ANNOUNCER:

Lux presents Hollywood!

MUSIC:

LUX THEME ... THEN IN BG

ANNOUNCER:

The Lux Radio Theatre brings you Charles Boyer and Hedy Lamarr in "Algiers." Ladies and gentlemen, your producer, Mr. Cecil B. DeMille!

MUSIC:

THEME ... UP AND OUT

SOUND:

APPLAUSE

HOST:

Greetings from Hollywood, ladies and gentlemen. On the south shore of the Mediterranean sprawls the old strange city of Algiers, gateway to Africa and crossroads of the world. For a thousand years it's been the home port of drama and adventure, a haven for hunted men, with mystery in every winding street, and danger in every doorway. I can't think of a more intriguing locale for a play with Charles Boyer and Hedy Lamarr.

A French detective named Ashelbé picked this setting when he turned his man-hunting mind to the printed page. He called his story "Pépé le Moko." That was the title of the French motion picture, too, but Walter Wanger called his American version "Algiers" and gave the part of Pepe le Moko to Charles Boyer who revives it for us tonight, with Hedy Lamarr playing her original role of Gabrielle -- and it's her first appearance at any microphone. We've never received more requests for a play than this one, and lately, with the picture "Pépé le Moko" being generally released in this country, and "Algiers" playing many cities all over again, you've requested it under both names. "Algiers" is the drama of a man doomed to spend the rest of his days in a relentless battle against the law. Danger was his breath of life, and love the kiss of death. No man alive could call Pepe le Moko afraid.

I think the best way to tell you how we feel about tonight's cast and play is to quote two young girls whom I found in front of the theater marquee today. One said to the other, "Look! Lux has Charles Boyer and Hedy Lamarr tonight!" "Oh, boy! Is that going to be a swell show!" I hope they'll forgive my eavesdropping and accept my gratitude, because they put the whole idea of this theater in a few words. It is Lux Flakes that makes a production like this, with stars like these, possible -- and your support of both our theater and product keeps things humming on this side of the footlights. You took our word for it that Lux Flakes was worth a fair trial, and we have your word for it that it came through with flying colors.

From coast to coast now, the house lights go down and the curtain goes up on "Algiers," starring Charles Boyer as Pepe le Moko, Hedy Lamarr as Gaby, and Alan Napier as Inspector Slimane.

MUSIC:

GONG! ... THEN AN EASTERN INTRODUCTION ... THEN BEHIND HOST--

HOST:

Algiers -- where the blazing desert meets the blue Mediterranean, and modern Europe jostles ancient Africa. A stone's throw from the modern city, the native quarter, known as the Casbah, stands like a fortress above the sea. Here mingle the people of many tribes and races, drifters and outcasts from all parts of the world, and criminals seeking refuge from the law. Supreme on these heights rules one man -- Pepe le Moko -- long wanted by the police. Far below the Casbah at police headquarters, the new commissioner demands his capture.

JANVIER:

(AGITATED) I'm not interested in hearing excuses about local conditions, Inspector! Here's a criminal whose exploits have made him notorious throughout Europe, and for two years he's been living here in Algiers within a stone's throw of your headquarters!

SLIMANE:

(QUIETLY AMUSED, ALMOST LANGUID) As you say, Commissioner.

JANVIER:

I'm here to settle this! And I want it done quickly!

SLIMANE:

Commissioner, you have only just arrived in Algiers. You are not familiar with the Casbah.

JANVIER:

Casbah? What's that? Some kind of nut?

SLIMANE:

A very hard nut to crack. You see, Pepe le Moko lives in the Casbah.

JANVIER:

Well, why not go in and take him out of it?!

SLIMANE:

You cannot arrest a king in his own palace. And Pepe is well guarded. Let me show you this map, Commissioner.

SOUND:

MAP UNFOLDED

MUSIC:

SNEAKS IN GENTLY ... EASTERN THEME, TO EVOKE THE CASBAH, IN BG

JANVIER:

(WITH DISGUST) Ah, this is fantastic!

SLIMANE:

(AMUSED) As a civilized man, you do not like fantasy?

JANVIER:

As a police officer, I don't believe in it!

SLIMANE:

Yet here it exists. Now, this is the native quarter known as the Casbah. As you look at it here, it is just a few lines on the map. But the reality is something stranger than anything you could have dreamed. It is only a step from the modern city to the Casbah, but when you take that step, you enter another world -- a melting pot for all the sins of Earth -- a jungle of houses, a labyrinth of narrow passages and winding alleys, rotten with vermin and decay and the filth of centuries. No one knows what mysteries are hidden behind those walls. No one knows what crimes and hopes are buried in those secret courtyards.

Forty thousand inhabitants from all over the world live there -- Kabyles, in their white robes; Chinese, faithful to Confucius; Gypsies, with their fortune telling and their songs; Negroes, from every corner of Africa. And women. Ho! Women of every age and color. Women caught in the net of the Casbah.

Everywhere there are terraces, all connected together, so that those who are accepted can move to any part of the Casbah without even using the street. It is like a fortress rising from the sea -- colorful, sordid, dangerous. There is not just one Casbah; there are a hundred; a thousand! And in that labyrinth Pepe le Moko is at home. And he is safe -- as long as he stays there.

MUSIC:

GENTLY OUT

JANVIER:

Well, how--? How does this Pepe le Moko conceal himself? Disguise, no doubt.

SLIMANE:

You do not know Pepe, Commissioner. He'd laugh at disguise.

JANVIER:

Then why don't you find him, Inspector?!

SLIMANE:

Ah, that is singularly easy. I see him every day.

JANVIER:

You see him?!

SLIMANE:

But of course.

JANVIER:

Then why, Inspector Slimane, has there been no effort to make an arrest?

SLIMANE:

To arrest him in the Casbah would be simple. To get him out -- impossible.

JANVIER:

So you do nothing?

SLIMANE:

I flatter myself that I do a great deal, in my humble way. I learn about Pepe. I know his habits. I study his weaknesses. When one cannot use guns, one must work with brains.

JANVIER:

(WITH GUSTO) I prefer guns! Inspector, we're going into the Casbah tonight! I'll need twelve men, fully armed and ready for work. And you might prepare a special cell for Pepe le Moko!

SLIMANE:

(HIGHLY AMUSED) As you wish, monsieur. (CHUCKLES)

MUSIC:

ACCENT ... THEN AN EASTERN BRIDGE ... THEN IN BG

SOUND:

CASBAH CROWD ... CHATTER AND LAUGHTER ... THEN IN BG

1ST VOICE:

(URGENT, MOVING ON AND OFF) Police! The police are coming! Police! Police!

SOUND:

CASBAH CROWD FILLS A PAUSE ... CONTINUES IN BG

JANVIER:

(IMPATIENT) Question these men! Find out where he is!

SLIMANE:

You there! Where is Pepe le Moko?

2ND VOICE:

(PLEADS IGNORANCE, IN ARABIC) Moi, I don't know him, I don't know him.

JANVIER:

What's he say, Inspector?

SLIMANE:

He does not know him. (AN ORDER) Sergeant, I see Regis over there. Bring him to me.

JANVIER:

(SKEPTICAL) Who's this Regis?

SLIMANE:

Oh, a very old friend of ours -- an informer.

REGIS:

(APPROACHES, PROTESTS LOUDLY) No! Let me go! I don't know anything! I haven't done anything!

SLIMANE:

Come here, my friend.

REGIS:

Let me go!

SLIMANE:

Where is Pepe le Moko?

REGIS:

I don't know! By the sword of the Great Prophet, I haven't set eyes on him for two weeks! For two weeks I haven't seen his face!

SLIMANE:

(LOW) Where is he, Regis? Where is Pepe?

REGIS:

(LOW) At Grandpere's. (LOUD) I don't know anything! I haven't seen him!

SLIMANE:

(UP) Let him go, sergeant!

REGIS:

(LOUD, MOVING OFF) Leave me alone! I don't know anything!

SOUND:

DURING ABOVE, CASBAH CROWD GENTLY FADES OUT

JANVIER:

What did he say?

SLIMANE:

He said that Pepe le Moko is at Grandpere's.

JANVIER:

Grandpere? Who's he?

SLIMANE:

A receiver of stolen goods.

JANVIER:

(INCREDULOUS) And you know where this place is?!

SLIMANE:

We know it.

JANVIER:

(EXPLODES) Then order your men to surround him at once!

SLIMANE:

(DRY) As you say, Commissioner.

MUSIC:

CONTINUES ... FILLS A PAUSE ... THEN FADES OUT

SOUND:

TRANSITIONAL PAUSE ... THEN SCENE FADES IN--

GRANDPERE:

Now - now, here, Pepe. Look at this pearl. A remarkable specimen. You know, you and I have the same feeling for beauty, Pepe.

PEPE:

(WARMLY) Yes, this pearl belongs on a very special kind of ear. Like a pink shell, with a little curl of gold hair. A special kind of gold. I can just see it.

CARLOS:

(IMPATIENT) Pepe, let's get down to business! We want to sell the stuff, not talk about it!

PEPE:

Be quiet, Carlos.

GRANDPERE:

Carlos is definitely uncouth.

PEPE:

Grandpere, you took the words out of my mouth.

CARLOS:

He's trying to cheat us, Pepe! All this talk is so he can get a better price! So he can make fools of us!

PEPE:

Yes, so easy to make a fool of me. Why don't you try it sometime?

CARLOS:

Well, I--

PEPE:

Grandpere's dealt with us for two years. We must have confidence in each other. That's the way to get along. Eh, Grandpere?

GRANDPERE:

That's the truth, Pepe.

PEPE:

You know, this was once my trade. I began life in a jewelry store.

GRANDPERE:

(DRY) And when you left -- heh! heh! -- you took the store with you.

PEPE:

(CHUCKLES) Yes! It became a habit. You know, I dream about settling down sometime -- away from the Casbah -- in a great city where people understand these things of beauty. I'd make a collection of jewels like this. Not just for myself; for people to see -- in glass cases. With Max here in a uniform to take care of them--

MAX:

(CHUCKLES) Okay!

PIERROT:

And me, Pepe?

PEPE:

You, Pierrot? You, my young friend -- you would have a uniform like a general and be in charge of everything.

PIERROT:

Oh, I'd like that -- if you were there, too. I want to stick with you, Pepe!

PEPE:

(WARMLY) Ah, Pierrot! I have great hopes for you someday.

SOUND:

THREE EVEN KNOCKS AT DOOR

GRANDPERE:

The signal!

CARLOS:

Get that stuff off the table!

PEPE:

Leave it alone, Carlos.

SOUND:

THREE EVEN KNOCKS AT DOOR

PEPE:

(CALLS) Who is it?

INES:

(BEHIND DOOR, AGITATED) It's Ines! Quick!

PEPE:

Ines? Open the door.

SOUND:

DOOR UNLOCKS AND OPENS

PEPE:

Come in, Ines.

INES:

Pepe, the police! They're coming!

GRANDPERE:

(WORRIED) Police!

SOUND:

DOOR SHUTS AND LOCKS

PEPE:

(A SHARP ORDER) Pierrot! Look out the window. (KINDLY, TO INES) How do you know it's the police?

INES:

I saw them! They're coming across the terrace -- down in the street -- everywhere! They're surrounding the house!

PEPE:

(MUSES CALMLY) That's funny. How did they know I was here?

PIERROT:

Here they come, Pepe!

SOUND:

TWO NEARBY GUNSHOTS! ... FIRED BY PIERROT AT POLICE

PEPE:

(SHARPLY) Pierrot, give me that gun! (BEAT, MORE SORROW THAN ANGER) When will you learn to obey orders?

PIERROT:

Pepe, I only thought that--

SOUND:

DISTANT GUNSHOT! WITH NEARBY RICOCHET! ... AS POLICE FIRE BACK

PEPE:

(FATHERLY) There, you see? That was too close. Don't take so many chances, Pierrot. I don't want a bullet to come between us -- the way that one almost did.

SOUND:

INSISTENT KNOCKING AT DOWNSTAIRS DOOR, FAR OFF

INES:

Pepe, there's the door downstairs!

GRANDPERE:

(MORE ANNOYED THAN SCARED) Now they'll break it again. Oh, every few weeks I have to get new doors. Er, you'd better go, Pepe. Go on, quick. 'Cross the roof.

SOUND:

ANOTHER DOOR OPENS

PEPE:

Ines! You come with me. I want to speak to you. The rest of you, out the back way. I'll see you later. This way, Ines.

SOUND:

DOOR SHUTS ... PEPE AND INES' QUICK FOOTSTEPS ACROSS ROOFTOPS ... FILLS A PAUSE ... THEN STEPS CONTINUE DOWN TERRACE TO STREET, IN BG

PEPE:

(KINDLY) Ines?

INES:

Hm?

PEPE:

Did you tell anyone where I was?

INES:

No one, Pepe.

PEPE:

You're sure? Try to remember.

INES:

Why don't you believe me, Pepe? All I want is to please you. I could not lie to you.

PEPE:

Couldn't you? What about all that time you kept telling me that you didn't like me?

INES:

But this is serious!

PEPE:

Ahhhh! So -- love is not serious?

INES:

Pepe, it's serious if someone told the police. I didn't talk to anyone. I stayed at home until Regis came.

SOUND:

FOOTSTEPS OUT WITH--

PEPE:

Who came?

INES:

Regis.

PEPE:

(REALIZES) Ohhhh, Regis. (DRY) My old and trusted friend.

INES:

As soon as he told me, I ran to you.

PEPE:

What did Regis tell you?

INES:

About the police. He wanted me to warn you.

PEPE:

Well, that was nice of him, wasn't it?

INES:

That's what I thought.

PEPE:

(CHUCKLES) Yes. Is that all you thought?

INES:

Was there anything else for me to think?

PEPE:

(CHUCKLES) That's what I like about you, Ines. You're such a child.

INES:

I - I - I don't understand you, Pepe.

PEPE:

Never mind. Here! Hold out your hand! I have something very beautiful. See?

INES:

(THRILLED) Oh! A ring! Oh, Pepe!

PEPE:

No, no, no. Don't grab. It's unlucky.

INES:

You want to give it to me, Pepe?

PEPE:

(VERY DRY) No, it's for some fat old woman.

INES:

Oh, let me have it, Pepe. Sometime I'll get fat.

PEPE:

(LAUGHS) But you would lose it before that.

INES:

Oh, no, no; I'll keep it for a charm.

PEPE:

Then you must keep your fingers crossed.

INES:

All right.

PEPE:

(PUTTING RING ON HER FINGER) So. There. See?

INES:

(PLEASED) Ohhhhh! This ring will mean that I'm always yours, Pepe. With my fingers crossed.

SOUND:

DISTANT GUNSHOT! WITH NEARBY RICOCHET! ... AS POLICE FIRE

INES:

Pepe! They've seen you!

JANVIER:

(OFF) There he is!

PEPE:

Keep down, Ines.

SOUND:

DISTANT GUNSHOT! ... MORE GUNSHOTS IN BG

INES:

Pepe, run! They'll catch you!

PEPE:

Now, don't worry. You get back to Grandpere's. (MOVING OFF) I'll meet you in the morning.

INES:

(CALLS AFTER HIM) Pepe, be careful! Be careful!

SOUND:

MORE GUNSHOTS ... COMING CLOSER ... POLICE APPROACH, YELLING AND CHATTERING ... POLICE AND GUNSHOTS CONTINUE IN BG

JANVIER:

There he goes! Across the roof! After him!

SLIMANE:

It's useless, monsieur.

JANVIER:

Keep firing! Don't let him out of your sight!

GABY:

(NERVOUS) Monsieur, will you help me, please?

SLIMANE:

Madame, get off the street!

GABY:

I'm afraid I don't know which way to go.

SLIMANE:

In this doorway here, quickly!

SOUND:

DOOR OPENS ... SLIMANE AND GABY'S STEPS IN ... DOOR SHUTS, SLIGHTLY MUFFLING THE GUNSHOTS, WHICH EVENTUALLY FADE OUT DURING THE FOLLOWING--

GABY:

(RELIEVED) Thank you, monsieur.

SLIMANE:

Not at all. But might I suggest that the Casbah is not a safe place to visit in the evening -- particularly when one is wearing jewels such as yours.

GABY:

But you see, I - I wasn't alone. I came with some friends and we became separated when those men began to shoot.

AICHA:

Good evening. Make yourself comfortable, please. Something to drink?

GABY:

No, thank you.

SLIMANE:

Evening, Aicha. We will just wait in here for a moment, if you do not mind.

AICHA:

Make yourself comfortable, monsieur.

GABY:

What is this all about? What's happening out there?

AICHA:

Oh, it's nothing, madame. You know how the police are. They like to keep everything in an uproar.

SLIMANE:

A very profound observation. You see, madame, they are after a certain Pepe le Moko, a jewel thief. They have been trying to catch him for two years.

GABY:

Two years? (CHUCKLES) The police must be rather stupid.

SLIMANE:

As one of them, I consider that a triumph of understatement.

GABY:

You are one of them?

SLIMANE:

I have that doubtful honor. Inspector Slimane is my name.

GABY:

And this Pepe le Moko -- how does he manage to keep out of your way so successfully?

SLIMANE:

Oh, he is clever. A good head.

AICHA:

It's not his head that saves him; it's his heart. A man with such a good heart could get around anyone.

GABY:

Hmm. He sounds very intriguing, your Pepe le Moko.

SLIMANE:

That is a matter of taste, madame.

SOUND:

DOOR OPENS ... STEPS IN

PEPE:

Good evening, Aicha.

AICHA:

(A WARNING) Pepe, don't come in here!

SOUND:

DOOR CLOSES

PEPE:

(FRIENDLY) Well! Well, Inspector Slimane!

SLIMANE:

(THE SAME) And how are you, Pepe?

GABY:

(SURPRISED) Pepe? Then this is--?

SLIMANE:

Pepe le Moko. We were just talking of you, my friend.

PEPE:

(TO GABY) Good evening, mademoiselle.

GABY:

Good evening. (GASPS) Why, your arm is bleeding! You're hurt!

PEPE:

Oh, it's nothing. A flea bite. One of the inspector's bullets scratched me. Well, this is a very pleasant surprise, mademoiselle. I often see the inspector, but never in such charming company.

SLIMANE:

(LIGHTLY) Are you looking at the lady's, er, jewels, Pepe?

PEPE:

(SERIOUS) No. I'm looking at the lady, Inspector. (TO GABY) You've never been to the Casbah before, mademoiselle, have you?

GABY:

(SURPRISED) No. I - I'm just passing through Algiers with my friends.

PEPE:

Oh, you will come again. There is something about the Casbah. Once you've been here, you can't stay away.

GABY:

Really? Perhaps you are right.

PEPE:

Well, Inspector, why aren't you out chasing the fox?

SLIMANE:

Oh, it's such a silly business. I prefer to use my brains.

PEPE:

You know, your friends did a little better than usual tonight. At least they found me. That's pretty good for them.

SLIMANE:

Shall we say "a step in the right direction"?

PEPE:

(CHUCKLES) Excuse us, mademoiselle, if we talk shop. Er, cigarette?

GABY:

Please.

SOUND:

MATCH STRUCK

PEPE:

They thought I was at Grandpere's. Poor old man, he has no luck. They won't even let him sleep in peace. Sometimes I feel sorry for them. They'll never get me by these techniques, Slimane.

SLIMANE:

I know, I know. I have tried to point that out to them.

PEPE:

Well, for once we agree, the inspector and I.

SLIMANE:

You know, Pepe -- in the end, I am the one who will get you.

PEPE:

Really? (CHUCKLES) I can hardly wait for the day.

SLIMANE:

And not only you, but the others, too.

PEPE:

(CHUCKLES)

SLIMANE:

Pierrot, Carlos, Grandpere -- all of you.

PEPE:

(TO GABY) He is funny, my friend Slimane. He looks normal, doesn't he, mademoiselle? But he has delusions of grandeur. He thinks he can arrest me.

SLIMANE:

And that's exactly what I'm going to do.

PEPE:

Sure, sure. You know what I like about you, Inspector?

SLIMANE:

I'm humbly waiting for you to tell me.

PEPE:

Your face!

SLIMANE:

Hm?

PEPE:

It is a perfect face for your job. To look that false is almost the equivalent of being honest.

SLIMANE:

(AMUSED) Oh, I am honored that my appearance pleases you.

PEPE:

Don't mention it. Well, I'm afraid I have to go. Business. You know. (MOVING OFF) Good night, mademoiselle.

GABY:

Good night.

AICHA:

(OFF) Good luck, Pepe.

SOUND:

DOOR OPENS AND SHUTS AS PEPE EXITS

SLIMANE:

It is a shame, isn't it?

GABY:

What?

SLIMANE:

A waste of talent. An unusual intelligence. One hates to see him buried so young.

GABY:

Buried?

SLIMANE:

[Well, as good as buried, and very soon.] It is the same thing.

GABY:

What makes you so sure?

SLIMANE:

(POINTEDLY) I have marked the date of his arrest on the wall of my room -- high up, where it reads black in the rays of the setting sun. (CASUAL) Shall we go?

MUSIC:

BRIDGE

SOUND:

OFFICE DOOR CLOSES

JANVIER:

Ah, sit down, Inspector. I sent for Regis here. He has a very clever plan.

SLIMANE:

(SKEPTICAL SURPRISE) Oh? Regis has a plan? And what is it, Regis?

REGIS:

Well, Inspector, we've all learned that there's only one way to arrest Pepe, and that's to get him out of the Casbah.

SLIMANE:

Huh. That is very intelligent of you, Regis. Shall we send him an engraved invitation?

REGIS:

(CHUCKLES) Oh, Pepe's too clever to fall into a trap, but some of his friends are not so clever.

JANVIER:

(IMPATIENT) Er, get to the point.

REGIS:

Well, suppose Pierrot comes down into town, eh? Pepe will be worried by his absence and he'll come down into town to find him.

SLIMANE:

You have overlooked just one little point. How do you get Pierrot to come down?

REGIS:

Ah, that's my plan. A magnificent plan. You see, Pierrot has a mother [in town] -- very old. Now, if she should be sick and send a letter to Pierrot, why, what could he do but leave the Casbah and come down here to town? He's a bad boy, Pierrot, but -- (CHUCKLES) -- a good son. When he comes, we keep the arrest a secret. And soon Pepe comes down to look for him. And when Pepe comes out of the Casbah, we have him! Huh? Are we agreed?

JANVIER:

Ah, agreed. Er, but how do we know we can trust you not to make a better bargain with Pepe?

REGIS:

(A LITTLE WOUNDED) Oh, I-- I'm an informer, not a hypocrite.

SLIMANE:

(LIGHT LAUGHTER)

REGIS:

What are you laughing at, Inspector?

SLIMANE:

It amuses me to see you sell your friends at bargain prices. You have a flair for business, Regis.

MUSIC:

VERY BRIEF ACCENT/TRANSITION ... THEN AN EASTERN THEME FOR ATMOSPHERE, IN BG

SOUND:

CASBAH CROWD, THEN IN BG

AICHA:

Good morning, Pepe.

PEPE:

Morning, Aicha.

WOMAN:

Good morning, Pepe.

PEPE:

Hello, pretty. [?]

SLIMANE:

Pepe, women will be the death of you yet.

PEPE:

It's a happy death, Inspector. Good morning. Coming my way?

SLIMANE:

With pleasure.

PEPE:

Well, did you get [the lady] home safely last night?

SLIMANE:

Why not?

PEPE:

Nothing unpleasant, eh?

SLIMANE:

Yes, we had one rather unpleasant experience.

PEPE:

Yes?

SLIMANE:

With you.

PEPE:

(LAUGHS) She didn't think so.

SLIMANE:

What makes you so sure?

PEPE:

What did she say?

SLIMANE:

Say? Oh, you know women. They talk about nothing; I hardly listen. Was there anything special about her?

PEPE:

Yes! Pearls! The color I like! Handcuffs I can appreciate. Platinum and diamonds. And she didn't buy that perfume in Algiers.

SLIMANE:

What about the eyes?

PEPE:

Huh? Well, uh-- (SHRUGS) They all have eyes. (WARMLY) But all that silk and jingle -- you don't see much of that in the Casbah.

SLIMANE:

But you do where she comes from, eh? She asked quite a few questions about you.

PEPE:

(PLEASED, EAGER) Oh, she did? What did you tell her?

SLIMANE:

(WITH A SHRUG) Oh, what could I tell her?

PEPE:

Why? Do you think she might be afraid of my past?

SLIMANE:

No, but she might be a little appalled at your future. I told her you might get off with twenty years--

PEPE:

(IRONIC GROAN)

SLIMANE:

--with a good lawyer.

PEPE:

(LIGHTLY) You wouldn't want me to get twenty years. You're too fond of me. What's her name?

SLIMANE:

So. You are thinking about her.

PEPE:

Now, how could I be thinking about her when I don't even know her name?

SLIMANE:

Her name is Gabrielle. She's stopping with friends at the Hotel Madeleine. (POINTEDLY DRY) You can see her there anytime, Pepe.

PEPE:

(CHUCKLES) I see. Thank you, Inspector. (MOVING OFF) I'll wait for her to come back to the Casbah.

SOUND & MUSIC:

CASBAH CROWD AND EASTERN THEME ... UP TO FILL A LENGTHY PAUSE ... THEN FADES OUT

SOUND:

TRANSITIONAL PAUSE ... THEN SCENE FADES IN

MARIE:

Gaby? Are you dressed yet, Gaby? Andre just phoned; he's waiting on the terrace.

GABY:

(SARDONIC) Andre phoned. If I'm out of his sight for five minutes, Andre phones.

MARIE:

Well, don't you like having him so attentive?

GABY:

(DRY) I love it. I've just been sitting here thinking that I'm the happiest girl in the world.

MARIE:

Well, you should be -- marrying a man who adores you and can give you everything in the world you ever dreamed about.

GABY:

That's my trouble. I'm such a fool. I go dreaming about the wrong things.

MARIE:

(LIGHTLY) That's a terrible mistake.

GABY:

Marie, remember the time in the Bon-Ton Bargain Basement? The two of us behind the counter -- handkerchiefs, gloves, hosiery?

MARIE:

Yes! And don't you forget it.

GABY:

I won't.

MARIE:

After all, you don't marry for fun. I didn't. Oh, come on, Gaby. Inspector Slimane is there, too.

GABY:

Inspector Slimane?

MARIE:

Well, didn't you tell me you invited him?

GABY:

Oh, of course. I had forgotten. I'm ready, Marie.

SOUND:

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

ANDRE:

Ah, there you are, Gaby. Sit down, dear.

GABY:

Good morning, Andre. Good morning, Inspector. I see you've already met my fiancé.

SLIMANE:

I took the liberty of presenting myself. As you see, I could not wait to take advantage of your invitation last night.

GABY:

(CHUCKLES) I'm glad.

ANDRE:

Yes, we're all glad.

GABY:

Inspector, will you tell my fiancé where I was last night during the shooting?

SLIMANE:

You were with me.

GABY:

There. You see, Andre?

ANDRE:

I never doubted you, Gaby.

GABY:

And whom did we meet, Inspector?

SLIMANE:

We met Pepe le Moko.

ANDRE:

(DISAPPROVING) Pepe le Moko. Nice friends you have.

SLIMANE:

(WITH A SHRUG) In business, one cannot choose.

GABY:

Inspector, have you seen him since?

SLIMANE:

Yes, mademoiselle. [This morning; very early.]

GABY:

Uh, did he say anything about me?

SLIMANE:

Well, in a way, yes.

GABY:

Oh, I know. My pearls. [Did he admire them?]

SLIMANE:

(DIPLOMATIC) A connoisseur can admire pearls without neglecting the wearer.

MARIE:

Oh, he means if he stole your pearls, he'd steal you with them! Oh, he sounds marvelous to me. I'd like to meet him!

SLIMANE:

It can easily be arranged, if you wish to visit the Casbah again with a suitable guide--

ANDRE:

(INTERRUPTS) I hardly think it necessary--

GABY:

(INTERRUPTS) Of course! We'd love to go. Tonight, Inspector, if it's convenient.

SLIMANE:

I am at your service, mademoiselle.

MUSIC:

BRIDGE ... HEAVY EASTERN FLAVOR ... THEN THE SAME IN BG

INES:

(OFF, CALLS) Pepe? Where are you?! Pepe!

PEPE:

(PREOCCUPIED) Hm?

INES:

(OFF, SEES PEPE) Oh! (APPROACHES) I've been looking all over for you. What are you doing up here on the roof?

PEPE:

(LISTLESS) Nothing.

INES:

What are you looking at like that?

PEPE:

Oh, looking out across the harbor.

INES:

What's there, Pepe? What do you see?

PEPE:

Home.

INES:

Oh, you can't see your home from here.

PEPE:

There is no harm in trying.

INES:

Pepe, what are you looking at?

PEPE:

Down there in the bay. That ship.

INES:

Doesn't it make you seasick to look at boats?

PEPE:

Doesn't it give you a headache to ask so many questions?

INES:

No. Have you got a headache?

PEPE:

No, no. I'm thinking.

INES:

Oh, that's sure to give you a headache.

PEPE:

I don't think with my head. I think with my heart.

INES:

Then you better tell me what you're thinking.

PEPE:

It's nothing.

INES:

If it's nothing, you better tell me.

PEPE:

(ANNOYED) Oh, Ines, I'll get mad if you go on like this!

INES:

I want you to get mad. Shout at me and hurt me, but don't treat me as if I'm not here!

PEPE:

Oh, I know you're here.

INES:

No, you don't! You're dreaming about something with your eyes wide open. Oh, Pepe, I wish you'd dream about me.

PEPE:

Look, you always lived in the Casbah. For you, there is nothing outside.

INES:

The Casbah's big enough.

PEPE:

Not for me. It's like being in a grave.

INES:

Pepe!

PEPE:

Can't stand much more of it.

INES:

If you want to go away, I'll go with you. Pepe, take me with you. We could be happy together.

PEPE:

(SCOFFS)

INES:

(REALIZES) Oh. (UPSET) You think I would look funny in your big city! I'm not good enough for you there!

PEPE:

Oh, Ines, it isn't you. It's the Casbah. You belong here. You don't understand the way I feel. I've stood it for two years. Time comes when you can't stand it any more. Morning, noon, and night. Same things, same people. I'm fed up. I've had enough.

INES:

You're tired of me!

PEPE:

It has nothing to do with you. I just want to get away.

INES:

Do you know when you're going away? Never!

PEPE:

You'll see.

INES:

(HYSTERICAL) You can't do it! I am the Casbah! I'll keep you! Just try to get away and you'll find out! Haha, it's funny for the police to come in and try to arrest you! You're in prison already! You're in the Casbah with a wall around you!

PEPE:

Stop it.

INES:

There's nothing else! You'll never have anything else!

PEPE:

Stop it.

INES:

And I'm glad! There's no world outside -- not for you -- ever!

PEPE:

Be quiet. Be quiet!

INES:

(BEAT, HER ANGER SPENT, QUIET AND SAD) Oh, Pepe. Pepe, I love you. I love you.

MUSIC:

UP TO FILL A PAUSE ... THEN FADES OUT

SOUND:

TRANSITIONAL PAUSE ... THEN FADE IN CASBAH CROWD ... CONTINUES IN BG

GABY:

Where are we going now, Inspector?

SLIMANE:

I thought perhaps a café or two, mademoiselle.

GABY:

Yes, that would be interesting.

SLIMANE:

I'm sorry your fiancé did not care to join us this evening.

GABY:

(CHUCKLES) The Casbah is a little too exciting for Andre.

SLIMANE:

Oh.

MUSIC:

LIGHT WESTERN DANCE TUNE ... FADES IN FROM NEARBY CAFE ... IN BG

SLIMANE:

This is Shanee's place, mademoiselle. We can sit right out here.

SOUND:

SCRAPE OF CHAIRS AS THEY SIT

PEPE:

(OFF) Good evening.

SLIMANE:

Ah, Pepe! Will you join us?

PEPE:

(CLOSER) Ah, with pleasure. Oh, good evening, mademoiselle.

GABY:

Good evening.

SLIMANE:

Oh, I wonder if you'd excuse me a moment. I want to buy some cigarettes.

GABY:

Of course, Inspector.

SLIMANE:

(MOVING OFF) I leave you in safe hands, mademoiselle. (CHUCKLES)

PEPE:

So. You wanted to take another look at this strange wild animal.

GABY:

Strange, but not so very wild.

PEPE:

How do you like my cage?

GABY:

I don't know -- yet.

PEPE:

You like Algiers?

GABY:

I don't like traveling. Makes me homesick.

PEPE:

Does it?

GABY:

If I can't see the same old streets when I open my eyes in the morning, I want to go right back to sleep.

PEPE:

Yes, so do I. And yet -- I have been in the Casbah for two years.

GABY:

You are homesick, too?

PEPE:

(YES) Uh huh. Very.

SOUND & MUSIC:

CROWD AND DANCE TUNE FADE OUT

CARLOS:

(HUSHED, FROM OFF) Pepe?

PEPE:

(TO GABY) Excuse me. (BEAT AS PEPE MOVES TO CARLOS, LOW) Well, Carlos?

CARLOS:

(LOW) Pepe, Pierrot's gone to the town.

PEPE:

What for?

CARLOS:

I don't know. It was something about a letter from his mother. Regis went with him.

PEPE:

(UNHAPPY) Regis? Let me know as soon as they get back.

CARLOS:

Sure. (SEES GABY, IMPRESSED) Say!

PEPE:

What?

CARLOS:

That girl you're with is all right, huh?

PEPE:

I'll tell her you said so.

CARLOS:

Take a look at those rocks she's wearing. If it was me, I'd get them first and do the fancy stuff afterwards.

PEPE:

Shut up. Get out of here.

CARLOS:

Okay. (MOVING OFF) Okay.

PEPE:

(BEAT AS PEPE RETURNS TO GABY) I'm sorry, mademoiselle.

GABY:

Was he talking about me?

PEPE:

Yes! Yes, he was worried about you.

GABY:

Why?

PEPE:

Well, that stuff you have on.

GABY:

Oh. That's very nice of him.

PEPE:

You're not worried yourself?

GABY:

No. Not while I'm with you.

PEPE:

Huh? (CHUCKLES) Right.

GABY:

[Well, should I be?]

MUSIC:

SNEAKS IN ... LIGHT ROMANTIC WESTERN DANCE TUNE .. CONTINUES IN BG

PEPE:

Oh, that bracelet is really something.

GABY:

Isn't it? And it hardly weighs anything at all. Here. (SOUND: LIGHT RATTLE OF JEWELRY) Feel it.

PEPE:

(MUSES) Oh, at least, er, twenty thousand francs, eh?

GABY:

Add a zero.

PEPE:

(WITH A CHUCKLE) Oh, but I mean -- what I would get for it.

GABY:

(AMUSED) Oh! (LAUGHS)

PEPE:

(LAUGHS) Here. Better put it on again.

GABY:

You put it on. Please.

PEPE:

Hm? Heh! All right. There. (BEAT) Want to dance?

GABY:

I'd love to.

MUSIC:

ROMANTIC WESTERN DANCE TUNE ... UP TO FILL A PAUSE AS THEY DANCE ... THEN IN BG

PEPE:

Your name is Gabrielle, isn't it?

GABY:

Yes. They call me Gaby.

PEPE:

Are you married?

GABY:

No.

PEPE:

Widow?

GABY:

(AMUSED) No.

PEPE:

Why not? Who are you with?

GABY:

My fiancé.

PEPE:

(DISAPPOINTED) Oh. What is he like?

GABY:

Jealous. Very jealous. (LAUGHS)

PEPE:

What are you laughing at?

GABY:

Oh, nothing.

PEPE:

Too bad.

GABY:

What's too bad?

PEPE:

Too bad I don't know you better.

GABY:

Why?

PEPE:

Because I would slap your face. See, when people laugh around me, I like to know why.

GABY:

I wasn't laughing at you. I was thinking of Andre's face if he could see me now -- dancing with Pepe le Moko.

PEPE:

Come with me.

GABY:

Where?

PEPE:

Hm? Outside, on the terrace.

GABY:

But, er, Inspector Slimane will be looking for me.

PEPE:

He said you were in safe hands. Come. Come outside.

GABY:

All right.

MUSIC:

LIGHT WESTERN DANCE TUNE CHANGES TO DARKER, BUT EVEN MORE ROMANTIC EASTERN THEME ... FOR TRANSITION ... THEN IN BG

GABY:

Is that the harbor down there?

PEPE:

(SADLY) Yes, the harbor. All the ships that leave Algiers. The ships that go home.

GABY:

Where is your home?

PEPE:

Any place in the world -- except the Casbah.

GABY:

I know what you mean. Any place where there are lights.

PEPE:

Yes. Lights and music. Lovely women laughing--

GABY:

Walking on the boulevard--

PEPE:

--in the spring.

GABY:

The smell of the first flowers in the city park.

PEPE:

Yes, the theaters -- the cafés -- the subway.

GABY:

(BEAT) Will you ever leave here?

PEPE:

No.

GABY:

Will you ever be happy here?

PEPE:

Perhaps. It all depends.

GABY:

I - I have to go now.

PEPE:

No, not yet.

GABY:

I must. My friends are waiting, but-- I'll come back.

PEPE:

When?

GABY:

Tomorrow.

PEPE:

How can I be sure?

GABY:

I never break a promise. Let me go.

PEPE:

Why should I?

GABY:

Because I asked you!

PEPE:

(SLOW) Say please.

GABY:

You're rude.

PEPE:

Am I? (BEAT, LOW) Tomorrow. I'll be expecting you -- here.

MUSIC:

GONG! ... THEN CURTAIN

SOUND:

APPLAUSE

ANNOUNCER:

Mr. DeMille will be back in just a moment to bring us Act II of "Algiers," with Charles Boyer and Hedy Lamarr. But first--

PUBLIC ADDRESS:

(FILTER) Flight Number Four, United Airlines mainliner sleeper plane leaving for Denver, Omaha, Chicago-- (FADES OUT)

ANNOUNCER:

Tonight we have as our guest Miss Frances Litaker, one of the lovely young stewardesses who fly for those huge mainliners. Chosen for poise, charm, expert training -- these girls have an exciting and glamorous job. And one that's very hard on stockings. So we're especially proud that so many of United Airlines' a hundred and ninety-four stewardesses use Lux Flakes for their stockings, both silk and nylon. Over eighty-one percent of the girls who have told us what care they give their stockings use Lux Flakes. Miss Litaker, what part of your job would you say was hardest on stockings?

LITAKER:

Why, I'd say making up the berths in the sleeper planes. We have to kneel right down on the floor to change the seats into lower berths.

ANNOUNCER:

Hmmm, stockings have to be elastic to take strain like that.

LITAKER:

Other things are hard on them, too, Mr. Ruick. Like serving meals.

ANNOUNCER:

You mean sandwiches and so on?

LITAKER:

No, indeed. I mean real hot meals. Things like broiled filet mignon and tomato juice; salad, dessert, and coffee.

ANNOUNCER:

Well, how can anything that sounds so good be hard on stockings?

LITAKER:

Well, we keep the hot dishes in a special compartment down near the floor of the plane, so every time we serve one, we have to stoop down. And we serve a million meals a year.

ANNOUNCER:

Yet you find time for the rest of your job, too?

LITAKER:

Oh, yes. Actually, we spend most of our time talking with passengers, answering questions.

ANNOUNCER:

What question are you asked most often, Miss Litaker?

LITAKER:

Most people want to know how high we are.

ANNOUNCER:

Well, I'd like to know, too.

LITAKER:

Our usual flying altitude on United is about a mile and a half to two miles high.

ANNOUNCER:

Whew! I guess that makes your recommendation just about the highest praise Lux Flakes has ever had.

LITAKER:

Lux deserves high praise, Mr. Ruick. I've found, and so have many of my friends, that it cuts down on runs and helps stockings to wear better.

ANNOUNCER:

Thank you, Miss Litaker. Everywhere you go New Quick Lux is the favorite stocking care. Every woman who stoops down to dust the furniture at home, or open a filing cabinet at the office, knows that stockings have to keep their elasticity if they're to stretch without breaking. New Quick Lux guards that precious elasticity. For better stocking wear and to cut down on stocking runs, wash your stockings after every wearing in gentle New Quick Lux. (BEAT) We pause now for station identification. This is the Columbia Broadcasting System.

MUSIC:

FILLS PAUSE FOR STATION IDENTIFICATION

HOST:

Act II of "Algiers," starring Charles Boyer as Pepe le Moko and Hedy Lamarr as Gaby, with Alan Napier as Inspector Slimane.

MUSIC:

GENTLE ROMANTIC EASTERN INTRODUCTION ... THEN IN BG

HOST:

Only a few seconds have passed. On the terrace above the Casbah, Pepe le Moko and Gaby stand looking deep into each others eyes. With a quick movement she tries to tear herself away, but his hand grips her arm.

GABY:

Please, I must go!

PEPE:

Remember your promise.

GABY:

I will. I told you. Tomorrow.

INES:

(CALLS, FROM OFF) Pepe!

GABY:

What's that?

SOUND:

MURMURING CROWD APPROACHES WITH INES ... THEN IN BG

INES:

(APPROACHES, AGITATED) Pepe! Pepe!

PEPE:

(ANNOYED) What do you want? Can't you see I'm with Madame?

INES:

It's Pierrot! He's come back from the town! He's been shot!

PEPE:

What are you saying?

INES:

They tried to arrest him. He's been shot.

PIERROT:

(APPROACHES, IN PAIN) Where is he? Take me to him.

PEPE:

(ALARMED) Pierrot!

PIERROT:

Where is he?

PEPE:

Who?

PIERROT:

Regis. He sent me there. Where is he?

PEPE:

(CALLS) Carlos! Help him here! Take him to Aicha's.

CARLOS:

[Lean on me, Pierrot.]

PIERROT:

(SADLY) They got me, Pepe. The police. I - I wouldn't listen to you.

PEPE:

Ines, go with Pierrot. (MOVING OFF) I'm going to find Regis.

CARLOS:

[(MOVING OFF) The back stair, Ines.

SOUND:

SOME OF CROWD MOVES OFF WITH CARLOS ... SOME OF CROWD MURMURS, IN BG

SLIMANE:

(APPROACHES, TO GABY) Mademoiselle!

GABY:

(A LITTLE SHAKEN) Y-yes, Inspector?

SLIMANE:

Oh, I - I have been waiting. Are you alone?

GABY:

Yes.

SLIMANE:

That Pepe is growing quite impolite. Has something happened?

GABY:

Well, there was a man who - who-- (THINKS BETTER OF IT; CAREFULLY) There was some business he had to attend to. (BEAT) Will you take me back, please, Inspector?]

MUSIC:

BRIDGE

REGIS:

(NERVOUS) [No, Pepe!] Let me go, Pepe. Let me go, please.

PEPE:

(KINDLY, SMOOTH) No, no, sit down. You were fond of Pierrot, weren't you, Regis?

REGIS: Oh, I was.

PEPE:

Eh?

REGIS:

(CATCHES HIMSELF) I - I am fond of him.

PEPE:

Where is he now?

REGIS:

I tell you, I don't know. Now, please, Pepe, let me go.

PEPE:

Oh, you don't want to leave before he gets back. You want to know why he's been detained, don't you?

REGIS:

I don't know anything about Pierrot. Pepe, you know me. You know I'm all right. Tell me you do. (INGRATIATING) Last night I was the one who came to warn you.

PEPE:

(DRY) Yes, you were the one.

SOUND:

DOOR OPENS

CARLOS:

(OFF) Pepe, we have Pierrot here.

REGIS:

Pierrot? (SHOCKED DOUBLE TAKE) Pierrot!

PIERROT:

(BREATHES HEAVILY, IN BG)

PEPE:

Bring him in.

CARLOS:

Put your arm around me, Pierrot.

PIERROT:

(SEETHING WITH PAIN AND ANGER) Where - is - he?

REGIS:

(PANICS) No, no, Pierrot! I'm your friend! No, don't shoot me! (BABBLES DESPERATELY IN BG)

PIERROT:

Carlos, hold my arm steady.

REGIS:

No, no, please don't! (WHIMPERS IN BG)

PIERROT:

(GROWING WEAK) Now, Regis. You sent me down there. And now-- Now you pay, you--! (DEATH GROAN)

SOUND:

PIERROT'S BODY SLUMPS TO FLOOR

CARLOS:

(HUSHED) Pierrot? Pierrot? He's dead. (UP, FURIOUS) He's dead! You killed him, Regis. [But I'll finish what he started.]

REGIS:

Oh, no, no, don't kill me, don't!

CARLOS:

Give me that gun!

REGIS:

(SHRIEKING) No, no, no! No, no, no!

SOUND:

THREE GUNSHOTS! ... REGIS' BODY SLUMPS TO FLOOR

MUSIC:

BRIEF TURBULENT TRANSITION

SOUND:

DOOR OPENS ... SLIMANE'S STEPS IN ... DOOR CLOSES BEHIND--

PEPE:

Well? (NO ANSWER) Well, Inspector?

SLIMANE:

(BEAT, SADLY SYMPATHETIC) It's finished, Pepe. I did everything for Pierrot that you would have done yourself. I was all alone at the cemetery. I followed the custom of your people -- a handful of earth on the body, and flowers to make him feel at home in such a strange place. It is hard not to be able to go down to say goodbye to your friend on his last journey.

PEPE:

(QUIET GRIEF) Pierrot. Pierrot is dead. There's no sense to it. I wasn't even there.

SLIMANE:

Oh, Pepe. I know how you feel. You are a prisoner in the Casbah. But a day will come when they will not be able to prevent your leaving. You will go out of the Casbah in spite of them all.

PEPE:

(DEFIANT) I'll get out whenever I wish!

SLIMANE:

And when you go, you will go quietly -- the way Pierrot went. Feet first. (BEAT) I am sorry for you, Pepe.

PEPE:

Tell me. How is she?

SLIMANE:

She?

PEPE:

You know. Gaby.

SLIMANE:

Oh. I - I'm afraid you will not see her again. Her last visit to the Casbah was a little too much for her. She got a bad impression of the Casbah. It's a pity.

MUSIC:

BRIDGE

SOUND:

PEPE'S FOOTSTEPS PACE THE ROOM ... THEN IN BG

INES:

(DISTRESSED) Pepe! Sit down. Please sit down. All day long you've walked back and forth, back and forth. Please, Pepe!

CARLOS:

Sure. Come on, Pepe. Sit down.

GRANDPERE:

Pepe, my son--

SOUND:

PEPE'S FOOTSTEPS STOP WITH--

PEPE:

(EXPLODES) Well?! Why are you all staring at me?! I'm sick of looking at you! Get out of here! Get out!

INES:

(FIERY) I know what it is. You're thinking of that girl, I know. But she's never coming back. She told me last night. And today I went to the terrace; she wasn't there. She'll never be there!

PEPE:

(QUIETLY) Never coming back, eh?

CARLOS:

(WITH DISGUST) I told you to get those jewels! You had 'em right in the palm of your hand!

PEPE:

(SAVAGELY) Stop it. Stop it!

GRANDPERE:

(CALM CONDESCENSION) Your friends have no tact, my dear Pepe. I know how it pains you to live among these cattle, but let me assure you--

PEPE:

(INTERRUPTS, EXPLODES) They can't keep me here! I'm free! Free to go! I'm sick of it! All of you. I'm sick of listening to you. And I'm sick of looking at you. I'll get out when I feel like it! And none of you can stop me!

GRANDPERE:

Pepe, listen to me. Now, don't go near the town.

PEPE:

I don't need your advice -- none of you! I'm free to do as I please. Free! Do you hear that?!

GRANDPERE:

You're walking into a trap! You know better!

PEPE:

They can't touch me!

MUSIC:

SNEAKS IN ... VERY GRIM ... THEN BUILDING IN BG

PEPE: (HYSTERICAL) I'm going down! Get out of my way! When I please, I said -- and when I please is now! (MOVING OFF) Get out of my way!

INES:

Pepe, come back! Pepe!

MUSIC:

UP FOR A GRIM ACCENT ... THEN TURBULENT BEHIND A FAST MONTAGE OF VOICES--

1ST MAN:

Pepe's leaving the Casbah!

1ST WOMAN:

He's leaving the Casbah!

PEPE:

Get out of my way!

2ND MAN:

Pepe le Moko is going out!

INES:

Pepe, come back!

2ND WOMAN:

He's going out!

1ST MAN:

Pepe's going out!

SOUND:

VOICES OVERLAP WITH EACH OTHER, BUILDING TO A CHAOTIC CLIMAX, IN BG ... "Pepe! Pepe's going out!" ET CETERA, THEN SUBSIDES TO A STEADY MURMUR BEHIND INES' NEXT LINE--

PEPE:

Out of my way! All of you! I'm going out! Do you hear?! I'm going out!

MUSIC:

FADES OUT BEHIND--

INES:

Pepe! Pepe, wait! Don't go! She's here, Pepe! I saw her! She's waiting for you.

PEPE:

(STUNNED) What? You told me she wouldn't come again.

INES:

(TEARFUL) I lied to you, Pepe. I lied. Forgive me.

PEPE:

(BEAT, QUIETLY) Where is she?

MUSIC:

GENTLE, LOVING BRIDGE ... THEN IN BG

GABY:

Pepe? You're so quiet.

PEPE:

I'm looking at you. I can't speak when I do that.

GABY:

When you met me tonight you were so very strange. Did you think I wasn't coming back?

PEPE:

I was afraid you weren't. Oh, you're beautiful. That's easy to say, isn't it? But what I'm telling you is different, see? For me, you're more than that. For two years I've been lost -- like walking in my sleep. Suddenly I wake up; that's you. I don't know what I've been doing all that time, waiting for you without knowing it. Do you know what you are to me? You're all the world outside. You're all those lights and music we were speaking of. With you, I escape! See? Heh! Do you know what you remind me of? The subway. Close your eyes. Listen. Can you hear it?

GABY:

That's my heart beating.

PEPE:

Does it go like a subway train?

GABY:

Oh, much faster.

PEPE:

(A CHUCKLE, THEN LIGHTLY) You're all silk. And you jingle when you walk. And with all that, you make me think of the subway, isn't that funny? (MORE SERIOUS) Tell me. What did you do before?

GABY:

Before what?

PEPE:

Well, before the jewels.

GABY:

(BEAT) I wanted them. (CHANGE OF TONE) Pepe, it's late; I'll have to go.

PEPE:

[(QUIETLY) What will you do now?

GABY:

I will marry Andre. I'll have more jewels -- and more and more -- until I sparkle like the sky up there. And I'll jingle so loud that you'll still hear me in the Casbah no matter where I am.

PEPE:

Is that what you want? (PAUSE) What will you do, Gaby?

GABY:

You know what I'll do. I'll come to the Casbah tomorrow morning. And the day after, and the day after that.]

PEPE:

(BITTERLY) Suppose you don't come tomorrow.

GABY:

Suppose I don't. Pepe? Can't you ever get away from the Casbah?

PEPE:

(HELPLESSLY ANGRY) No! I'm caught here! Like a bear in a hole. Dogs barking. Hunters all around. No way out of it. Do you like that? Maybe it's lucky for you!

GABY:

I don't like it and it's not lucky.

PEPE:

You're right. If you don't come back, I might do anything! I might go down to your hotel to get you.

GABY:

No, don't! Please don't! [(SLOWLY, GENTLY IMPLORING) You know what would happen if you did. And you know what would happen to me. Stay here, Pepe. Never leave the Casbah, do you hear me?]

PEPE:

Tomorrow then?

GABY:

(REASSURING) Tomorrow. I never break a promise.

MUSIC:

UP TO FILL A LENGTHY PAUSE ... THEN FADES OUT

SOUND:

TRANSITIONAL PAUSE ... SCENE FADES IN

SLIMANE:

(INTO PHONE) Allô, allô? I want to speak to Commissioner Janvier, please. -- Allô? Is that Commissioner Janvier? -- This is Inspector Slimane. -- I believe we have a way to bring Pepe le Moko from the Casbah, Commissioner. -- Yes. I believe I can guarantee it. (CHUCKLES) I always told Pepe that women would be the death of him.

MUSIC:

OMINOUS BRIDGE

ANDRE:

Er, sit down, Inspector. What was it you wanted to see me about?

SLIMANE:

Monsieur, it is about your fiancée.

ANDRE:

My fiancée?

SLIMANE:

Yes. My mission is rather a delicate one, but necessary. I merely wish to suggest that your fiancée is a little too fond, shall we say, of the local color of the Casbah.

ANDRE:

What is all this?

SLIMANE:

The Casbah is hardly the place for a woman alone. She attracts too much attention. We naturally wish to protect her from any embarrassment. (POINTEDLY) Monsieur, she must not return to the Casbah.

ANDRE:

I understand. Will you wait here, please? I'll speak to her.

SOUND:

ANDRE'S STEPS TO DOOR ... KNOCK ON DOOR

GABY:

(BEHIND DOOR) Come in.

SOUND:

DOOR OPENS ... THEN CLOSES BEHIND--

ANDRE:

Sorry to disturb you. [Gaby, I've got to speak to you. It's--] (SURPRISED) Oh! Going out?

GABY:

Looks that way.

ANDRE:

Where are you going?

GABY:

For a walk.

ANDRE:

But where?

GABY:

To the park.

ANDRE:

(ANNOYED) [What park?] May I ask you to give me a sensible answer?

GABY:

Then ask me a sensible question! Where could I go? I don't know anyone in Algiers. I just walk straight ahead.

ANDRE:

And where does that take you?

GABY:

I'll know when I get there.

ANDRE:

No, you won't, because you're not going.

GABY:

Oh, yes, my dear. Your hotel bores me. The headwaiter looks like an undertaker and every time I step into this apartment it looks more like a funeral parlor. Goodbye, Andre.

ANDRE:

Wait. I know where you're going.

GABY:

Do you?

ANDRE:

You're going to the Casbah!

GABY:

(LIGHTLY MOCKING) Well!

ANDRE:

You go there every day!

GABY:

Do I?

ANDRE:

To meet Pepe le Moko.

GABY:

(AMUSED) Ohhhh. So now you're spying on me.

ANDRE:

You're going to be my wife, Gaby.

GABY:

(CHUCKLES) You don't make it a very pleasant prospect.

ANDRE:

I won't allow you to behave like this.

GABY:

Andre! I'm glad you said that.

ANDRE:

What do you mean?

GABY:

We've got to be honest with each other. Why do you think I'm marrying you? Look at yourself and then look at me. I've never lied to you. You knew I didn't love you when I promised to marry you -- and you thought it was all right. Until we are married, Andre, I'll do as I please. That's fair enough.

ANDRE:

I forbid you to go!

GABY:

It's a waste of time, Andre.

ANDRE:

If you go now, there'll be no use in your coming back!

GABY:

(BEAT) All right.

SOUND:

DOOR OPENS

GABY:

Goodbye, Andre.

SOUND:

GABY'S STEPS, IN BG

ANDRE:

Gaby, don't do it. Come back, Gaby. Don't do it, please!

SLIMANE:

(POLITE) No, don't, mademoiselle.

SOUND:

GABY'S STEPS STOP

GABY:

(SURPRISED) Inspector! What did you say?

SLIMANE:

I also ask you not to go to the Casbah.

GABY:

Why not?

SLIMANE:

Your fiancé was only trying to spare you. He did not want to tell you the truth as I told it to him. You see, an attempt was made to capture Pepe le Moko this afternoon. In a sense, it was successful.

GABY:

(DISTRESSED) You mean he - he's been taken? Pepe le Moko has been captured?

SLIMANE:

Not alive, mademoiselle. (BEAT, EXHALES, SADLY) Pepe le Moko was killed.

MUSIC:

CURTAIN

SOUND:

APPLAUSE

ANNOUNCER:

In just a moment you'll hear Act III of "Algiers," with Charles Boyer and Hedy Lamarr. Now I want to tell you a real-life story which happened to Mrs. Florence Dewey of Morris, Illinois. About five or six years ago Mrs. Dewey bought some material for a new dress. It was a washable rayon crepe -- a beautiful print with bright-colored sprays on a navy blue background. That was a long time ago. But just recently we heard from Mrs. Dewey about that same dress. Here's what she said--

MRS. DEWEY:

I followed your advice about using Lux Flakes and I've never used anything else in laundering this dress. It has been washed over a hundred times and yet the colors are still bright and fresh. In fact, I can't see any difference between the colors in this dress that I wash so often and a jacket, made from the same material at the same time, that I've worn and washed only a few times.

ANNOUNCER:

I'd like to thank Mrs. Dewey for letting us tell you about that remarkable record, because it is one more proof -- and a good one -- of how very gentle New Quick Lux Flakes are; how safe for anything safe in water. You see, there's no harmful alkali in New Quick Lux, so naturally your pretty things don't get faded and dull, but stay fresh and new-looking longer. Lux takes away every bit of perspiration and soil so fast, it gives such rich suds from just a few flakes, even in hard water. That makes it thrifty. Marvelous purity, speed, thrift -- those are the things that have made New Quick Lux the most popular soap in the whole United States, for pretty dresses, for stockings, underthings, and other nice things, too. The favorite -- two to one -- over any other flakes, chips, or beads. (BEAT) Now, our producer, Mr. DeMille.

HOST:

The curtain rises on the third act of "Algiers."

MUSIC:

BRIEF INTRODUCTION ... THEN BEHIND HOST--

HOST:

Pepe le Moko is not dead. That was only a ruse of Inspector Slimane's, to keep Gaby away from the Casbah and to bring Pepe out. In vain, Pepe waits for her to appear at their meeting place. At last he returns to his room, weary and bitter.

SOUND:

DOOR CLOSES

CARLOS:

Hello, Pepe. (NO RESPONSE) Anything wrong? (NO ANSWER) What's the matter? This morning you were singing. Why don't you sing now?

PEPE:

Why don't you mind your own business?

CARLOS:

(LIGHTLY) Ohhhh, so that's the way it is. All right, I'll leave you to yourself. (CHANGES TONE) Oh, I'm going into the town.

PEPE:

The town? What for?

CARLOS:

I'm like you. I'm bored.

PEPE:

Anything on your mind?

CARLOS:

No, just to look things over.

PEPE:

When are you going?

CARLOS:

Now.

PEPE:

Will you do me a favor?

CARLOS:

Sure. What?

PEPE:

I want you to deliver a letter for me. I'll write it now.

SOUND:

DURING ABOVE, SCARPE OF CHAIR AND SCRIBBLE OF PEN AS PEPE SITS AND WRITES ... SCRIBBLE CONTINUES IN BG--

CARLOS:

Ohhhh? (CHUCKLES) Okay, I get the idea. Maybe I don't look like Cupid, but I'll manage. Where's she staying? What hotel?

PEPE:

At the Madeleine.

CARLOS:

You want it delivered in person? Oh, maybe I can't get to see her.

PEPE:

Er, look-- Er, go to the servants' entrance.

CARLOS:

Uh huh.

SOUND:

SCRIBBLE OUT ... LETTER FOLDED AND PUT IN ENVELOPE BEHIND--

PEPE:

Give someone a good tip and tell them you've got to have an answer.

CARLOS:

Don't worry, I'll get it. (MOVING OFF) I'll be back in two hours.

SOUND:

CARLOS' STEPS AWAY

MUSIC:

BRIEF TRANSITION

SOUND:

PHONE RINGS ... RECEIVER UP

ANDRE:

(BRISK, INTO PHONE) Hello? -- Yes, this is Andre Giraux. -- Oh, yes. -- What boat is that? -- The Ville d'Algiers at six this evening? -- Yes, make the reservations, please.

SOUND:

RECEIVER DOWN

ANDRE:

Well, Gaby, are you coming with me? (NO ANSWER) Gaby, I asked you if you're sailing with me.

GABY:

(SOMBER) If you want me to, yes.

ANDRE:

You know I want you to.

GABY:

Even after what I told you this morning?

ANDRE:

Oh, you were excited, Gaby. You didn't know what you were saying.

GABY:

But I did, Andre. I never thought so clearly in all my life. [I've never been so sure of what I wanted. (BEAT) And now it's gone.]

ANDRE:

Gaby, I won't pretend you haven't hurt me.

GABY:

I'm sorry. I didn't mean to.

ANDRE:

But I still don't understand. This man-- This Pepe le Moko. What could he have meant to you?

GABY:

I could never make you understand that. I don't even understand it myself. I only know that when I was with him, I never wanted to leave. And when I was away from him, I - I didn't live until I saw him again.

ANDRE:

(SYMPATHETIC) Oh, Gaby--

GABY:

I was going to meet him this morning. He'd hold out his hand to me and smile, and we'd climb up to the terrace above the Casbah and look out across the harbor. And I'd be happy with him. That's all I know. I'd be happy with him.

MUSIC:

SAD BRIDGE

SOUND:

DOOR OPENS

INES:

(OFF, CALLS) Pepe?

PEPE:

Here! Is Carlos with you?

INES:

(APPROACHES) No. It's L'Arbi, Pepe. He's just come from the town.

SOUND:

DOOR CLOSES

L'ARBI:

(APPROACHES, URGENT) Pepe, I've got speak to you!

PEPE:

(ANNOYED) What do you want?

L'ARBI:

Pepe, the police have taken Carlos.

PEPE:

What?!

L'ARBI:

They arrested him in the town.

PEPE:

How do you know?

L'ARBI:

I was there, Pepe.

PEPE:

(ACCUSING) Yes? How much did you sell him for?

L'ARBI:

Would I be here if I'd sold him?

PEPE:

Go on. What did you have to do with it?

L'ARBI:

I was at the police station when they brought Carlos in. I had a chance to see him in his cell. He gave me a letter -- the one you had given him. He told me to take it to the hotel.

PEPE:

(SKEPTICAL) So you went to the hotel with the letter?

L'ARBI:

I did it for you, Pepe.

PEPE:

Well? Did you get it?

L'ARBI:

What?

PEPE:

The answer!

L'ARBI:

Oh, she wanted to write to you, but she couldn't; she's being closely watched. But she expects you this morning. You can go down without any risk. Go to the service entrance in the back of the hotel. She'll be watching from a window.

PEPE:

Oh. Is that all?

L'ARBI:

Well, she wanted to come up, but she couldn't get away.

INES:

You're not going down, Pepe! You can't!

PEPE:

Shut up! (KINDLY) Go on, L'Arbi.

L'ARBI:

Well, that's all, Pepe. She's waiting for you. Well, I'll have to leave--

PEPE:

Now wait! You said Gaby couldn't write because she was watched?

L'ARBI:

Yes, Pepe.

PEPE:

But, er, in a little while she'll be able to see me?

L'ARBI:

At the back of the hotel, yes.

PEPE:

Ohhh. That's very funny.

L'ARBI:

(UNEASY) Oh, well, he's going to be away.

PEPE:

Ohhhhhh, I see. But why couldn't she write to me?

L'ARBI:

Er, because - because he was there then.

PEPE:

Then how could she talk to you?

L'ARBI:

(HELPLESSLY) Uh-- Well, because--

PEPE:

(DRY) Because you don't know.

L'ARBI:

(REMONSTRATES) Oh, Pepe!

PEPE:

There's something else. You think Carlos is dumb enough to give you my letter?

L'ARBI:

But you wrote a letter!

PEPE:

(LAUGHS) Do you think me so stupid as to believe he would give it to you?

L'ARBI:

Pepe, I give you my word!

PEPE:

So Gaby couldn't write, but she could talk to you?

L'ARBI:

Yes!

PEPE:

Well-- (LAUGHS) --for a woman who is so closely watched, it's funny the way she can do things. (DEADLY SERIOUS) Now I've laughed enough, do you hear me? I'm through laughing.

L'ARBI:

(PLEADS) Pepe, on the head of my father--

PEPE:

(INTERRUPTS, ANGRY) Carlos was arrested; that's true!

L'ARBI:

I told you, Pepe!

PEPE:

You had my letter; that's true!

L'ARBI:

But I told you--!

PEPE:

Up to that it fits, but after that, nothing fits! Now tell me what happened!

SOUND:

SCUFFLE AS PEPE GRABS L'ARBI BY NECK ... THEN SCUFFLE IN BG

L'ARBI:

(SPUTTERS, CHOKES) Pep-- Pepe-- Let me go--

PEPE:

Tell me what happened! Shall I break your neck to refresh your memory?!

L'ARBI:

(HOARSELY) Don't-- Pepe--

PEPE:

Tell me. Do you hear? Tell me the truth!

L'ARBI:

I'll tell-- I'll tell you, Pepe. I'll tell you everything.

SOUND:

SCUFFLE ENDS

PEPE:

(RELENTS) All right.

L'ARBI:

(CATCHES HIS BREATH)

PEPE:

Well?

L'ARBI:

Slimane planned it all.

PEPE:

(STUNNED) Slimane? (REALIZES) Then she never got my letter?

L'ARBI:

No. He told me to come to you.

PEPE:

Go on.

L'ARBI:

He thinks you'll come down.

PEPE:

And then?

L'ARBI:

The hotel is surrounded. They're waiting for you.

PEPE:

Did you see the girl?

L'ARBI:

No.

PEPE:

Why didn't she come up here?

L'ARBI:

He told her you'd been killed.

PEPE:

Wha--?

L'ARBI:

That's what she thinks. She thinks you're dead.

PEPE:

(IT SINKS IN, SLOWLY) Oh, I see.

L'ARBI:

She's leaving tonight on the Ville d'Algiers. Slimane planned the whole thing.

PEPE:

Is that all?

L'ARBI:

Yes!

PEPE:

(SLOW, THOUGHTFUL) So. They're expecting me, are they? Well, they won't be disappointed.

INES:

(ALARMED) You can't do it, Pepe! You can't leave me! I won't let you! You'll be killed!

PEPE:

I won't be killed! If I am, blame it on the Casbah!

INES:

(HYSTERICAL) It's for her you're throwing away your life! Pepe, come back! Pepe!

MUSIC:

TRANSITION ... THEN BRISK ... BEHIND MONTAGE--

SOUND:

VOICES ... RAPID MONTAGE OF OVERLAPPING MEN AND WOMEN ("He's going! Pepe le Moko is leaving the Casbah." "He's going out." "Out of the Casbah." "Going to the town!" "They'll get him sure." "Going out." "Leaving the Casbah." "Pepe le Moko!" "He's going out!" "He's going out!" "Pepe le Moko!" "Going out!")

MUSIC:

TOPS THE VOICES ... THEN GRIM ACCENT ... THEN IN BG

SLIMANE:

(INTO PHONE) Allô, allô?! Inspector Slimane calling! Surround the Hotel Madeleine! I've just had word that Pepe le Moko is leaving the Casbah.

MUSIC:

UP AND OUT

SOUND:

MURMUR OF POLICE ... THEN IN BG

SLIMANE:

(ISSUES ORDERS) Cover that back entrance! When he comes, don't let him out of the courtyard! (BREAKS OFF) Wait, wait! That girl! Hold that girl!

INES:

(OFF) Let me go!

SLIMANE:

Bring her here!

GENDARME:

(APPROACHES, TO INES) Come along now. Come along.

INES:

(STRUGGLES) Let go! I haven't done anything!

SOUND:

POLICE FALL SILENT

SLIMANE:

Well, Ines -- we did not expect you. Where's Pepe?

INES:

He's not coming here! He's gone to the boat!

SLIMANE:

You expect me to believe that?

INES:

He's going away with her!

SLIMANE:

(REALIZES) Oh! So you are the one to betray him. You would kill him before you would let him go free.

INES:

(DISBELIEF) No.

SLIMANE:

And that's what you've done, as sure as if you'd held a gun in your hand.

INES:

I couldn't let him go! I couldn't lose him!

SLIMANE:

(MUSES) And I thought I'd figured all the moves, but I miscalculated. Why didn't I think of you?

INES:

(HORRIFIED) No!

SLIMANE:

(A SHARP ORDER) Send ten men to the dock area!

SOUND:

MURMUR OF POLICE ... IN BG

INES:

No! Don't! Give him a chance! Let him go! Please! (CONTINUES YELLING HYSTERICALLY BEHIND--)

SLIMANE:

(MORE ORDERS, LOUD) Surround the gate at the pier! The Ville d'Algiers! Don't let him get on that boat!

SOUND:

SCENE FADES OUT ... TRANSITIONAL PAUSE ... SCENE FADES IN ... DOCK BACKGROUND FROM POV OF THE SHIP ... OCEAN LINER BLOWS ITS LOW HORN THREE TIMES TO SIGNAL ITS IMMINENT DEPARTURE ... CROWD MURMURS ON DECK

ANDRE:

Gaby, we're almost ready to leave. (NO RESPONSE) Gaby, do you hear me? I'll make you forget, dear. I'll make you forget everything.

GABY:

(SADLY) Forget? You still don't understand, Andre. I don't want to forget.

SOUND:

OCEAN LINER BLOWS ITS LOW HORN AT LENGTH ... AS A TRANSITION ... THEN DOCK BACKGROUND FROM POV OF THE PIER ... PIER CROWD MURMURS IN BG

PEPE:

(LOW, URGENT) Hurry, will you? Give me that ticket.

SELLER:

Ah, here you are, sir. One passage on the Ville d'Algiers. You can just make it.

PEPE:

Thanks.

SOUND:

PEPE'S HURRIED STEPS TOWARD SHIP ... FILLS A BRIEF PAUSE ... THEN STEPS STOP WITH--

SLIMANE:

(OFF, CALM) Put up your hands, Pepe.

PEPE:

What?

SLIMANE:

(APPROACHES) You see, Pepe? We meet at the appointed time. (SHARP ORDER) Put the handcuffs on him!

PEPE:

No, Slimane! Not here. She may see me. Not here, please.

SLIMANE:

As you wish. I cannot refuse an old friend.

PEPE:

Slimane, could I--? Let me wait here. Until the boat leaves. It's not too much to ask. I can't get away.

SLIMANE:

All right, Pepe. I know I can trust you.

INES:

(APPROACHES, TEARFUL) Pepe! Pepe, I did it! You might have got away, but I told them. Oh, Pepe, don't hate me.

PEPE:

(SOOTHING) No, don't cry, Ines.

INES:

I was crazy because I love you so. I love you. (SOBS)

PEPE:

You only did what your heart told you. So did I.

SOUND:

LOW HORN ... PIER CROWD YELLS "GOODBYE! GOODBYE!" ET CETERA

SLIMANE:

It's leaving, Pepe. Shall we go?

PEPE:

No, not yet, please. (URGENT) Look! I see her! She's at the rail! (CALLS WILDLY) Gaby! Gaby!

SLIMANE:

She can't hear you, my friend.

PEPE:

Gaby! Gaby!

SOUND:

PEPE'S FOOTSTEPS START TOWARD THE SHIP ... THEN BREAK INTO A RUN, IN BG-- (THE FOLLOWING IS PLAYED VERY QUICKLY, UP TO THE GUNSHOT)

PEPE:

Gaby!

GENDARME:

(OFF) He's getting away!

PEPE:

Gaby!

GENDARME:

(OFF) Get him there!

SLIMANE:

Don't shoot. He can't get away! Don't shoot!

PEPE:

Gaby, come back! Come back! Gaby! Gaby! (CONTINUES TO CALL IN BG)

INES:

Pepe! Pepe, look out!

SOUND:

ONE GUNSHOT! ... RUNNING STEPS OUT AS PEPE COLLAPSES TO THE PIER

PEPE:

(GASPS, WHISPERS) Gaby-- Gaby-- Gaby-- (GASPS FOR BREATH, IN BG)

SLIMANE:

(OFF, QUIETLY ANGRY) You fools! I told you not to shoot. He was not trying to get away! (APPROACHES, VERY SAD) Oh, Pepe!

MUSIC:

SNEAKS IN ... BEAUTIFULLY TRAGIC ... IN BG

SLIMANE:

(SOLICITOUS) Look at me, Pepe. Is it bad?

PEPE:

(DRY, WITH DIFFICULTY) Your men-- They're learning to shoot - much better.

INES:

(TEARFUL) Oh, Pepe-- (WEEPS QUIETLY, IN BG)

SLIMANE:

I'm sorry, Pepe. He thought you were going to escape.

PEPE:

Eh? Escape? (BEAT, WEAKLY) And so - so I have, my friend. (DYING BREATHS) Gaby-- Gaby--

SLIMANE:

(BEAT, SIMPLY) It is over. Pepe le Moko has left the Casbah.

INES:

(TEARFUL) Oh, Pepe-- Pepe!

MUSIC:

UP FOR CURTAIN

SOUND:

APPLAUSE

ANNOUNCER:

In a moment Mr. DeMille returns with our stars for their curtain call. He'll also bring us advance news of plans for the fall season. Meantime, we of the Lux Radio Theatre wish our many friends a very happy summer. We know from what you tell us that Lux Flakes contribute in many ways to happy warm-weather living. Nowadays the smart woman lives in Luxables all summer long -- and looks cool and crisp, fresh as a daisy, with no trouble at all -- for New Quick Lux Flakes makes daintiness easy. Just a dip in these fast gentle suds and everything that's washable comes out delightfully fresh and sweet -- underthings, dresses, sports things. Of course you'll Lux them every day or so during hot sticky weather, and it's a wonderful help to have flakes that are so fast. It's reassuring, too, to know that these gentle flakes are so safe that they keep nice things and nice colors new-looking longer. Wherever you go this summer or wherever you stay -- at home, in the country, at the shore -- keep that friendly box of Lux Flakes handy to guard the most important of all charms -- daintiness. New Quick Lux comes in the same familiar package; costs you no more. (BEAT) Now here's Mr. DeMille with our stars.

HOST:

It isn't often we can say that one of our stars is taking his first curtain call in the Lux Radio Theatre, but tonight both of our stars are here for the first time. They're back on the stage now -- Charles Boyer and Hedy Lamarr.

BOYER:

Thank you, C. B. I'm delighted to be here. It was a great pleasure to work with Hedy again.

HOST:

Wasn't "Algiers" your first experience with a camera here in Hollywood, Hedy?

LAMARR:

Yes, Mr. DeMille, and it was a thrilling day for me when I played my first scene with Charles.

BOYER:

Ah, she was so beautiful even the cameramen sighed.

HOST:

(CHUCKLES) I can understand his point of view, Charles.

LAMARR:

I think you're ribbing me! (CHUCKLES) "Ribbing" -- that's pretty good American, isn't it, Mr. DeMille?

HOST:

Excellent, Hedy, but we mean it. I haven't seen you around the Paramount lot recently, Charles. Have you finished "Hold Back the Dawn"?

BOYER:

Yes. Yes, we finished a few days ago, C. B., so I have a little vacation coming. Perhaps I'd better begin it right now by saying good night and thank you again.

LAMARR:

Good night, Mr. DeMille, and I've enjoyed it so much.

HOST:

Good night.

SOUND:

APPLAUSE

HOST:

When the clock on your mantle strikes the hour, the Lux Radio Theatre completes its seventh season on the air. Down the long succession of Monday nights, Lux Flakes and Lux Toilet Soap have brought you about three hundred and fifty different plays, and that means we've cast almost 8,000 parts with the best actors we could find. What counts most is that during those seven years -- seven of the most important years in the history of the world -- you've made this theater a kind of national meeting place, an all-American theater that has become a symbol of the American way of life, and we are well aware of our responsibility to you in the significant years that are to come. Our first responsibility, of course, is entertainment, and for your entertainment in the first few weeks of our eighth season starting in September, we plan to bring you stars like Cary Grant, Irene Dunne, Bob Hope, Rosalind Russell, Claudette Colbert, and Barbara Stanwyck, in plays that you yourselves will ask for.

Meanwhile, we recommend the program the Columbia Broadcasting System will present at this time during our eight weeks' holiday. The program is called FORECAST and presents leading stars of Hollywood, radio, the theater, and the concert stage. As FORECAST Number One next Monday, you'll hear the Thousand and One Nights with Marlene Dietrich as Scheherazade in a radio production of "The Arabian Nights." You've made the Lux products behind this theater -- Lux Flakes and Lux Toilet Soap -- a national habit, and we know from past experience that you are not going to break that habit during our summer vacation. So we're going to thank you in advance by promising that next year will be the best yet in the history of the Lux Radio Theatre.

And now before we say goodnight, there's another kind of promise we'd like to make. Three days ago on the Fourth of July, the President of the United States asked every one of us to dedicate himself anew to the principles of freedom and justice which are the foundation of this democracy. And so, in company with all those who pledge their hearts and hands on Independence Day, we now pledge the Lux Radio Theatre to do everything in our power to defend and protect this American way of life, and to bring that bright day nearer when life, liberty, and happiness can be pursued in peace by all men.

MUSIC:

LUX THEME ... THEN IN BG

HOST:

Our sponsors, the makers of Lux Flakes and Lux Toilet Soap, join me in wishing you a happy summer, and until September 8th, this is Cecil B. DeMille saying good night to you from Hollywood.

SOUND:

APPLAUSE

ANNOUNCER:

Hedy Lamarr appeared tonight through the courtesy of Metro-Goldwyn-Mayer. Charles Boyer will soon begin work on the Universal picture "Appointment for Love." Included in tonight's play were Bea Benaderet as Ines, Hans Conried as Regis, Bruce Payne as Grandpere, Frederic Worlock as Janvier, Leo Cleary as Andre, Jeff Corey as L'Arbi, Lou Merrill as Carlos, Virginia Gordon as Marie, Paul Dubov as Pierrot, Noreen Gammill as Aicha, and Howard McNear as Max. Our music is directed by Louis Silvers and your announcer has been Melville Ruick.

SOUND:

APPLAUSE

ANNOUNCER:

This is the Columbia Broadcasting System.

SOUND & MUSIC:

FADE OUT