.

PAULA:

Yes, you told me, but I must get out of this house, Gregory.

GREGORY:

Very well, but I'm afraid you'll have to go alone.

PAULA:

If you prefer.

GREGORY:

(SURPRISED) Paula! Paula? Paula, wait. I didn't realize this party meant so much to you. I'll change immediately. You didn't really think I'd let you go alone, did you?

PAULA:

I don't know. Please hurry then, Gregory.

GREGORY:

(MOVING OFF) Of course, my dear. I won't be moment.

SOUND:

SCENE FADES OUT ... TRANSITIONAL PAUSE ... SCENE FADES IN

MUSIC:

FADE IN SOLO CLASSICAL PIANO ... FILLS PAUSE ... CONTINUES IN BG

SOUND:

VOICES OF PAULA, LADY DALROY, AND GREGORY ARE HUSHED OR WHISPERED UNTIL END OF PIANO PIECE

LADY DALROY:

Why, this is a wonderful surprise, Mrs. Anton! I'm so glad you could come.

PAULA:

Thank you, Lady Dalroy. May I introduce my husband?

LADY DALROY:

How do you do?

GREGORY:

I hope you will forgive all the confusion, Lady Dalroy, but Paula suddenly felt much better and we were so anxious to attend--

LADY DALROY:

But of course! Now, if you'll come in, Zaretsky's playing. You will find some seats over there. Later on, we're serving a little supper. We'll have a nice long talk then.

GREGORY:

Thank you, Lady Dalroy.

MUSIC:

CLASSICAL PIANO UP ... FILLS PAUSE ... CONTINUES IN BG, MATCHING THE TENSION AT THE SCENE'S CLIMAX--

PAULA:

He plays beautifully, doesn't he, Gregory?

GREGORY:

(ABSENTLY) Hm? Oh, yes, yes.

PAULA:

Is something wrong?

GREGORY:

Wrong?

PAULA:

You keep turning.

GREGORY:

No, no, it's nothing. I - I thought I saw a man I knew, that's all.

PAULA:

Imagine being able to play like that.

GREGORY:

Mmm, yes. I heard Zaretsky once in-- Paula?

PAULA:

Yes?

GREGORY:

Paula! My watch is gone!

PAULA:

(STRICKEN) No. No, Gregory, no, no, not-- I didn't. I-- What are you doing?

GREGORY:

Your handbag!

PAULA:

No, please, please--

GREGORY:

I can feel it in your handbag!

PAULA:

No.

GREGORY:

My watch is in your handbag! Open it up!

PAULA:

But I didn't put it there. No.

GREGORY:

You see?! You see?! I was right! You took it!

PAULA:

(TEARFUL) I didn't put it-- I swear! I didn't put it in there!

LADY:

(ANNOYED, HUSHED) Be quiet -- please!

GREGORY:

Paula, you must control yourself!

PAULA:

(SOBS, WEEPS IN BG)

GREGORY:

Paula! (DISGUSTED) Being seen like this in public! (BEAT) Let's get out of here immediately! Come along, Paula! Come!

MUSIC:

PIANO HITS A PEAK ... THEN ORCHESTRAL BRIDGE COMES CRASHING IN

GREGORY:

(FRUSTRATED) And I've tried so hard to keep it within these walls -- in our own house! Now -- because you would go out tonight -- the whole of London knows it! If I could only understand what makes you do these crazy twisted things.

PAULA:

(HELPLESSLY) Gregory? Are you trying to tell me that I'm insane?

GREGORY:

That's what I'm trying not to tell myself.

PAULA:

But that's what you think, isn't it? That's what you've been hinting ever since--?

GREGORY:

(BEAT) Well? Ever since what?

PAULA:

Since - since the day I lost your mother's brooch-- No! No, before that. The first day in this house -- when I found that letter.

GREGORY:

What letter?

PAULA:

From that man called Bauer. Sergis Bauer, I remember.

GREGORY:

Yes! Yes, you're right! I can see you still -- standing there and saying, "Look! Look at this letter!" -- and staring at nothing!

PAULA:

(STARTLED) What?

GREGORY:

You had nothing in your hand!

PAULA:

(DISMAYED DISBELIEF) Oh, Gregory!

GREGORY:

I was staggered! But I didn't know then how much reason I had to be.

PAULA:

What reason?

GREGORY:

I didn't know then about your mother.

PAULA:

What about my mother?

GREGORY:

Your mother was mad! She died in an asylum when you were a year old.

PAULA:

No! That's not true!

GREGORY:

I've been making inquiries. I've talked to the doctor who attended her. Would you like to see him?

PAULA:

No!

GREGORY:

He described the symptoms to me. It began with her imagining things -- noises, footsteps, voices.

PAULA:

No.

GREGORY:

And then the voices began to speak to her.

PAULA:

No, no--

GREGORY:

And in the end she died with no mind at all.

PAULA:

No, please, please stop it. No. (WEEPS QUIETLY, IN BG)

GREGORY:

Now perhaps you would understand why I cannot let you meet people! Oh, by the way, he must have been rather disappointed that you left Lady Dalroy's home tonight before he could talk to you.

PAULA:

(CONFUSED) Who?

GREGORY:

The man. The man who was sitting behind us. You went there only because you knew he was going to be there.

PAULA:

Oh, Gregory, who? Who?

GREGORY:

(ANGRY) Oh, the same man who bowed to you that day in the tower! Who is he? Hm? Someone from the past? Some disappointed suitor perhaps?

PAULA:

(MISERABLE) I never met him. I have no idea who he is.

GREGORY:

Why do you lie to me?

PAULA:

(BEAT) I never lie to you.

MUSIC:

SNEAKS IN ... MOURNFUL

GREGORY:

(SUDDENLY SYMPATHETIC) No. No, I'm sorry, no. I know you never lie to me. (SUDDENLY SAVAGE) It's worse than lying! You've forgotten! You've forgotten him as you forget everything! (SLOW AND SORROWFUL) Oh, but I'm wrong to try to handle this myself. Paula, we shall have visitors here, and shortly.

PAULA:

(WITH DREAD) A doctor?

GREGORY:

Two. Yes, I believe two is the required number. Goodnight, Paula. I'm going out.

MUSIC:

UP FOR SECOND ACT CURTAIN

SOUND:

APPLAUSE

ANNOUNCER:

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

MUSIC:

FOR STATION IDENTIFICATION

HOST:

Before our stars, Charles Boyer and Ingrid Bergman, return in Act Three of "Gaslight," I'd like to present tonight's guest, one of Paramount's dazzling young starlets, Janet Thomas. Her platinum blonde hair and bright blue eyes have proved an "Open Sesame" to every door she touches. Isn't that so, Janet?

JANET:

I've just been lucky, Mr. Keighley.

HOST:

Didn't I hear that you got a job as a photographer's model the very afternoon you arrived in New York?

JANET:

Well, yeah.

HOST:

And how about your first part in a Paramount picture?

JANET:

Oh, I just happened to meet a director at a dinner party and he arranged it.

HOST:

(CHUCKLES) There you are. What type of roles do you prefer?

JANET:

Dramatic ones, like Paulette Goddard's in "Kitty." She's wonderful in that role. I was on the set a great deal while they were making it.

HOST:

You can learn a lot from watching a finished actress like Paulette.

JANET:

I learned something else there, Mr. Keighley.

HOST:

And what was that?

JANET:

Remember those muddy London streets in "Kitty"?

HOST:

(YES) Uh-huh.

JANET:

Well, I wondered how they kept those long frilly petticoats so fresh-looking for every scene.

ANNOUNCER:

They were sudsed in Lux, weren't they, Janet?

JANET:

Oh, yes, Mr. Kennedy. How did you know?

ANNOUNCER:

Hollywood studios and Lux Flakes are old friends.

JANET:

It's interesting to see 18th century undies getting the same care as our 20th century ones.

ANNOUNCER:

Keeping fabrics fresh and colors lovely is important in making a picture of any period. Studios depend on Lux care for all nice washables.

JANET:

And so do I.

ANNOUNCER:

And so do thousands of other girls, Janet. Lux care keeps pretty lingerie color-fresh and new-looking longer. I've seen slips Luxed as many as thirty times. They still look lovely.

JANET:

That makes Lux a real budget-saver.

ANNOUNCER:

Right! Because Lux care helps slips and gowns stay lovely three times as long. Washing tests prove that, you know. I just wish the women in our audience could see how colors faded and seams pulled apart when garments were washed carelessly with strong soap, hot water, and rough handling -- and how lovely identical ones looked after the same number of washings with Lux Flakes. Lux is really thrifty! Thank you for coming tonight, Janet, and good luck. We return now to William Keighley.

HOST:

Our curtain rises on Act Three of "Gaslight," starring Ingrid Bergman as Paula and Charles Boyer as Gregory.

MUSIC:

BRIEF SOMBER THIRD ACT INTRODUCTION ... THEN TENSE IN BG

HOST:

It's a little later the same night. Gregory has just left. And alone in her room Paula crouches in terror, staring up at the petals of flame that burn evenly in the chandelier. Then, from the attic above, she hears footsteps and the muffled thud of unknown objects moved by an unknown hand. And the light in her room grows dimmer.

SOUND:

DURING ABOVE, FOOTSTEPS, THUMPS AND THUDS

PAULA:

(MOANS, TO HERSELF) No. No, I can't stand it. I can't stand it, no. (MOAN TURNS INTO BLOODCURDLING SCREAM, THEN SHOUTS HYSTERICALLY) Please stop it! Please stop it! Please stop it!

MUSIC:

DURING ABOVE, BUILDS TO A BIG CLIMAX, THEN ABRUPTLY OUT

PAULA:

(TEARFUL) Please stop it! Please stop it-- (WEEPS, IN BG)

ELIZABETH:

(APPROACHES) I'm coming, ma'am! I'm coming!

PAULA:

(TEARFUL, WEARY) Help me, Elizabeth-- I want you to help me. I'm so tired.

ELIZABETH:

Why, of course, Mrs. Anton.

PAULA:

Elizabeth? Did you turn on the gas anywhere just now?

ELIZABETH:

Why, no, ma'am.

PAULA:

I thought it went down in here. Is it--? Is it--?

ELIZABETH:

Oh, it's just that the gas comes in pipes, ma'am, and I expect they get more gas in the pipe sometimes than they do at other times.

PAULA:

(UNCONVINCED) Yes. Yes.

ELIZABETH:

Now let me get your shoes off.

SOUND:

THUMP, FROM ABOVE

PAULA:

Elizabeth? Do you hear anything?

ELIZABETH:

Mrs. Anton?

PAULA:

Those - those sounds. Those noises up there.

ELIZABETH:

Oh, no. No, ma'am.

PAULA:

Like - like someone moving about?

SOUND:

MORE THUMPS, FROM ABOVE

PAULA:

Oh, Elizabeth, listen, listen. Please.

ELIZABETH:

You know what my hearing is, ma'am. But there just couldn't be anyone up there. The whole floor is boarded up. You know it is, ma'am.

SOUND:

MORE THUMPS, FROM ABOVE

MUSIC:

SNEAKS IN ... UNHAPPY ... THEN IN BG

PAULA:

But I hear it, Elizabeth. I hear it, I hear it.

ELIZABETH:

(SOOTHING) Now, there, ma'am. (MOVING OFF) I'll go and get you some nice hot tea.

PAULA:

(TEARFUL) No, don't leave me, please. Don't leave me.

MUSIC:

UP FOR BRIEF TROUBLED BRIDGE ... THEN SHARPLY OUT

SOUND:

KNOCK ON FRONT DOOR

WILLIAMS:

(BEHIND DOOR, CALLS) It's me, Mr. Cameron -- Williams!

SOUND:

FRONT DOOR OPENS

CAMERON:

Oh, Williams. Oh, come in.

SOUND:

FRONT DOOR CLOSES BEHIND--

WILLIAMS:

Sorry to wake you up so early, sir, but seeing as how you told me to come here to your house--

CAMERON:

Oh, don't apologize. What is it?

WILLIAMS:

Well, about two hours ago I'm on the corner of Thornton Square when suddenly there he is, popping up out of the fog -- our friend Mr. Anton. I can't figure it out, sir. The way he disappears and then reappears -- every night!

CAMERON:

Don't let it amaze you any longer, Williams.

WILLIAMS:

Sir?

CAMERON:

He never leaves Thornton Square. We only thought he did. Number Five is an empty house. He turns the corner of Thornton Square, comes back to Number Five through the alley, goes to the roof, crosses to his own house, and then goes in through the attic.

WILLIAMS:

But why would a man walk--?

CAMERON:

(INTERRUPTS) Never mind that now. What happened last night?

WILLIAMS:

I tell you, that man's been up to something -- clothes untidy, cravat all on one side, dirt and dust all over him, even on his face.

CAMERON:

Had he been in a fight?

WILLIAMS:

No. More like he'd been digging in a cellar or something.

CAMERON:

Hmm. Sit down, Williams; I'll stir up some breakfast.

WILLIAMS:

I've had my breakfast, sir -- in the kitchen of Number Nine, as a matter of fact.

CAMERON:

(AMUSED) Oh? How's Nancy?

WILLIAMS:

It seems the master's told her her mistress might be going away for a long time. What do you think that means?

CAMERON:

(GRIM) It means I've got to get into that house tonight.

WILLIAMS:

Well, but Nancy says he's told her to not let her mistress see anyone.

CAMERON:

Then you'll have to see to it that Nancy isn't home tonight either.

WILLIAMS:

(LIGHTLY) Any little thing I can do for the Yard, sir. But how do you know the lady herself will see you?

CAMERON:

I don't know. (AN INSPIRATION) Wait! There is a way. Yes, I'm sure she'll see me, Williams.

MUSIC:

BRIDGE

PAULA:

(LISTLESS) Go away. I can't see anyone. I'm ill. Elizabeth, stop him.

CAMERON:

(SLIGHTLY OFF) I must see you, Mrs. Anton.

ELIZABETH:

I couldn't stop him, ma'am. He pushed his way right in.

CAMERON:

Mrs. Anton, my name is Brian Cameron.

PAULA:

You mustn't be here. Go away.

CAMERON:

Not until I've given you this.

PAULA:

(BEAT) A glove? It's a glove.

CAMERON:

Years ago Alice Alquist gave me this glove. I was a little boy overcome with admiration. (BEAT) Will you trust me now?

PAULA:

(SURPRISED, AMUSED) She gave it to you. The great admirer. A little boy.

CAMERON:

Mrs. Anton, are you planning to leave here?

PAULA:

Leave here? I have nowhere to go. (SCARED, QUICKLY) Unless my husband sends me away. Is that why you came here? To take me away?!

CAMERON:

(SURPRISED) Are you as frightened as all that?

PAULA:

(WEAKLY) No. I can't talk to you. I'm afraid I'm very ill.

CAMERON:

Please. Please, you - you must answer my questions. Where is your husband now? Where has he gone?

PAULA:

He has taken a studio where he can work on his composing. He says he can't work in this house.

CAMERON:

Is there anyone here now except us and Elizabeth?

PAULA:

No. Why?

CAMERON:

Because the gas light just dimmed a little.

PAULA:

(BEAT, SURPRISED) You saw that?

CAMERON:

Of course.

PAULA:

Oh, then it really happens! I thought I imagined it!

CAMERON:

It means that someone has turned the light on somewhere in this house.

PAULA:

No-no-no-no. I - I thought that too, but every night I've been all over the house and there's never been another light turned on. (WITH RELIEF) Oh, at last I can tell this to someone. Every night when my husband goes out--

CAMERON:

The gas light goes down?

PAULA:

Yes.

CAMERON:

And then what?

PAULA:

Well, then I think I hear things. I - I watch and wait, and later the gas goes up again--

CAMERON:

And he returns?

PAULA:

Yes, quite soon after. Always quite soon.

CAMERON:

Er, these things you hear. What things?

PAULA:

Sounds. Noises over my room, in the attic.

CAMERON:

What's up there?

PAULA:

A whole floor of trunks and furniture. Her belongings; my aunt's.

SOUND:

DURING ABOVE, THUMP

CAMERON:

Er, like that sound just then? Is that what you mean?

PAULA:

(ASTONISHED) Yes. Yes! But who--?

CAMERON:

Mrs. Anton? You know, don't you? (SOUND: THUMP) You know who's up there.

PAULA:

(IN DENIAL) No. No. How could he be? And why?

CAMERON:

Tell me, has he any weapons in the house?

PAULA:

He has a revolver.

CAMERON:

Oh? Where is it?

PAULA:

There. I think he keeps it in his desk there.

SOUND:

RATTLE OF LOCKED DESKTOP

CAMERON:

(TO HIMSELF) Locked. Force it open. This letter opener will do it.

SOUND:

LOCK JIMMIED OPEN BEHIND--

PAULA:

(ALARMED) No! No, no, no, you mustn't. Whoever you are, you have no right to-- He'll think that I-- He'll know. What should I say to him?

SOUND:

DESKTOP SLIDES OPEN

CAMERON:

You won't have to say anything. (BEAT) Well! A gun case without a gun. Perhaps it's--

PAULA:

(INTERRUPTS, DISMAYED) Oh. Ohhh.

CAMERON:

What's the matter?

PAULA:

(SLOWLY) There, in the drawer. The brooch he gave me. And the letter. I was right.

CAMERON:

Letter?

PAULA:

Here. It was from someone called Sergis Bauer.

CAMERON:

Bauer!

PAULA:

I found it, but my husband said I dreamed it, and now it's here.

CAMERON:

Bauer! There was a Sergis Bauer connected with Alice Alquist. A young pianist in Prague. Let me see that letter. (SOUND: LETTER HANDLED) The handwriting--? Yes! Yes-yes-yes. Now something else. Anything. Anything else he may have written. This - this note here. It's addressed to Lady Dalroy.

PAULA:

He said he had to send Lady Dalroy an apology.

CAMERON:

Look! The handwriting! It's identical, Mrs. Anton. Your husband and Sergis Bauer are one and the same.

PAULA:

He said there was no letter. He said I was going out of my mind!

CAMERON:

You're not going out of your mind. You're slowly and systematically being driven out of your mind.

PAULA:

But why? Why?!

CAMERON:

Perhaps because you found this letter and knew too much. Or because then he would have control of your property, of this house, and could search in the open instead of in the dark like this.

PAULA:

Search? For what?

CAMERON:

Well, the things for which Alice Alquist was murdered -- her jewels.

PAULA:

But I have her jewels.

CAMERON:

There are jewels you didn't know she had. Famous jewels. Jewels for which he was searching that night ten years ago.

PAULA:

(QUICKLY) No, you're wrong! I know him! He's my husband! I've lived in the same house with him! I-- (REALIZES, SLOWLY) If that were true, then from the beginning there would have been nothing-- Nothing real, from the beginning.

CAMERON:

I'm sorry, Mrs. Anton, but you must believe me. Your whole life depends on it. Don't you see the way everything is--? (STOPS SHORT, TENSE) The gas is brighter again. How long has it been up?

PAULA:

I - I don't know.

CAMERON:

You'd better go to your room, Mrs. Anton.

PAULA:

Why? Where are you going?

CAMERON:

Outside the house. He'll cross the roof of the empty house next door. (MOVING OFF) I - I'll be waiting for him.

PAULA:

(OFF) What will you do?

CAMERON:

(CALLS) You have nothing to worry about, Mrs. Anton. (LOW) Elizabeth?

ELIZABETH:

Yes, sir?

CAMERON:

Whatever happens tonight, Elizabeth, have her welfare in mind.

ELIZABETH:

You can count on me, sir. But what am I going to say to the master when he comes back?

CAMERON:

He won't come back any more, Elizabeth.

MUSIC:

SNEAKS IN DURING ABOVE EXCHANGE ... THEN UP FOR A BRISK BRIDGE

GREGORY: Paula?

PAULA:

(GASPS, UNEASY) Gregory--?

GREGORY:

What are you doing here, Paula?

PAULA:

I was lying down.

GREGORY:

In the drawing room? Why?

PAULA:

I don't know.

GREGORY:

(SNIDELY) You don't know. Do you know anything about anything you do?

PAULA:

You startled me. I - I didn't hear you come in the door.

GREGORY:

(POINTEDLY) I didn't come in the door. I came down the stairs. I've been in the attic, Paula.

PAULA:

The attic is boarded up. You couldn't have--

GREGORY:

(WITH QUIET TRIUMPH) It's no longer boarded up. I have found what I've been looking for. Did you ever see jewels like these, Paula? Did you?

PAULA:

(ASTONISHED, LOW) Jewels. Her jewels.

GREGORY:

Heh! Do you know what you remind me of as you walk across the room? Like a girl walking in her sleep. Only you're not asleep. You're awake. Fully awake. (SAVAGELY) Or you would not have broken open my desk!

PAULA:

I didn't open it.

GREGORY:

Why did you do it, Paula?!

PAULA:

I didn't. It was he. He opened it.

GREGORY:

He? What are you talking about?

PAULA:

A man. A man who came to see me.

GREGORY:

Who let him in?

PAULA:

Elizabeth.

GREGORY:

(CALLS, HARSHLY) Elizabeth! Come here! (BEAT) Elizabeth?

ELIZABETH:

(OFF) Did someone--? (SURPRISED) Mr. Anton?

GREGORY:

Come in here, Elizabeth! Who was the man who came here while I was out?

ELIZABETH:

A man? What man, sir?

GREGORY:

Come, come, Elizabeth. You must have answered the door.

ELIZABETH:

No one was here, sir. No one.

PAULA:

Elizabeth, you saw him! You opened the door yourself!

ELIZABETH:

No, ma'am. I didn't see anyone at all.

PAULA:

But he-- But he was here. I know it! I - I know I saw him.

GREGORY:

(SADLY) You see how it is, Elizabeth?

ELIZABETH:

(WISELY) Yes, sir. I see just how it is.

PAULA:

(DISORIENTED) I - I couldn't have dreamed it. I couldn't have! He-- Did I dream--? Did I really dream--? Dream--?

GREGORY:

(QUIETLY SYMPATHETIC) Yes, Paula. You dream all day long.

PAULA:

All that happened?

GREGORY:

All that did not happen.

PAULA:

(CONVINCED) Then it's true. My mind is going.

GREGORY:

Haven't I told you, Paula?

PAULA:

Then take me away now. I can't fight it any more.

GREGORY:

Yes, Paula. I will.

PAULA:

Take me away, take me away--

CAMERON:

(APPROACHES) And was I any part of this curious dream of yours, Mrs. Anton?

GREGORY:

(TENSELY) You--?!

CAMERON:

Perhaps my presence may help you recall your dream.

GREGORY:

Who the devil are you?

CAMERON:

Only a figment of your wife's imagination.

GREGORY:

How did you get into this house?

CAMERON:

Down the attic stairs, Mr. Anton; the same way you did. Mrs. Anton, don't you think you'd better go to your room? You must be very tired.

GREGORY:

Don't you think you'd better explain your business?

CAMERON:

As a mere ghost existing only in your wife's mind, I could hardly be said to have any business.

GREGORY:

Paula, go to your room.

PAULA:

No.

CAMERON:

(GENTLY) Please, Mrs. Anton.

PAULA:

(QUIETLY RESIGNED, MOVING OFF) All right, I'll go.

CAMERON:

(BEAT) Those jewels. I see you found them after all, Sergis Bauer.

GREGORY:

(BEAT, EVENLY) I'm afraid I don't know your name.

CAMERON:

Cameron. Shall I tell you my business address also?

GREGORY:

No, I think I can guess it.

CAMERON:

So we've both ended our search tonight. Where were the jewels?

GREGORY:

(ADMIRINGLY) Sewed in one of her costumes! The dress she wore in the opera "Theodora." How clever she was to conceal them there! Four priceless jewels among a lot of paste imitations!

CAMERON:

How does it feel, Bauer, to have planned and killed and tortured for something, then to find it's all been for nothing?

MUSIC:

SNEAKS IN ... IN AGREEMENT WITH FOLLOWING--

GREGORY:

For nothing? Oh, no, I don't think so. (WITH EFFORT) Not for nothing!

CAMERON:

Put down that gun!

SOUND:

LENGTHY VIOLENT SCUFFLE ... FURNITURE OVERTURNED ... ONE GUNSHOT!

MUSIC:

DURING ABOVE, MATCHES THE FIGHT, TYMPANI HITS A CLIMAX ... THEN TENSE, IN BG

PAULA:

Elizabeth?

ELIZABETH:

There was a shot, ma'am!

PAULA:

Yes!

ELIZABETH:

I heard a shot. Then he ran up the stairs, the master; he ran to the attic, ma'am. And the gentleman after him!

PAULA:

They're up there now! They're fighting!

ELIZABETH:

Oh, I've got to get help, ma'am. But who? (AN IDEA) Mr. Williams, the constable! Mr. Williams! I'll fetch him, ma'am. (MOVING OFF) Don't worry, I'll fetch him right away!

MUSIC:

UP FOR A BIG VIOLENT CLIMAX, THEN OUT

WILLIAMS:

You sure you're all right, Mr. Cameron, sir?

CAMERON:

I'll feel a little better as soon as I finish tying Mr. Bauer to this chair. (GRUNTS WITH EFFORT) There.

PAULA:

(APPROACHES) Gregory?

CAMERON:

Mrs. Anton--? You - you shouldn't've come up here.

PAULA:

I want to speak to my husband.

CAMERON:

Do you believe me now?

PAULA:

Please, I want to speak to him alone.

GREGORY:

(MATTER-OF-FACT) I assure you I'm quite helpless, Mr. Cameron.

PAULA:

Please.

CAMERON:

Come along, Williams. (MOVING OFF, TO PAULA) We'll be waiting on the stairs.

GREGORY:

(BEAT, LOW, URGENT) Paula, go and see if he's listening.

PAULA:

(BEAT, LOW) He's not listening.

GREGORY:

He told you a lot of things about me, didn't he?

PAULA:

Yes.

GREGORY:

They were lies! Because he's in love with you. I can feel it!

PAULA:

Can you? Can you really, Gregory? Or shall I call you Sergis?

GREGORY:

(SURPRISED, CHUCKLES) Oh. Oh, so he told you that, too? Well, have you never heard of an artist taking a stage name? They don't hang a man for that, do they?

PAULA:

No. They don't hang a man for that.

GREGORY:

(LOVINGLY) Paula--? Do you remember our first days together? Do you remember Italy? Lake Como?

PAULA:

There have been times when I thought I only dreamed those days.

GREGORY:

Come closer, Paula. Look into my eyes. Paula, if I ever meant anything to you -- and I believe I did -- then help me, Paula! Give me just another chance.

PAULA:

(WHISPERS) Gregory--

GREGORY:

(WHISPERS) Look -- in the drawer -- of that cupboard there. There's a knife. Get it, Paula, and cut me free!

PAULA:

(BEAT, OFF) Here?

GREGORY:

Yes! Yes! The first drawer!

SOUND:

DRAWER OPENS, OFF

PAULA:

(OFF) I'll find it, Gregory.

GREGORY:

Be quick, Paula! Hurry!

PAULA:

(OFF) But there is no knife here.

GREGORY:

Yes, yes, I - I put it there tonight.

SOUND:

KNIFE SCRAPES AS IT IS PULLED FROM DRAWER

GREGORY:

Yes! Yes! That's it! Now -- bring it here!

PAULA:

(APPROACHES) I have no knife, Gregory.

GREGORY:

(CONFUSED) What?

PAULA:

You must have dreamed you put it there.

GREGORY:

But you--

PAULA:

Are you suggesting this is a knife in my hand?

GREGORY:

But--

PAULA:

Have you gone mad, my husband?

GREGORY:

Paula--

SOUND:

KNIFE THROWN ON FLOOR

PAULA:

Or is it I who am mad? I'm always losing things; hiding things. Ohhhh, that was a knife, wasn't it? And I threw it on the floor. And I have lost it.

GREGORY:

(URGENTLY) Paula-- Paula, it is there. Pick it up!

PAULA:

I must look for it, mustn't I? (MOVING OFF AND ON, IN AGREEMENT WITH FOLLOWING--) If I-- If I don't find it, you'll put me in the madhouse. Now where could it be now? Behind this trunk? No, no. It isn't there. Perhaps over here. I'm trying to help you, aren't I? Trying to help you to escape. But how can a madwoman help her husband to escape?

GREGORY:

Paula, Paula, you're not mad. You're not.

PAULA:

I am! As my mother was mad.

GREGORY:

No-no-no-no-no, Paula, that wasn't true. Pick up the knife! Help me!

PAULA:

If I were not mad, I could have helped you. Whatever you had done I could have pitied you and protected you. But because I'm mad, I hate you. (SAVAGELY) Because I'm mad, I have betrayed you, and because I'm mad, I'm rejoicing in my heart -- without a shred of pity, without a shred of regret! (CALLS) Mr. Cameron, come! Take this man away!

CAMERON:

(BEAT, APPROACHES) You're ready, Bauer?

GREGORY:

(BEAT, RESIGNED) Quite ready.

CAMERON:

Untie his feet, Williams.

GREGORY:

I don't ask you to understand me, Paula. Between us all the time were the jewels, like a fire -- yes, a fire in my brain -- that separated us. Those jewels, which I longed for all my life. I - I don't know why.

ELIZABETH:

(OFF) The cab is coming, Mr. Cameron.

GREGORY:

Goodbye, Paula.

PAULA:

(WHISPERS) Goodbye, Gregory.

CAMERON:

I'll be down in a minute, Williams.

MUSIC:

SNEAKS IN TO FILL A PAUSE AS ALL EXIT SAVE CAMERON AND PAULA ... GENTLE RELIEF ... THEN IN BG

PAULA:

(SADLY) This will be a long night.

CAMERON:

(QUIETLY REASSURING) But it will end. In the morning when the sun rises, sometimes it's hard to believe there ever was a night. You-- You'll find that, too.

PAULA:

(SLOWLY) Yes, I - I shall try. I shall try.

MUSIC:

UP FOR A HOPEFUL CURTAIN

SOUND:

APPLAUSE

ANNOUNCER:

Before our stars return for their curtain calls, let's see what's happening in Mrs. Brown's kitchen. Six-year-old Dottie is having an early supper.

MRS. BROWN:

Stop dawdling, Dottie, and eat your dinner.

DOTTIE:

You're awfully pretty, mommy.

MRS. BROWN:

(CHUCKLES) Well, for goodness' sakes, what brought that up?

DOTTIE:

Oh, all the ladies at Grandma's this afternoon said you were pretty.

MRS. BROWN:

They did?

DOTTIE:

(YES) Uh-huh. When I passed the cookies, Mrs. Stevens said you had the sweetest face. And Mrs. Simpson said you had D-I-S-H-P-A-N hands.

MRS. BROWN:

(INSULTED) Oh, she did, did she?

DOTTIE:

That's what she said. And you know what I said? I said my mommy certainly has D-I-S-H-P-A-N hands -- even if they are red and scratchy sometimes.

MRS. BROWN:

(WRY) Out of the mouths of babes.

DOTTIE:

What's that mean, mommy?

MRS. BROWN:

It means-- Oh, never mind. (WITH CONTEMPT) "D-I-S-H--" Hmmph!

ANNOUNCER:

You could do something about those dishpan hands, Mrs. Brown, if you'd change to Lux for dishes. If you stop using that strong soap for dishes right now and change to Lux Flakes, even Dottie would notice that before long your hands were soft and smooth, the way they used to be. Scores of tests, carefully checked by scientists, prove that changing from strong soaps to Lux really makes red rough dishpan hands soft and smooth again. If you can't get Lux Flakes the first time you try, try again soon. More is on the way to your dealer. (BEAT) Here's your producer, William Keighley.

HOST:

As the era of "Gaslight" comes to a dramatic finish, our footlights blaze again and back come our two stars for their curtain calls -- Ingrid Bergman and Charles Boyer. After tonight's performance, Ingrid, I'm sure our audience understands even better why you won the Academy Award.

BERGMAN:

Thank you, Bill.

BOYER:

You know, Ingrid won another award just recently, Bill.

HOST:

What's that, Charles?

BOYER:

For the second consecutive year the foreign correspondents of Hollywood have voted her their favorite actress.

HOST:

Mmm. Well, Ingrid, I'm sure that all moviegoers are delighted that you and Charles are going to be starred in Enterprise Productions' first big picture, "The Arch of Triumph."

BERGMAN:

Well, I'm happy to be doing it, Bill. It gives me a chance to get even with Charles.

BOYER:

What do you mean "get even" with me?

BERGMAN:

Well, as the character of Gregory in "Gaslight," you did everything to make my life miserable.

HOST:

(CHUCKLES) And in your next picture?

BERGMAN:

Well, in the next, Charles is the kind and gentle one, and I make his life miserable. ...

HOST:

(LAUGHS)

BOYER:

(CHUCKLES) Well, it's worth it.

HOST:

Well, Charles, I'm sure that fundamentally you're a lover of humanity and, quite seriously, you've done wonderful work with your French Research Foundation in promoting friendship between America and France.

BOYER:

Well, that's always been a very special interest of mine, Bill. Tell us, what are you presenting on this stage next Monday night?

HOST:

Next week we're bringing our audience one of the most dramatic stories ever screened. It's International's current hit "Tomorrow Is Forever," starring Claudette Colbert and Van Heflin.

SOUND:

AUDIENCE REACTS FAVORABLY

HOST:

"Tomorrow Is Forever," a story of love and sacrifice in a drama throbbing with emotion and suspense.

BERGMAN:

That should make a great play for your audience, Bill. Good night.

BOYER:

Good night.

HOST:

Good night and thank you both for "Gaslight."

SOUND:

APPLAUSE

MUSIC:

THEME ... THEN IN BG

HOST:

Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Claudette Colbert and Van Heflin in "Tomorrow Is Forever," with Richard Long and Natalie Wood. This is William Keighley saying goodnight to you from Hollywood.

SOUND:

APPLAUSE

ANNOUNCER:

Shortages of fats and oils, especially those needed for fine soaps, are greater than at any time during the war. Many people expected shortages to disappear overnight, so instead of continuing to save used fats and oils they threw them away. How about you? Are you still saving used fat? Until the millions of housewives in the United States realize the urgent need for used fats your favorite soap products will be short. Industry must have these used fats before releasing the finer oils for soap making. Remember, your dealer will give you four cents for every pound you turn in.

Charles Boyer will next be seen in the Ernst Lubitsch-20th Century Fox production "Cluny Brown."

In a report to the motion picture industry released last week General George C. Marshall acknowledges the industry's contribution to victory and peace as follows -- "The generosity of the motion picture industry, collectively and of the individuals comprising it, made possible the entertainment of our soldiers under very trying conditions."

Patrick Hamilton's play "Gas Light" had a successful Broadway run under the title "Angel Street," produced and directed by Shepard Traube. Our music was directed by Louis Silvers, and this is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear "Tomorrow Is Forever," starring Claudette Colbert and Van Heflin, with Richard Long and Natalie Wood.

SOUND & MUSIC:

APPLAUSE AND THEME FADE OUT FOR COMMERCIAL--

MUSIC:

CHIMES

SPRY ANNCR:

The Spry treat of the week!

MUSIC:

CHIMES

SPRY ANNCR:

Spry chicken pie! Tender savory chicken in smooth Spry cream sauce with golden corn biscuit topping. Avoid wasteful failures. For light delicate hot breads, luscious cakes, tender flaky pastry -- try the dependable Spry way. Use Spry with cake improver. Improves all baking, all frying. Rely on Spry.

CBS ANNCR:

Be sure to listen in next Monday night to the Lux Radio Theatre presentation of "Tomorrow Is Forever," starring Claudette Colbert and Van Heflin, with Richard Long and Natalie Woods. 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.