MUSIC:

FANFARE

ANNOUNCER:

From Hollywood, California, the Lux Radio Theatre presents Janet Gaynor and Robert Montgomery in "A Star Is Born."

SOUND:

APPLAUSE

MUSIC:

THEME ... THEN IN BG

ANNOUNCER:

Lux presents Hollywood! Back on the air again after a summer vacation, our first production brings you Janet Gaynor, Robert Montgomery, Lionel Stander, and May Robson in one of the greatest stories the screen has ever known, "A Star Is Born." With us also, here on the stage of the Lux Radio Theatre on Hollywood Boulevard, we have as guests Sid Grauman, founder and managing director of one of the most famous motion picture theaters in the world, Grauman's Chinese, and John LeRoy Johnston, managing editor of Screen Book and Hollywood magazines. Conducting our orchestra is Louis Silvers. Now I turn the microphone to our producer -- discoverer of stars, director of sixty-three motion pictures -- ladies and gentlemen, Mr. Cecil B DeMille.

SOUND:

APPLAUSE

MUSIC:

THEME ... UP AND OUT

HOST:

Greetings from Hollywood, ladies and gentlemen. Nine weeks have passed since I last stood here to ring up the curtain in the Lux Radio Theatre. Tonight we return, as we shall every Monday night at this time, bringing you Hollywood's celebrated stars in the most distinguished plays of stage and screen. We've had a vacation, but more than that we've had an opportunity to plan ahead. As a result, the greatest series of dramatic treats it has ever been our pleasure to offer is in store for you. We alone could not have made this possible. You, through the friendship shown our products, are equally responsible.

For a fitting inaugural we made a long and careful search. We found it in the stars and story we're about to bring you: Janet Gaynor and Robert Montgomery in the brilliant Technicolor screen play from Selznick International studios,"A Star Is Born." From these same studios has recently come another record-breaking film, "The Prisoner of Zenda," which, starring Ronald Colman and featuring Madeleine Carroll and Douglas Fairbanks, Jr., is now duplicating the sensational success of tonight's story.

Miss Gaynor's performance in "A Star Is Born" is bringing her a national acclaim approached only by her debut performance several years ago in "Seventh Heaven." She was scarcely more than a child then, and if you could see her now you'd realize she's still a little girl. In fact, there's only one hundred pounds and five feet of her, topped by large brown eyes and dark red hair. Among her treasures is a little pair of black low-heeled shoes that once pattered from studio to studio as their owner searched for work. They never stopped at my door; I wish they had. As Esther Blodgett, Miss Gaynor makes her first appearance in the Lux Radio Theatre.

Compared with her our co-star, Robert Montgomery of Metro-Goldwyn-Mayer studios, is a veteran. His portrayal tonight of Norman Maine is his fourth on our stage. Bob's popularity wherever pictures are shown, his versatility in all kinds of difficult roles, leaves me little more to say than "welcome home" to an old friend of our theater. Bob's new MGM picture with Rosalind Russell is "Live, Love and Learn." Lionel Stander resumes the role he played on the screen: Libby the publicity man. Also from the original cast, as Granny, comes that actress now in her fifty-fourth year of trouping, May Robson. Lou Merrill is heard as Oliver Niles.

And now for our play. The Lux Radio Theatre returns to the air, bringing you Janet Gaynor and Robert Montgomery in "A Star Is Born."

SOUND:

APPLAUSE

MUSIC:

FOR AN INTRODUCTION ... A MIDWESTERN THEME ... THEN BEHIND HOST--

HOST:

An isolated farmhouse, on the windswept plains of North Dakota. The house is silent -- sleeping -- but moonlight streams through the window of one of the upstairs rooms where a young girl is still awake. She lies across her bed, sobbing quietly into the pillow. The door is inched open and an elderly woman in an old flannel wrapper calls to her softly.

SOUND:

WIND BLOWS, IN BG

GRANNY:

Esther? (NO ANSWER) Esther?

ESTHER:

(SOBS) Yes, granny?

GRANNY:

Oh, I thought you'd still be up.

ESTHER:

(SOBS)

GRANNY:

Oh, now stop crying. That isn't going to do you any good.

ESTHER:

Oh, I'm crying because Aunt Mattie and Aleck and everyone else in this family makes me so mad.

GRANNY:

(DISMISSIVE) Aunt Mattie, Aleck -- fiddlesticks! They're not important! You're the only one who counts!

ESTHER:

Oh, but I could be an actress, granny; I could be. And I'd go to Hollywood, too, if I had the chance, but they just laugh at me. Because I want to make something out of myself, they think it's funny.

GRANNY:

Esther, everyone in this world who ever dreamed about better things was laughed at. Don't you know that?

ESTHER:

Oh, I suppose I do, but--

GRANNY:

Ah, but there's a difference, dear, between dreaming and doing. You modern girls give me a pain! Why, when I wanted something better, I came across these plains in a prairie schooner with your grandfather. And don't think for a minute it was easy, Esther Blodgett! We burned in summer, and we froze in winter. We used our guns when we needed food and then fought the Injuns to keep it. But we kept on going and we didn't complain because we were doing what we wanted to do! Can you understand that?

ESTHER:

Yes, I can.

GRANNY:

Could you do it? Could you do it even if it broke your heart? Because for every dream that you make come true, you'll pay the price in heartbreak.

ESTHER:

I'm not afraid, granny.

GRANNY:

All right then. Here! Take this money.

ESTHER:

Oh, but, granny--

GRANNY:

Go on, go on -- and go to your Hollywood.

ESTHER:

But I can't take your money.

GRANNY:

And why not?

ESTHER:

It's your savings.

GRANNY:

Well, I haven't got anything to save up for now. (CHUCKLES) Except my funeral. And I'm never going to die.

ESTHER:

Oh, granny, how can I ever thank you?

GRANNY:

(MOVING OFF) Good night.

ESTHER:

(WARMLY) Oh, granny. Granny darling.

MUSIC:

FAST ... FOR A TRAIN TRIP TO HOLLYWOOD ... SEGUES TO A LIVELY "CALIFORNIA, HERE I COME" ... THEN IN BG

SOUND:

HOLLYWOOD BOULEVARD TRAFFIC BACKGROUND

GUIDE:

(TO TOURISTS) --on Hollywood Boulevard, the heart of the movie metropolis! On your right, Grauman's Chinese Thee-ay-ter! Notice the paved blocks containing the hand and footprints of your favorite stars! And in just a few minutes we'll be in Beverly Hills-- (FADES OUT)

MUSIC:

UP AND OUT

SOUND:

PHONE RINGS ... RECEIVER UP

RANDALL:

Hello? Oleander Arms Apartments. -- Yeah, we got a vacancy. Four dollars. Runnin' water, convenient to all studios, and you can look at it whenever you want. What do you do? -- What?! Listen, wise guy, don't waste my time. The ad said "no cowboys."

SOUND:

RECEIVER DOWN

ESTHER:

(MEEK, POLITE) Good afternoon, my name is Esther Blodgett.

RANDALL:

Mine's Randall. Day, week, or month?

ESTHER:

Well, it's a little hard to say. You see, I'm going into the movies.

RANDALL:

Well, take it for a week. It'll break the jump to Beverly Hills. Sign here.

ESTHER:

(EAGERLY) Are all the studios really near here?

RANDALL:

All except Gaumont-British.

ESTHER:

(CHUCKLES, CHEERFUL) I suppose the best way to get a job is to go straight to the studios, isn't it?

RANDALL:

(GROANS, HE'S HEARD IT ALL BEFORE)

ESTHER:

(RAMBLING ON) I haven't any illusions, you know. I'm perfectly willing to begin with-- Oh, a little bit of a part, or even as an extra.

RANDALL:

Four dollars, please -- in advance.

MUSIC:

TRANSITION ... SEVEN NOTES OF A WRY "CALIFORNIA, HERE I COME"

SOUND:

GENTLE KNOCK AT DOOR

PHILLIPS:

Come in.

SOUND:

DOOR OPENS

ESTHER:

I beg your pardon. Is this the Central Casting office?

PHILLIPS:

Yes?

ESTHER:

I'd like to register for extra work, please.

PHILLIPS:

To register? How long have you been in Hollywood?

ESTHER:

Nearly a month now.

PHILLIPS:

Well, you know, we have twelve thousand four hundred and sixteen extras registered with us now. That's sixteen times as many as we can use each working day. Why, we haven't put anyone on our register in over two years.

ESTHER:

(QUIETLY DISMAYED) Oh. I see.

PHILLIPS:

Come over here. I want to show you something.

SOUND:

INNER DOOR OPENS ... NOISY BUZZ! AND CLICK! OF SWITCHBOARD ... CONTINUES IN BG

GIRLS:

(REPEATING RAPIDLY, OVERLAPPING ONE ANOTHER) Yes? Central Casting! -- Try later. (CONTINUES IN BG)

PHILLIPS:

Those four girls operate our switchboard. Every time one of those little lights flashes, it's someone asking for a job. And every time a girl says, "Try later," it means there isn't any job. We can't keep the girls at the switchboard long -- they go crazy.

SOUND:

INNER DOOR CLOSES, SHUTTING OUT GIRLS AND SWITCHBOARD

PHILLIPS:

And every one of those little lights thought it was going to be a star. Do you still want to go into movies? You know what your chances are? One in a hundred thousand.

ESTHER:

(QUIETLY) But - but maybe I'm that one.

MUSIC:

SHORT INSISTENT TRANSITION ... SEVEN BIG NOTES OF "CALIFORNIA, HERE I COME"

SOUND:

HOTEL LOBBY DOOR OPENS AND CLOSES

RANDALL:

Afternoon, Miss Blodgett.

ESTHER:

(DISPIRITED) Any phone calls for me, Mr. Randall?

RANDALL:

No. Jesse Lasky and Sammy Goldwyn must be writin' ya letters instead. How was their luck today?

ESTHER:

There wasn't any.

RANDALL:

Well, maybe you don't go at it right.

ESTHER:

If I haven't learned in three months, I guess I never will. But I'm not giving up.

DANNY:

(APPROACHES) Hey, Esther! Esther!

ESTHER:

Hello, Danny.

RANDALL:

Hello, McGuire. How's the big assistant director? And, say, how's about some rent?

DANNY:

Never mind that. Listen, Esther, I gotta speak to you right away. Come in the parlor.

SOUND:

PARLOR DOOR CLOSES

ESTHER:

Danny, what's the matter?

DANNY:

Remember when you first came here I said I'd keep my eye out for a job for ya? Well, believe it or not, I've got one.

ESTHER:

(PLEASED) Oh, Danny, that's wonderful! When do I go to the studio?

DANNY:

Well, you don't exactly go to the studio.

ESTHER:

Oh, it's on location!

DANNY:

Well, it isn't exactly on location, either. It isn't really a movie job at all. It's to be a waitress.

ESTHER:

(DISAPPOINTED) Ohhh.

DANNY:

Yeah, well, it is kind of a movie job in a way, if you look at it right.

ESTHER:

You said it was a waitress.

DANNY:

Yeah, but it's waitressing for Casey Burke, the big director over at our studio. He's throwing a party tonight and there'll be a lot of big people there. I bet there'll be any number of big directors, and if you're there, maybe they'll notice you.

ESTHER:

(WITH RISING HOPE) I could make them notice me.

DANNY:

Sure you could. This is your chance, Esther.

ESTHER:

(TO HERSELF) My chance. (DECISIVE) All right, I'll do it, Danny.

DANNY:

Good girl!

MUSIC:

BRIEF TRANSITION SEGUES INTO ORCHESTRA AT PARTY, WHICH CONTINUES IN BG

SOUND:

PARTY CROWD MURMURS, CHATTERS, ET CETERA, IN BG ... LIBBY'S VOICE ON FILTER

BUTLER:

(INTO PHONE) Hello? Mr. Burke's residence.

LIBBY:

Let me speak to Mr. Oliver Niles, and quick!

BUTLER:

Who, sir?

LIBBY:

Oliver Niles! Niles the producer!

BUTLER:

Yes, sir. (CALLS) Oh, Mr. Niles?

NILES:

(OFF) Yes?

BUTLER:

It's for you, sir.

NILES:

(CLOSER) Thank you, I'll take it inside.

SOUND:

ROOM DOOR CLOSES, SHUTTING OUT PARTY NOISE AND MUSIC ... RECEIVER UP ... LIBBY'S VOICE ON FILTER

NILES:

Hello? Oliver Niles speaking.

LIBBY:

Hello, Niles. This is your publicity department.

NILES:

Well, what is it, Libby?

LIBBY:

Your publicity department begs to advise you that your star, Mr. Norman Maine, has once again been thrown in the Los Angeles jug.

NILES:

(SURPRISED) What?

LIBBY:

(DRY) Yes! Mr. Norman Maine, America's Prince Charming, was apprehended driving down Wilshire Boulevard with a siren going full blast. He explained he was a tree surgeon on a maternity case.

NILES:

(NERVOUS) Well, where is he now?

LIBBY:

I bailed him out an hour ago. He ought to be at Burke's any minute.

NILES:

Will it--? Will it be in the papers?

LIBBY:

No, it won't be in the papers.

NILES:

(EXHALES IN RELIEF)

LIBBY:

But that's a nice expensive hobby of yours -- keeping Mr. Maine's informal entertainments out of the public press.

NILES:

Now, look, Libby, I don't care what it costs, but--

SOUND:

ROOM DOOR OPENS, BRIEFLY ADMITTING PARTY NOISE AND MUSIC

BURKE:

(OFF) Good evening, Norman.

SOUND:

ROOM DOOR CLOSES

NILES:

(INTO PHONE) Never mind, Libby. He's here now. I'll call you back.

SOUND:

RECEIVER DOWN

NORMAN:

Hi, Oliver. You look worried about something.

NILES:

Do I?

NORMAN:

Well, go ahead and say it. I've got it coming to me.

NILES:

No, don't make it any tougher for me, Norman. I don't want to stand here and preach.

NORMAN:

Yeah, I know, I know. The costs are going up and the grosses are going down.

NILES:

Oh, no, it isn't that, Norman. I've made a lot of money with you; I can stand a loss or two. But-- Well, I hate to see you go the way of so many others--

NORMAN:

(SARCASTIC) I tell ya! Why don't you get Lloyd's to insure you against me?

NILES:

You're a great star, Norman, but you're starting to fall apart.

NORMAN:

And just what do you mean by that?

NILES:

Oh, the first signs are always the same, Norman -- not being able to remember your lines, the cameraman struggling to cover up your hangovers -- all because you've got to have a good time every day, every night. (EXHALES) I've warned you for a long time, Norman.

NORMAN:

Okay, Oliver -- you're a swell guy. You won't lose any money on me, I'll promise you that. I'll be ready for the curtains when the time comes. And when it does, here's my epitaph: "for amusement only"! Let's get back to that party!

MUSIC &
SOUND: PARTY BACKGROUND FADES IN (CROWD AND ORCHESTRA)

ESTHER:

Hors d'oeuvres, Mr. Maine? The caviar's very good.

NORMAN:

(UNINTERESTED) No. No, thank you. I, er-- (SEES ESTHER, IMPRESSED) Ohhhh! (BEAT) Yes. Please. (BEAT) Hmm, very beautiful. I mean, very good. Never seen you around here before.

ESTHER:

(CHUCKLES, STARTS OFF) I'm just working for the night.

NORMAN:

Hey, come back here. I'm starving! (STUDIES TRAY) Now, let's see. Which would you take?

ESTHER:

Well--

NORMAN:

I believe I'll take caviar.

ANITA:

(APPROACHES) Norman!

NORMAN:

Hi, Anita, where have you been?

ANITA:

Looking for you mostly. Come and join the party.

NORMAN:

Wait a second, wait a second. (STUDIES TRAY) Caviar, anchovies--

ANITA:

(TO ESTHER) Oh, take the tray away, please. Mr. Maine doesn't care for any more. (SEDUCTIVE, TO NORMAN) Do you, Normie?

NORMAN:

(DRY) No, Normie doesn't care for any more.

SOUND:

SCENE FADES OUT ... TRANSITIONAL PAUSE ... SCENE FADES IN ... ESTHER PUTS PLATES AWAY, THEN IN BG ... KITCHEN DOOR OPENS

NORMAN:

Greetings!

ESTHER:

(STARTLED) Oh!

NORMAN:

Do you mind if I help?

ESTHER:

In the kitchen? Won't they miss you?

NORMAN:

Oh, no. They'll just look under the table and when they see I'm not there, they'll forget the whole matter. What's your name?

ESTHER:

Esther Blodgett.

NORMAN:

My name's Maine.

ESTHER:

(WITH A CHUCKLE) I know.

NORMAN:

What's so funny?

ESTHER:

I was thinking about all your fans -- how surprised they'd be if they could see you now, helping me put plates away.

NORMAN:

They don't know my finer side.

ESTHER:

They'd be pretty envious of me, meeting you in person this way.

NORMAN:

Tell me -- are you disappointed?

ESTHER:

Yes.

SOUND:

PLATE DROPS AND BREAKS

ESTHER:

(HORRIFIED GASP) Now you've done it!

NORMAN:

Never mind. It makes the room look lived in. Why are you disappointed in me?

ESTHER:

I was sitting right behind you in the Hollywood Bowl that night you didn't want to be photographed and you smashed the photographer's camera.

NORMAN:

Yes, I'm told I crept into many a heart that night.

SOUND:

PLATE DROPS AND BREAKS

ESTHER:

(HORRIFIED GASP) Oh, I'll never be able to explain this!

NORMAN:

(AFFECTIONATE) You've got very pretty hair.

ESTHER:

You'd better get out of here.

NORMAN:

And a sensitive mouth, and a charming little--

SOUND:

KITCHEN DOOR OPENS ... BRIEF NOISE OF PARTY ... THEN OUT WHEN DOOR SHUTS

NORMAN:

Ah! Anita darling!

ANITA:

(COOL) Precisely why are you in here instead of with the rest of the guests?

NORMAN:

I just want to be helpful.

ANITA:

(SKEPTICAL) Oh, I see. Are you sure there was no other attraction?

NORMAN:

Well, it might be that my old mania for putting plates away is coming back on me again.

ANITA:

It's rather odd that I always know where I can find you if there's a pretty girl around.

NORMAN:

It's not only odd, it's embarrassing. And we aren't married, darling, so--

ANITA:

(FURIOUS) You're being deliberately insulting, Norman. I've put up with enough--

NORMAN:

Now, dear, don't lose your temper. Remember we must try to keep the voice low. I know you'll excuse us if we go on with our work.

ANITA:

(VINDICTIVE) Oh, please -- let me help!

SOUND:

ANITA GRABS A PLATE

ESTHER:

(GASPS) Don't!

NORMAN:

Put that plate down.

SOUND:

ANITA HITS NORMAN ON HEAD WITH PLATE

NORMAN:

Ooof!

SOUND:

NORMAN COLLAPSES TO FLOOR

ESTHER:

(AGITATED) Oh, Mr. Maine, Mr. Maine, get up! Why, he's unconscious!

ANITA:

Unconscious? (MOVING OFF) Now see what you've done!

SOUND:

KITCHEN DOOR OPENS AND SHUTS AS ANITA QUICKLY EXITS

ESTHER:

But I didn't do anything! I didn't--

NORMAN:

(GENTLY) Sssst! Hey--

ESTHER:

(SURPRISED) Oh!

NORMAN:

Help me up, will ya?

ESTHER:

Are you hurt?

NORMAN:

No more than usual.

SOUND:

PARTY CROWD MURMURS AND APPROACHES

NORMAN:

Listen to that! The wolves are on us. Come on, we've got to get out of here.

ESTHER:

But I can't! The dishes aren't finished.

NORMAN:

Oh, yes they are! Watch!

SOUND:

BIG CRASH! AS NORMAN KNOCKS ALL THE PLATES TO THE FLOOR

ESTHER:

(GASPS)

NORMAN:

Come on!

MUSIC:

FOR A QUICK GETAWAY ... BRIEF BRISK TRANSITION

SOUND:

INTERIOR RUNNING AUTO BACKGROUND

ESTHER:

That's my house, Mr. Maine -- the one with the oleander bush.

NORMAN:

(PUZZLED) Oleand--? Ole--? Oh, right.

SOUND:

AUTO PULLS TO A STOP ... ENGINE OUT

ESTHER:

Well--

NORMAN:

I'll bet I know what you're gonna say now.

ESTHER:

What?

NORMAN:

Good night.

ESTHER:

Good night, and thanks.

NORMAN:

Oh, now wait a minute. Do you realize that all I've found out about you is that you're foolish enough to want to go into pictures?

ESTHER:

Why is it foolish? Look at you.

NORMAN:

Yeah, that's what I mean. Now, I'd like to go into this matter rather thoroughly--

ESTHER:

Well, that's awfully nice of you.

NORMAN:

--so why don't we go up to my place and talk it over?

ESTHER:

(UNEASY) Oh. No. Thank you very much, but I really must say good night.

SOUND:

CAR DOOR

NORMAN:

Oh, now wait a minute. The least I can do is to see you to your door.

SOUND:

CAR DOOR ... THEIR STEPS TO DOOR, IN BG

MUSIC:

GENTLY ROMANTIC, IN BG

NORMAN:

Will I see ya again?

ESTHER:

I hope so.

NORMAN:

Has anyone ever told you that you're lovely?

ESTHER:

No.

NORMAN:

Well, now you know.

ESTHER:

Thank you.

NORMAN:

This - this is hard to say, but I want to say it anyway. On the screen, I'm a-- Well, you know. In private life, I'm-- (CHUCKLES) Well, you know! But whatever I do, I still respect lovely things. And you're lovely. D'you understand that?

ESTHER:

Yes, I - I think I do.

NORMAN:

And it's not that bump on the head that's doing this, either.

ESTHER:

(CHUCKLES) I'm glad.

NORMAN:

Good night.

ESTHER:

(MOVING OFF) Good night.

NORMAN:

Hey, wait a minute!

ESTHER:

(OFF) Yes?

NORMAN:

Do you mind if I take just one more look?

ESTHER:

(CHUCKLES) Good night.

NORMAN:

Good night.

MUSIC:

UP FOR FIRST ACT CURTAIN

SOUND:

APPLAUSE

ANNOUNCER:

The Lux Radio Theatre presentation of "A Star Is Born" continues in just a moment. In the meantime, let's imagine we are in the living room of an American home. A husband and wife are listening to the Lux Radio Theatre. It's intermission time.

WIFE:

Oh, this is a marvelous play, Joe.

HUSBAND:

Sure is, but then I go for Gaynor anytime.

WIFE:

She is lovely.

HUSBAND:

Come to think of it, she reminds me of you a little. There's something about you that--

WIFE:

(INTERRUPTS, AMUSED) Oh, Joe, if I'm anything like Janet Gaynor, the only resemblance is in our complexions. I take care of my skin the same way she does -- with Lux Toilet Soap.

HUSBAND:

It's really that good, is it?

WIFE:

Good?! It's the soap with Active Lather. It really gets your skin thoroughly clean.

HUSBAND:

Thoroughly clean? What do you mean?

WIFE:

Well, if you let dirt and stale powder and rouge stay on your skin, they work in and stop up your pores. That ruins the complexion; your pores get enlarged. Haven't you ever heard of cosmetic skin?

HUSBAND:

Cosmetic skin? What - what's that?

WIFE:

Well-- (MUSES) Oh, who is there who has it? (REMEMBERS) Oh, Sally Hanford! You know how dull-looking her skin always is.

HUSBAND:

Hmm, pity she didn't know about that soap you use. One look at you ought to sell Lux Soap to any girl.

WIFE:

Ssh! Here comes the second act.

HOST:

Robert Montgomery, Janet Gaynor, Lionel Stander, and May Robson continue in "A Star Is Born."

MUSIC:

INTRODUCTION ... THEN BEHIND HOST--

HOST:

A few hours have passed since Norman Maine left Esther at her doorstep. It's four o'clock in the morning. In the bedroom of Oliver Niles' home, the telephone jangles wildly.

SOUND:

PHONE RINGS

HOST:

Niles, half asleep, gropes blindly for the receiver.

SOUND:

PHONE RINGS TWICE ... RECEIVER UP ... NORMAN'S VOICE ON FILTER

NILES:

(YAWNS) Hello? Hello?

NORMAN:

Hello? This Oliver Niles?

NILES:

(YAWNS) Yes, yes, this is Oliver Niles.

NORMAN:

This is Norman.

NILES:

(YAWNS) What is it? Who?

NORMAN:

Norman. Norman-Norman-Norman Maine.

NILES:

Norman? Norman? What have you done now? You're not in jail, are ya?

NORMAN:

Oh, no, no, no. Oliver, I have met a girl.

NILES:

(GROANS) Ohhhh. So - so that's it again.

NORMAN:

Oliver, this girl-- This--

NILES:

(YAWNS)

NORMAN:

She's beautiful.

NILES:

Yeah, she's beautiful, yeah. Yes, I know. You want me to give her a screen test.

NORMAN:

Oliver, this girl has wonderful possibilities!

NILES:

(YAWNS)

NORMAN:

She's got something; I know it!

NILES:

You know it. You knew all the others had something, too.

NORMAN:

No, no, no, no, no, I tell you, Oliver, she has that sincerity and honestness-- (GROPING FOR WORDS) Er, that sincerity and honestness--

NILES:

(YAWNS)

NORMAN:

--that makes great actresses. I'm so sure of this girl that I want to do the test with her myself. Tomorrow morning, Oliver!

NILES:

(YAWNS)

NORMAN:

Oliver?!

NILES:

What? What?!

NORMAN:

Tomorrow morning -- screen test.

NILES:

Yes, yes, yes -- anything, anything.

NORMAN:

That's fine, Oliver. I knew you'd appreciate this little tip. I've got another one in the sixth tomorrow. Now, you try and get a little sleep, old man. Good night, Oliver!

NILES:

(YAWNS)

SOUND:

RECEIVER DOWN

MUSIC:

BRIDGE

SOUND:

MOVIE SET BACKGROUND ... CREW CHATTERS AND MURMURS ("Is this light too hard?" "Move that gobo in." "Get that inky spot in," ET CETERA)

BURKE:

(IMPATIENT) All right, all right, this is just a test, gentlemen! Get going!

DANNY:

All set, Mr. Burke!

BURKE:

All right then, let's take it. Ready, Norman?

NORMAN:

(OFF) Ready!

BURKE:

Ready, Miss, er--? What's your name?

ESTHER:

(OFF) Esther Blodgett.

BURKE:

Okay!

NORMAN:

(IN CLOSE, REASSURING) He'll soon know your name, Esther. The whole world's gonna know it.

ESTHER:

But I'm so scared. Maybe I'd better not try it today.

NORMAN:

Oh, come on now, don't be foolish. They all had to go through this -- Crawford, Lombard, Myrna Loy -- and Esther Blodgett.

ESTHER:

All right. I'm ready.

DANNY:

All set, Burke.

BURKE:

Quiet!

DANNY:

Quiet! This is a take!

SOUND:

CREW QUIETS

BURKE:

Roll 'em!

DANNY:

Quiet, everybody!

SOUND:

BUZZ!

SOUND MAN:

(OFF) Speed.

BURKE:

Action!

ESTHER:

(FIERCELY) The last time I saw you was the only time in my life I ever wanted to be a man.

NORMAN:

(DRY) I think I prefer you as a woman.

ESTHER:

Do you know why I wanted to be a man?

NORMAN:

No, why?

SOUND:

ESTHER SMACKS NORMAN IN THE FACE

BURKE:

Cut!

MUSIC:

BRIDGE

NILES:

Just sign right there, Miss Blodgett.

ESTHER:

There, Mr. Niles?

NILES:

That's it. Thank you.

ESTHER:

Thank you, Mr. Niles.

NILES:

I may as well tell you that my whole organization thinks I've gone a little nuts to sign you. Maybe they're right.

ESTHER:

(SIMPLY) I hope they aren't.

NILES:

Well, we won't know either way for a while, will we? (CONSIDERS) You look like a nice girl. I think I'm gonna like you. (CLEARS THROAT, CHANGES TONE) That's not important. I think the public will like you; that is important.

ESTHER:

(SIMPLY) I know it is.

NILES:

We're going to change your name, of course. Esther Blodgett is-- Well, you understand. From now on your name is Lester. Vicki Lester.

ESTHER:

(SLOWLY) Vicki Lester. Vicki Lester. Why, it-- Why, it's beautiful.

MUSIC:

BRIEF FAST BIPPETY-BIPPETY-BIPPETY TRANSITION, WHICH CUTS TO--

SOUND:

BRIEF FAST BIPPETY-BIPPETY-BIPPETY OF TELEGRAPH KEY (A LA WALTER WINCHELL'S SIGNATURE) ... OUT WITH--

BILLIE:

Good evening, everybody, this is Billie Moon -- your own Billie, the Hollywood Star-Chaser! Flash! Oliver Niles' studio discovers a new starlet -- a Cinderella of the Rockies! Her name is Vicki Lester! Those who have peeked tell me she couldn't be more de-voon. She's putting in her training period now, and in a few months we may get a look at those fair features. The best of luck to Vicki Lester from her future fans!

MUSIC:

VERY BRIEF BIPPETY-BIPPETY-BIPPETY FOR PUNCTUATION ... THEN OUT FOR--

SOUND:

BUSY STUDIO COMMISSARY BACKGROUND ... EXTRAS MURMUR, DISHES CLATTER, ET CETERA

DANNY:

Listen, you dress people! We're shooting on the set this morning, not in the commissary! (MOVING OFF) Shake it up, shake it up!

NORMAN:

(ONLY SLIGHTLY HUNG OVER) Morning, Mabel.

MABEL:

Good morning, Mr. Maine. What'll it be this morning?

NORMAN:

Oh, the usual, Mabel.

MABEL:

(CALLS) Orange juice and bicarbonate of soda!

NORMAN:

Make it two bicarbs, will you? It was a very successful party last night.

ESTHER:

(SLIGHTLY OFF, STIFFLY POLITE) Acme Trucking Company -- no, Mr. Smith is not in. (MORE VIVACIOUS AND NASAL) Hello, Acme Trucking Company -- no, Mr. Smith's not in.

NORMAN:

(TO MABEL) What goes on over there?

MABEL:

(WITH AN EYE-ROLL) Vicki Lester. She's rehearsin' again.

NORMAN:

(MOVING OFF) Bring that stuff over to her table, will ya?

ESTHER:

(IN CLOSE, WITH PEAR-SHAPED TONES) Acme Trucking Company -- no, Mr. Smith is not in. (LOW CLASS DAME) Hello, Acme -- naw, Smith ain't in. (ANOTHER TONE) Acme Trucking Company--

NORMAN:

(CASUAL) I'd like to speak to Mr. Smith.

ESTHER:

(AUTOMATICALLY) Mr. Smith is not-- (AMUSED) Oh, Norman--!

NORMAN:

What's this between you and Smith?

ESTHER:

(QUIETLY PROUD) I've got a part. It's one line, but it's in a picture.

NORMAN:

Oh, so it's ambition that made you break that date with me last night, eh?

ESTHER:

Well, I had to be here so early this morning--

NORMAN:

(INTERRUPTS) Yeah, so did I. I had to stay up all night to make it, too.

ESTHER:

You've started your picture, haven't you?

NORMAN:

No, we're still in the testing stage. Can't seem to find a girl for the lead.

ESTHER:

Gee, you'd think with all the girls there are--

NORMAN:

(INTERRUPTS) Yeah, but this girl's got to be different. She's got to be little, and cute, and sweet, and-- (REALIZES) Well, blow me down.

ESTHER:

What?

NORMAN:

Well, close these tired old eyes!

ESTHER:

Norman, what's the matter?

NORMAN:

Come on! Hurry up!

ESTHER:

Where are we going?

NORMAN:

Oliver Niles' office! On the run!

SOUND:

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

NORMAN:

I tell you, Oliver, it's surefire! You've gone through the whole casting directory, haven't you?

ESTHER:

I'll work day and night, Mr. Niles!

NORMAN:

And I'll work with her, Oliver!

ESTHER:

I can be mean or nasty or anything you want, Mr. Niles!

NORMAN:

If she clicks, Oliver, you've got a star overnight. (BEAT) Well, what do you say?

NILES:

(SIMPLY) Okay, she's in.

ESTHER:

(GASPS, SWOONS)

NILES:

Esther!

SOUND:

ESTHER SLUMPS

NORMAN:

She's fainted!

MUSIC:

BRIDGE .. ENDS WITH A BRIEF FAST BIPPETY-BIPPETY-BIPPETY, WHICH CUTS TO--

SOUND:

BRIEF FAST BIPPETY-BIPPETY-BIPPETY OF TELEGRAPH KEY ... TO HERALD BILLIE AGAIN ... OUT WITH--

BILLIE:

And just as your Star-Chaser predicted on this program some months ago, little Vicki Lester has made good. Just how good was known early this evening after the preview of her first picture in which she plays a featured role opposite Norman Maine. Norman may be starred, but he is decidedly not the "main" attraction.

MUSIC:

BRIEF BIPPETY-BIPPETY-BIPPETY FOR PUNCTUATION ... THEN ORCHESTRA AT PARTY PLAYS A SWEET DANCE TUNE (HARRY REVEL & MACK GORDON'S 1937 SONG "AFRAID TO DREAM") ... CONTINUES IN BG

SOUND:

BRIEF MURMUR OF PARTY CROWD ... A DOOR CLOSES, SHUTTING OUT THE CROWD

NORMAN:

It's cooler out here. (BEAT) You see those lights, Esther, down there? That's Hollywood.

ESTHER:

It's wonderful, isn't it? A crazy quilt.

NORMAN:

No. No, that's a carpet spread for you. It's yours from now on, you know. It's come, Esther -- a star is born. You'll have everything in the world you want, and I hope it'll make you happy.

ESTHER:

Hasn't it you?

NORMAN:

Well, there's one thing I've never had. Lots of times I've told myself I'd found it, but I always knew I was lying. Still, I never stop looking for it.

ESTHER:

Maybe it'll come.

NORMAN:

I think it has come, Esther. And I wish it weren't too late.

ESTHER:

Oh, but it's not too late.

NORMAN:

You can't throw away your life the way I've thrown away mine -- and have anything left that's good enough -- now.

ESTHER:

You can. Norman, you can.

NORMAN:

No, you mustn't tell me that, Esther. I'm so afraid I'll believe it.

ESTHER:

I want to, Norman. I want you to believe it, because - I love you, too.

MUSIC:

UP AND FADES OUT

SOUND:

TRANSITIONAL PAUSE ... SCENE FADES IN

NILES:

I don't know, folks. Maybe I'm not thinking fast this morning. What are you two trying to say?

NORMAN:

Just this, Oliver. We're going to get married.

NILES:

You're going to what?

NORMAN:

(TO ESTHER) I guess I didn't read that line very well. I'll try it again. (TO NILES) We're going to get married.

ESTHER:

Both of us.

NORMAN:

To each other. What do you think of that?

NILES:

When? Where?

NORMAN:

Well, we're going to elope -- in the conventional manner.

ESTHER:

What's the matter, Mr. Niles?

NORMAN:

He's trying to decide whether it's good for the studio.

ESTHER:

(EAGERLY) Is it?

NILES:

(DECISIVELY) It is. And bless you, my children. When's it gonna happen?

NORMAN:

Well, we thought we'd just sneak out sometime.

NILES:

Sure, sure, but you mustn't hurt people's feelings. Matt Libby, for instance. He has a very sensitive nature. He'd feel offended if he didn't have a chance to congratulate you.

SOUND:

BUZZ! OF INTERCOM

NILES:

Get Libby in!

SECRETARY:

(FILTER, EXASPERATED) I've been trying to keep him out!

SOUND:

OFFICE DOOR OPENS

LIBBY:

(ENTHUSIASTIC) Listen to this! "The screen's ideal romance blossomed into breathtaking reality today when Vicki Lester and Norman Maine, America's dream lovers, slipped quietly through the portals of holy matrimony." (TO NORMAN) How does that sound?

NORMAN:

Horrible.

ESTHER:

But you see, we're going to elope.

LIBBY:

(BRISKLY) Sure you are! It'll be the biggest elopement this town ever saw! We'll get a tie-up with the army. I'll have you escorted all the way down to Yuma, Arizona by twenty of their new bombing planes. From there you can make personal appearances in Denver, Salt Lake, Seattle-- (INSPIRED) Vancouver! Let's make this thing international!

ESTHER:

(WORRIED) Norman, is he going with us?

LIBBY:

Say, Niles, don't you think we can work this thing out better alone? No use bothering the happy couple with all these details.

NORMAN:

(DRY) Oh, I'm so sorry. We didn't realize we were in the way. While you're settling the details, you don't mind if I go out and buy this woman a ring, do you?

LIBBY:

Sure, go ahead! We want everything legal.

NORMAN:

(MOVING OFF) Come on, honey. See you later, Oliver.

SOUND:

OFFICE DOOR CLOSES

LIBBY:

(SOUR) There's a charming couple for ya -- a nice girl like Vicki and public nuisance number one.

NILES:

(ANNOYED, SHARPLY) Norman's all right, Libby. If you'll pardon my pointing, Vicki's business is her own. It doesn't require any comments.

LIBBY:

I didn't comment; I just said it's a rotten shame.

NILES:

(CURT) You go ahead and plan the elopement.

LIBBY:

What's the matter? You sore or something about this elopement?

NILES:

(TROUBLED) No, no, no, I'm not sore. Go on, Libby, beat it. I'm busy.

MUSIC:

BRIDGE ... QUOTES "HERE COMES THE BRIDE" ... THEN BRIEF FAST BIPPETY-BIPPETY-BIPPETY, WHICH CUTS TO--

SOUND:

BILLIE'S BRIEF FAST BIPPETY-BIPPETY-BIPPETY TELEGRAPH KEY ... OUT WITH--

BILLIE:

And here's the Hollywood question mark for this week, folks. What famous star -- since his marriage to another famous star -- has turned over a brand new leaf and is now taking a non-alcoholic honeymoon? But why do his friends think his bride came about six performances too late as far as the public is concerned? Because the star's last six performances have been what is politely known as "turkeys" -- box office flop-olas! Yes sir, folks -- it was a gay life and a short one.

MUSIC:

BIPPETY-BIPPETY-BIPPETY FOR PUNCTUATION ... THEN OUT

ESTHER:

But, Norman, I just can't believe it. Would you mind telling me again very slowly?

NORMAN:

(CHUCKLES) That's your new house. This is your new grass. And those are your new trees and here's your new husband. Now, come on, the garden's been waiting long enough for you.

SOUND:

THEIR STEPS, BRIEFLY IN BG

NORMAN:

Do you like it?

ESTHER:

It's the most wonderful surprise anybody ever had. (CHUCKLES) And there I was, thinking we were going to live in the beach house.

NORMAN:

Oh, we'll keep the house at the beach. But this is special. This is our castle -- where we'll never use ugly words like "contracts" and "pictures" and "careers." When we come in those gates, we'll check the studio outside.

ESTHER:

(LOVINGLY) Oh, Norman--

LIBBY:

(OFF) Hey, hold that pose!

SOUND:

CLICK! OF CAMERA SHUTTER

LIBBY:

(OFF) That's it. Get it, Otto?

OTTO:

(OFF) Got it.

LIBBY:

(APPROACHES) Caption: "Their honeymoon never ends." (TO NORMAN) How are ya?

NORMAN:

(LIGHTLY) Well, this is a surprise, Libby -- and a very unpleasant one.

LIBBY:

Oh, just dropped over to welcome you home. How are ya, Mrs. Maine?

ESTHER:

Fine, thanks. Hello, Otto.

OTTO:

Hello, Miss Lester. Hiya, Norman. Nice little place you got here. Very tasty.

NORMAN:

Otto, if you didn't like it, we'd sell it.

OTTO:

(CHUCKLES)

LIBBY:

All right, let's get some pictures. Now, if the bride'll just sit here and the groom stand behind her, we'll have something unique. (BEAT) Swell. All right, Otto.

SOUND:

CLICK! OF CAMERA SHUTTER

LIBBY:

Caption: "Their honeymoon still continues."

NILES:

(APPROACHES) Hello!

NORMAN:

Ah, the producer. Their honeymoon ceases abruptly. Hello, Oliver.

NILES:

Hello, Norman. Glad you're back. (WARMLY) Hello, Vicki.

ESTHER:

Hello, Oliver.

NILES:

Am I interrupting?

NORMAN:

Yes, thank you.

LIBBY:

Oh, we just want a couple more.

OTTO:

Well, that's enough of both of them. (CAREFULLY) Er, what they're asking for is exclusives of Miss Lester alone.

NORMAN:

(REALIZES HE'S NOT WANTED) Oh, I see. (DRY, TO NILES) Come on, Oliver, let's you and I get exclusive.

NILES:

(CHUCKLES) Sure.

ESTHER:

Stay for dinner, Oliver.

SOUND:

NORMAN AND NILES' STEPS AWAY, IN BG

OTTO:

All right now, Miss Lester, we'll take one of you-- (FADES OFF)

SOUND:

NORMAN AND NILES' STEPS OUT BEHIND--

NORMAN:

Well, Oliver, what's on your mind? How's the dividend situation?

NILES:

Oh, very pleasant. I think we'll show two million on the next quarter.

NORMAN:

(RUEFUL) Oh, boy. That was a smart move of mine to sell my stock, wasn't it? Well, anyway you can thank me for some of those dividends of yours.

NILES:

(NONCOMMITTAL) Mmm.

NORMAN:

(SURPRISED) Well, can't you?

NILES:

(TOO HASTILY) Oh, sure, sure, sure.

NORMAN:

(SHREWDLY) That was a little too quick. "The Enchanted Hour" was a smash hit, wasn't it?

NILES:

(AGREES) Made Vicki a star overnight.

NORMAN:

Yes, and it should have. What about me?

NILES:

Mmm-- Er, let's wait and talk business at the office, Norman, hm?

NORMAN:

(BEAT) Didn't they like me?

NILES:

(CAREFULLY) Well, maybe the part wasn't just right.

NORMAN:

It was the best part of the year. Now, look here, Oliver. Do you--? Do you think I'm slipping?

NILES:

Norman, can you take it?

NORMAN:

(BEAT) Go ahead.

NILES:

The tense is wrong, Norman. You're not slipping. You've slipped.

NORMAN:

(QUIETLY DEFENSIVE) Well, my fan mail's still pretty big.

NILES:

Norman, Norman -- fans'll write anybody for a photograph. It only costs three cents for the stamp. That makes photographs cheaper than wallpaper. But every quarter they pay for a theater ticket buys them the right to be a critic. And your last few performances, Norman, haven't pleased your critics.

NORMAN:

(IT SINKS IN) Oh. (WITHOUT CONVICTION) Remember I told you I'd be ready for the curtains when the time came? Well, here it is. Let's call off the contract -- and no hard feelings.

NILES:

Oh, we're not quitting yet. Either of us. There's no explaining these things. We've all seen how quick the public turns. Well, maybe we can turn it back. I've got a swell script lined up for you.

NORMAN:

Oh, about Esther -- if you think I'm going to get in her way--

NILES:

(INTERRUPTS, LIGHTLY) Well, as a matter of fact, as it happens, there isn't anything for her in this story. I'd more or less planned to star her in a picture of her own. Maybe with that, er, young Pemberton opposite her. He's coming along very nicely.

NORMAN:

(A LITTLE GRIM) Good for young Pemberton. (RESIGNED) All right, Oliver. We'll make a try at it. And let's hope it's not too late.

NILES:

(QUIETLY) Yes, Norman. Let's hope it's not too late.

MUSIC:

SECOND ACT CURTAIN

SOUND:

APPLAUSE ... THEN IN BG

ANNOUNCER:

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

SOUND:

APPLAUSE FILLS THE PAUSE ... THEN OUT FOR--

HOST:

It's been our custom between the acts of our plays to bring you little glimpses of Hollywood, to give you a view of film activities from backstage. We continue that custom with a word from John LeRoy Johnston, western manager of Fawcett Publications and managing editor of Screen Book and Hollywood magazines. The last time we met, he interviewed me. Tonight, with the tables turned, I'll drop my first question by asking Mr. Johnston what he'd like to be interviewed about.

JOHNSTON:

Well, Mr. DeMille, that's easy. After all, the product that makes this program possible is Lux Toilet Soap. There's a commodity that's dedicated to charm and beauty as evidenced by its tremendous popularity among the screen's most attractive women. From what I've found out myself visiting the stars, and from what our writers tell me, Lux Toilet Soap has no more enthusiastic boosters than the biggest names in Hollywood.

HOST:

I still would like to know the subject of our interview.

JOHNSTON:

Well, I'd like to express a few of my views on beauty, or rather on the most beautiful women of motion pictures in twenty years. They say a fool walks in where angels fear to tread, so here I am, a perfect casting job.

HOST:

What's the basis of your choice? The best subjects for your magazine covers?

JOHNSTON:

No. Magazine covers are chosen to acknowledge the popularity of certain established or rising young players. I'm guiding _contents_self by what strikes me as being the typical American conception of beauty. By this I mean normal, charming, finely chiseled features; clear expressive eyes; intelligence, poise-- Well, to be brief and honest -- loveliness.

HOST:

Which predominates in your list? The old-fashioned type of yesterday or the athletic girl of today?

JOHNSTON:

Frankly, I don't believe the American ideal of real beauty has or will ever change. I think every man admires the lovely dainty feminine woman. If she's truly beautiful, she'll look beautiful in crinolines or slacks. So, from the silent days onward, here's my all-American team -- selections representing every section of the continent: Alice Joyce, Corinne Griffith, Clara Kimball Young, Billie Dove, Mary Nolan, Joan Crawford, Janet Gaynor, Jeanette MacDonald, Dolores Del Rio, Norma Shearer, and Madeleine Carroll. And for a second team I'd say: Ann Harding, Carole Lombard, Joan Bennett, Anita Louise, Madge Bellamy, Virginia Bruce, Mary Astor, Gloria Stuart, Olivia de Havilland, Mary Bryan, and Marla Shelton.

HOST:

Offhand, I can't say whether or not I agree with your choice, Mr. Johnston, but I wish I could have all your all-American beauties in one picture.

JOHNSTON:

And I wish you'd provide a police escort so that I can sneak out of here before folks start throwing things.

HOST:

(CHUCKLES)

JOHNSTON:

I'm on my way.

HOST:

Good night.

SOUND:

APPLAUSE

HOST:

Back to Robert Montgomery, Janet Gaynor, Lionel Stander, and May Robson in "A Star Is Born."

MUSIC:

INTRODUCTION ... THEN BEHIND HOST--

HOST:

One year has passed. As Esther rose steadily in public favor, Norman dropped just as steadily into oblivion. At his own request, his contract was canceled and he began to devote his time to making Esther happy. But she was busy at the studio, shaping a career such as he had thrown away. And, left to himself, Norman slipped gradually back into his old ways. It's the night of the Academy Award dinner. At a table in the corner, Esther and Oliver Niles wait anxiously for Norman to arrive. The master of ceremonies is speaking.

M. C.:

(SLIGHTLY OFF, SLIGHT ECHO) We have already applauded -- with our hearts as well as our hands -- while awards have been given to those gentlemen-- (CONTINUES INDECIPHERABLY IN BG) [--who during the past year have rendered the most distinguished service to the motion picture industry.]

ESTHER:

(CONCERNED) I wish Norman would come. Do you suppose anything's happened to him?

NILES:

Why, of course not. He's just been held up in traffic. Now, you think about that nice statuette you're gonna get. Go on, listen.

M. C.:

[Now we pay honor to the ladies] --or rather to one lady. We present to her the Academy Award for the finest performance of the year, the unforgettable Anna in "Dream Without End" -- Miss Vicki Lester!

SOUND:

CROWD APPLAUDS ... THEN IN BG

NILES:

Go on. Go on, Esther, get your award.

ESTHER:

I wish Norman were here.

M. C.:

(BECKONS) Miss Lester, if you please.

ESTHER:

Thank you.

M. C.:

What more can I say, Miss Lester? This statuette says it for all of us.

SOUND:

APPLAUSE OUT

ESTHER:

Ladies and gentlemen, when something like this happens to you, and you try to tell how you feel about it, you find that out of all the words in the world there are only two that really mean anything. Thank you. All I can do is say them to you from my heart. All I can do is tell you that I'll keep--

NORMAN:

(INTERRUPTS, APPROACHES WHILE CLAPPING AND CHEERING, VERY DRUNK) 'Rayyyyyy! 'Ray!

SOUND:

AUDIENCE REACTS WITH CONSTERNATION ... CONTINUES IN BG

ESTHER:

(QUIETLY SURPRISED) Norman--!

NORMAN:

That was a very pretty speech, my dear, and I want to be the first to congratulate you on that valuable little piece of bric-a-brac. And now I want to make a speech. Gentlemen of the academy and fellow suckers, I got one of those once for the best performance once. It don't mean a thing! People get'em every year! What I want's a special award!

ESTHER:

(QUIETLY WORRIED) Norman, please--

NORMAN:

Something nobody else can get! I want a statuette for the worst performance of the year. I want three statuettes for the three worst performances of the year! I earned them and everybody that saw those last masterpieces of mine knows I've earned 'em. What I'm here to find out is: do I get 'em or do I get 'em? Answer me yes or no.

M. C.:

(TO BAND) Music, quick.

NORMAN:

Answer me yes or no!

MUSIC:

BAND PLAYS A LIGHT DANCE TUNE ... CONTINUES IN BG

SOUND:

THE MURMURING AUDIENCE QUIETS A LITTLE AND STARTS DANCING, IN BG

ESTHER:

(QUIETLY) Norman--

NILES:

All right, Esther. All right, I've got him. Come on, Norman. Come over to the table.

NORMAN:

(DAZED) Huh?

ANITA:

(DANCING PAST, MOCKINGLY) Oh, hello, Vicki dear! Allow me to congratulate you! You must be terribly proud and happy tonight.

ESTHER:

(QUIETLY) Thank you. (WORRIED, TO NORMAN) Norman dear--

NORMAN:

(REALIZES WITH HORROR) Oh, god. What have I--? Somebody give me a drink.

MUSIC:

BAND'S TUNE SEGUES TO QUICK ACCENT AND TRANSITION

SOUND:

KNOCKING ON DOOR

ESTHER:

Who is it?

NILES:

(BEHIND DOOR) Oliver Niles, darling!

ESTHER:

Oliver! Come in!

SOUND:

DOOR OPENS

NILES:

(LAUGHS MERRILY) How are you, Esther?

ESTHER:

Oh, Oliver, I've missed you! Everybody's missed you. Sit down. Did you have a nice trip?

NILES:

Well, a three-month's tour over the theater circuit scarcely comes under the head of pleasure. By the way, they're screaming for your pictures all across the country. Miss Lester, if I may talk shop, you're a knockout.

ESTHER:

Thank you. That's good to hear.

NILES:

(BEAT, GENTLY) You've been crying.

ESTHER:

A little.

NILES:

Why?

ESTHER:

(UNCONVINCING) Why, I - I guess maybe I'm a little worried about this next picture.

NILES:

Oho, you needn't be. I've seen the first week's work. You're headed for another Academy Award this year. How's Norman?

ESTHER:

He's-- Well, he's trying awfully hard, Oliver.

NILES:

Has he been--? Is he all right?

ESTHER:

He's gone to a sanatorium. You see, he really wants to stop drinking. And I think he could, only--

NILES:

Well, perhaps if he were going to work again, it'd be some encouragement.

ESTHER:

Oliver, could you--? Could you do that?

NILES:

Hm! I might be able to manage it.

ESTHER:

Oh, thank you. But he mustn't ever know I told you.

NILES:

He won't know, Vicki. And you mustn't worry. I want you to be good in this picture.

ESTHER:

I'll try, Oliver. That's the least I can do for you.

MUSIC:

FAST BRIEF BIPPETY-BIPPETY-BIPPETY, CUT OFF BY--

SOUND:

BILLIE'S BIPPETY-BIPPETY-BIPPETY TELEGRAPH KEY

BILLIE:

And one more for the book, folks! What star -- recently released from a sanatorium where he underwent a "rest cure," hmm? -- is now hanging around the Santa Anita racetrack while he gets into shape for a comeback? Your guess is as good as mine -- and mine's no guess.

MUSIC:

BIPPETY-BIPPETY-BIPPETY FOR PUNCTUATION ... THEN OUT

SOUND:

RACETRACK BAR BACKGROUND ... CROWD MURMURS ("What d'ya pick for the fourth today?" ET CETERA)

NORMAN:

Hello, Charlie.

CHARLIE:

Well, hello, Mr. Maine. Haven't seen you in a long time.

NORMAN:

(CHUCKLES) No, I - I've been resting. Ginger ale, please.

CHARLIE:

Ginger ale and what?

NORMAN:

Ginger ale and ginger ale.

CHARLIE:

Hmm, a new leaf?

NORMAN:

A whole new book. Thanks.

LIBBY:

(APPROACHES) Shake it up, Charlie.

NORMAN:

Hello, Libby.

LIBBY:

Why, it's Mr. America of yesteryear! Do they let you wander around now without a keeper?

NORMAN:

(CHUCKLE) Oh, I'm a trusty now. Didn't expect to find you here at Santa Anita. What do they do with the actors when you're away?

LIBBY:

Oh, they cut 'em in slices and fry 'em with eggs. I suppose you'll be here all the time, now that you've retired from the hurly-burly of the silver screen.

NORMAN:

Well, we're staying down at the beach house now and it's pretty lonesome with Esther away working all day.

LIBBY:

I wouldn't squawk about that if I were you. It's nice somebody in the family's making a living.

NORMAN:

Say, go a little slow, Libby. I don't want to forget we're friends.

LIBBY:

Friends, my eye! Listen, I got you out of your jams because it was my job, not because I was your friend. I don't like you. I never did like you. Nothing made me happier than to see all those cute little pranks of yours catch up with ya and land you on your celebrated face.

NORMAN:

Pretty work, Libby. Always wait until they're down and then kick 'em, eh?

LIBBY:

Say, listen. You've fixed yourself nice and comfortable. You can live off your wife now. She'll buy the drinks and put up with you even if nobody else will.

NORMAN:

Why, you--!

SOUND:

NORMAN HITS LIBBY ... LIBBY HITS NORMAN HARDER ... NORMAN FALLS TO FLOOR ... CROWD REACTS

LIBBY:

Take a swing at me, will you? Get up, you four-star ham, and I'll knock you down for keeps!

SOUND:

CROWD REACTS ("Eh, throw him out!" "Get up! Get up and get out of here!" "Throw him out!")

LIBBY:

Don't bother to throw him out. He's harmless.

OFFICER:

Well, all right, Mr. Libby, if you say so.

LIBBY:

Sure, let him go. What can he do? He can't fight any better than he can act.

SOUND:

CROWD LAUGHS

MUSIC:

BUGLE ANNOUNCING THE NEXT RACE

VOICE:

(ON PUBLIC ADDRESS SYSTEM) Next race coming to the--

SOUND:

MURMURING CROWD DISPERSES TO WATCH THE RACE

CHARLIE:

(PAUSE) You okay, Maine?

NORMAN:

(SLOW AND BITTER) Yeah. Yeah, I'm okay. Give me a Scotch -- double.

MUSIC:

GRIM TRANSITION

NILES:

(GENTLY) Vicki, Vicki, you'll be ill. Why don't you try and get a little sleep?

ESTHER:

But he's been gone four days! Four days and not a word!

SOUND:

PHONE RINGS

ESTHER:

Oliver, I can't. I just can't. Will you?

NILES:

Surely.

SOUND:

RECEIVER UP

NILES:

(INTO PHONE) Hello? -- No, this is Oliver Niles speaking. -- What? -- Oh, thank heaven! Where? -- In the night court.

SOUND:

RECEIVER DOWN

NILES:

He's all right, Vicki. He isn't hurt. I'll go right down and get him out.

ESTHER:

What is it? What's wrong?

NILES:

He's been arrested on a disorderly conduct charge.

ESTHER:

I'm going with you.

NILES:

Vicki, please. It isn't any place for you. If it gets in the papers--

ESTHER:

(EXPLODES) What do I care about the papers?! Norman's in trouble and I'm going to him!

SOUND:

SCENE FADES OUT ... TRANSITIONAL PAUSE ... FADE IN RUNNING AUTO BRIEFLY ... THEN FADE OUT ... SCENE FADES IN

JUDGE:

(READS) "Alfred Henkel, known as Norman Maine." (UP) Where is he?

NORMAN:

(SOMBER) Here.

JUDGE:

(READS) "Drunk and disorderly. Crashed car into tree. Resisted arrest and injured one of arresting officers." (TO NORMAN) How do you plead?

NORMAN:

Guilty.

JUDGE:

Were you - Norman Maine, the actor?

NORMAN:

Yeah.

JUDGE:

You've come pretty low, haven't you? (BEAT) Ninety days in the city jail.

ESTHER:

Wait, please!

SOUND:

COURTROOM CROWD RECOGNIZES ESTHER AND BRIEFLY MURMURS

ESTHER:

Your honor, I'm his wife.

JUDGE:

Yes, I recognize you, Miss Lester.

ESTHER:

Please, I promise you, judge, this will never happen again. I'll be responsible for him if you'll just - (ALMOST BREAKING) - not send him there.

JUDGE:

Do you realize that this man, when drunk, is obviously a menace to public safety?

ESTHER:

Yes.

JUDGE:

Do you realize, too, the responsibility you would be assuming to the court and to the Commonwealth?

ESTHER:

I do.

JUDGE:

Very well. Sentence suspended. Prisoner remanded to custody of wife. You may take him home, Miss Lester.

SOUND:

COURTROOM CROWD MURMURS APPROVAL ... COURTROOM DOOR CLOSES, SHUTTING OUT CROWD AS ESTHER AND NORMAN EXIT

ESTHER:

Norman? Norman, are you all right, dear?

NORMAN:

(WEARY) Yeah. I'm so tired, Esther.

MUSIC:

SOMBER BRIDGE

SOUND:

BEDROOM DOOR CLOSES GENTLY

NILES:

How is he, Esther?

ESTHER:

Talk low. He's still asleep in there.

NILES:

Oh. Well, that's the best thing for him.

ESTHER:

Oh, it's awful to see this happen to someone you love, and know in your heart that - it can't get any better.

NILES:

Do you still love him, Vicki? Or do you just feel sorry for him?

ESTHER:

Oh, it's so hard to tell where one leads off and the other begins. I only know that all I can do now is stay with him and try to help him.

NILES:

So will I, Vicki. Between us we'll take care of him.

ESTHER:

You're very fond of him, aren't you, Oliver?

NILES:

I'm very fond of - of both of you.

ESTHER:

That's why I know you'll understand what I have to tell you. And I think that after what happened last night, you already know what it is. I can't do any more pictures. I'm going away for good -- with Norman.

NILES:

But, Vicki, you can't do that. Why, you're at the very peak of your success. You've worked so hard to achieve it.

ESTHER:

Yes, I've worked hard, Oliver, and what difference would that have made - if you and Norman hadn't worked harder to help me?

NILES:

Oh, no. No one can help people to careers. You made your own career -- and it's your life.

ESTHER:

That's what's been wrong, Oliver. I've thought it all out. Maybe if I hadn't been away from him so much, last night, and what went before it, wouldn't have happened. It's too late to think about that now. But it may not be too late to go away with him and start over again somewhere.

NILES:

(A LAST APPEAL) It's your life you're giving up, Vicki.

ESTHER:

(SIMPLY) So I can try to give Norman back his. Can you honestly tell me I'm wrong to do it?

NILES:

No. No, Vicki, I can't honestly tell you that.

ESTHER:

(WITH FINALITY) Then there won't be any more Vicki Lester, Oliver.

NILES:

(LIGHTLY) Goodbye, Vicki Lester. You were a swell girl. (MORE SERIOUS) And good luck, Mrs. Norman Maine.

ESTHER:

Goodbye, Oliver. And thank you.

SOUND:

FRONT DOOR OPENS AND CLOSES AS NILES EXITS

MUSIC:

MOURNFUL, IN BG

SOUND:

BEDROOM DOOR OPENS

ESTHER:

(SURPRISED) Norman!

NORMAN:

(LIGHTLY) This is Maine coming in to apologize again, darling.

ESTHER:

Norman, have you been out there long? Oliver Niles was here.

NORMAN:

Yeah, yes, I know. I - I mean I thought he would be. You're looking sad, darling. What other troubles have you got?

ESTHER:

None. (CHUCKLES) I was just playing a scene with myself.

NORMAN:

(LAUGHS) Now, look -- I'm just coming out of the jitters and you're just going into them. This is a swell household.

ESTHER:

(CHUCKLES) Isn't it?

NORMAN:

I'll tell you what we'll do, I'll promise to brace up if you'll go on the wagon.

ESTHER:

I guess I have been drinking too much.

NORMAN:

You know what I'm gonna do? I'm gonna be an athlete.

ESTHER:

Gee, you mean with great big muscles and everything?

NORMAN:

Roughly speaking, yes.

ESTHER:

Are you going to join the Y.M.C.A.?

NORMAN:

Oh, no, that costs too much. I'm going wading in the Pacific.

ESTHER:

Now?

NORMAN:

Sure.

ESTHER:

You won't go out too far, darling?

NORMAN:

Heh! A little water once in a while wouldn't hurt me any.

ESTHER:

(CHUCKLES) Crazy.

NORMAN:

Well, if you don't mind, I'll be running along. Could you have a hot toddy--? I mean, some hot soup for me when I come back?

ESTHER:

Some hot soup.

NORMAN:

And I'll make the sandwiches.

ESTHER:

(WRY) Norman, do you have to?

NORMAN:

(BEAT, SERIOUS) Give me a kiss, honey. (QUICK BEAT FOR KISS) I'll see you later.

ESTHER:

Don't be long.

NORMAN:

I won't.

SOUND:

FRONT DOOR OPENS ... OCEAN WAVES, OFF, THEN IN BG

NORMAN:

Oh, darling?

ESTHER:

(OFF) Yes?

NORMAN:

Do you mind if I take just one more look?

ESTHER:

(CHUCKLES WARMLY, OFF)

NORMAN:

So long, sweet.

SOUND:

FRONT DOOR CLOSES ... OCEAN WAVES UP BIG FOR A MOMENT ... THEN FADES OUT BEHIND--

MUSIC:

UP ... TOPS THE SCENE ... FOR NORMAN'S SUICIDE ... THEN TENSE, IN BG

SOUND:

OTHER NEWSIES HEARD SHOUTING INDECIPHERABLY IN BG

NEWSIE:

Here ya are! Paper! Norman Maine drowns! Read all about it! Norman Maine drowned at Malibu Beach! Paper! Norman Maine commits suicide!

MUSIC:

UP FOR TRANSITION

MAID:

(A LITTLE EMOTIONAL) Will - will that be all, Miss Lester?

ESTHER:

(EVENLY) Have you packed everything?

MAID:

Yes, ma'am -- the bags, the trunk, everything.

ESTHER:

Have the car brought around, please.

SOUND:

DURING ABOVE, A SMALL CROWD DISTURBANCE, OFF

GRANNY:

(OFF) I tell you, I'm her grandmother!

2ND BUTLER:

(OFF) You can't go in.

SOUND:

CROWD OUT AS DOOR CLOSES

GRANNY:

(APPROACHES) Esther?

ESTHER:

(SURPRISED) Granny! Granny darling! I'm so glad to see you. What made you come?

GRANNY:

Oh, I know when I'm needed. (TO MAID) Here - here, girl, please, please get out, will you? I - I want to talk to my granddaughter.

MAID:

Yes, ma'am.

SOUND:

DOOR OPENS AND CLOSES AS MAID EXITS

GRANNY:

I got here just as quickly as I could.

ESTHER:

But I'm going home. I sent you a wire yesterday.

GRANNY:

Sit down. (BEAT) Now, is it true that you're going to quit the movies?

ESTHER:

(BITTERLY RESOLVED) I never want to hear of them again.

GRANNY:

What are you running away from, child?

ESTHER:

I'm not running away. It's just that - I can't go on. My heart isn't in it any more.

GRANNY:

Do you remember I told you once if you got what you wanted you'd have to give your heart in exchange? And you said you were willing. Do you remember that?

ESTHER:

I remember.

GRANNY:

Well, you got more than you bargained for -- more pain, more success, even more personal happiness -- and maybe more _un_happiness. But you did make a bargain! And now you're whining over it. I wouldn't be very proud of myself if I were you, Esther.

ESTHER:

I'm not, granny, but my mind's made up.

GRANNY:

Oh, well. Then I'm very sorry I lent you that money to come here. It was just thrown away, wasted.

ESTHER:

I know. Oh, I want to be strong, but I can't go on. I can't!

GRANNY:

But you must! Tragedy is the test of courage, Esther. I never knew Norman Maine. He was sweet to me in the letter he wrote when you were married. He said that you told him how much I had meant to you. And I know how much you must have meant to him. I can't believe that wherever he is, Esther, he's very proud knowing that all that his love did for you was to make you - a quitter.

SOUND:

DOOR OPENS

MAID:

The car is ready, Miss Lester. We'll have to go now to make the train.

ESTHER:

(PAUSE) Put the car back in the garage. We're going to stay.

GRANNY:

(INHALES HAPPILY)

ESTHER:

(TEARFUL) Granny!

GRANNY:

(WARMLY) Oh, my Esther, my darling!

MUSIC:

BRIDGE ... A TRIUMPHANT "CALIFORNIA, HERE I COME" ... FADES OUT
BEHIND--

SOUND:

HOLLYWOOD BOULEVARD TRAFFIC BACKGROUND

RADIO ANNCR:

Yes, ladies and gentlemen, it's a great occasion! The entire picture industry has come to the Chinese Theatre for this opening tonight. It has come to pay tribute to a great star on her return to the screen -- the girl who has won the heart of Hollywood, the girl who has won the heart of the world -- Miss Vicki Lester!

SOUND:

CROWD CHEERS

RADIO ANNCR:

And now if I'm not mistaken Miss Lester's car has just driven up. Yes, yes, it is her! I'll see if I can get her to say a few words. Here she comes now. No, wait, she's stopping, folks. (OFF MIKE) What is it, Jim? (BEAT) Oh. (ON MIKE, GENTLY) Ladies and gentlemen, Miss Lester has stopped at the footprints of her late husband Norman Maine. She - she's a little upset. I don't think we're going to get her up here. No, wait now. She's pulling herself together. She seems to be all right, ladies and gentlemen, and she's approaching the microphone now. (CALLS) Oh, Miss Lester? Miss Lester, will you--?

SOUND:

CROWD FALLS SILENT IN ANTICIPATION

RADIO ANNCR:

Miss Lester, this microphone is on an international hook-up. Throughout the world, your fans are hoping you'll say a few words to them. Will you, please?

ESTHER:

Of course. (PAUSE) Hello, everybody! (DELIBERATELY) This is Mrs. Norman Maine.

SOUND:

CROWD CHEERS AND APPLAUDS

MUSIC:

CURTAIN

SOUND:

APPLAUSE

HOST:

For their splendid performances, our thanks to Miss Gaynor and Mr. Montgomery, who will return in a few minutes. (BEAT) It was most appropriate that our play should end with a scene at Grauman's Chinese Theatre. It was there that the most thrilling premieres in Hollywood history have been held. There, also, originated the spectacular stage productions, copied though never equaled the world over. Grauman's Chinese is also famous for the hand and footprints of the stars, recorded in the courtyard of the theater. To make your mark there means lifelong membership in Hollywood's legion of honor. The founder and guiding light of that theater is here tonight -- one of the greatest showmen and best friends that motion pictures have ever had -- Sid Grauman.

SOUND:

APPLAUSE

HOST:

Sid, how did you happen to get that idea of the hand and footprints?

GRAUMAN:

Well, before answering that, Cecil, I'd like to say something you overlooked. That it was your picture, "The King of Kings," that opened the Chinese Theatre. It was a great break for me. Now for your question. The answer is pure accident. I walked right into it. While we were building the theater I accidentally happened to step in some soft concrete, and there it was. So I went to Mary Pickford immediately. Mary put her foot into it.

HOST:

(CHUCKLES) And so became the first to sign your concrete autograph album, eh?

GRAUMAN:

Yes, along with Norma Talmadge and Douglas Fairbanks. But the latest who have done so are William Powell and Myrna Loy, who used to dance in my prologues.

HOST:

While most of us have heard of your theatre and footprints, Sid, few people realize that you've helped scores of players on their way to fame -- like Raquel Torres who started as one of your usherettes, Ramón Novarro, or Jackie Coogan, whom you discovered.

GRAUMAN:

Yes, it's strange how things work out, Cecil. I used to put on Sunday morning concerts in the Million Dollar Theatre in Los Angeles. Before the prologue and picture was shown, a young singer asked me for a job. After hearing him, I said, "You're on, but the price is only ten dollars for the concert." He said he needed the work and if I'd give him six concerts in a row that ten dollars would be all right. I did. His name: Lawrence Tibbett. To this day one of my best friends is Charlie Chaplin. Before he ever appeared on the screen Charlie worked for me on the stage in San Francisco and I gave him a letter of introduction that brought him to the screen. I claim no credit for this. It just happened. And now a little Shirley Temple story. When Shirley came to the theater to leave her footprints she asked me if I'd mind if she took off her shoes and socks. I told her that we couldn't do that because she'd get her feet all full of concrete. As usual she had an answer ready: "We can get some warm water and a towel and I'll wash them very carefully." "But why," I asked, "do you want to make your footprints in bare feet?" "Mr. Grauman," she said, "I just want to be different." Well, Cecil, if I don't stop now, there's no telling when I will. Good luck to you and to this splendid radio theater, which has come to be as much a part of Hollywood as the excellent commodity it represents, Lux Toilet Soap. Thank you.

HOST:

Thank you, Sid. Good night.

SOUND:

APPLAUSE

HOST:

And now -- as the stars they are -- Janet Gaynor and Robert Montgomery.

SOUND:

APPLAUSE

GAYNOR:

I'm glad to be able to take this curtain call, Mr. DeMille, because it gives me a chance to say something that I really want to say as regards "A Star Is Born." Often when a picture is a success, all the credit goes to the individuals who happen to star in it. We're inclined to pass by the off-screen personalities who made that picture possible. To Mr. David O. Selznick, the producer of "A Star Is Born," and Mr. William Wellman who so brilliantly directed it, and all the others who contributed, I am very grateful. But now what about Mr. Montgomery? I hear some talk around town that you're to go east.

MONTGOMERY:

Yes, Montgomery the actor is about to become Montgomery the farmer. I'm going back to farm for a spell.

HOST:

Yes, you told us that some months ago and you haven't reached there yet.

GAYNOR &
MONTGOMERY: (CHUCKLE)

HOST:

I'm beginning to think that your "back to the soil movement" is just a fable.

GAYNOR:

At least it provides Bob with some swell stories about that neighbor of his back there, Zeb Davis.

HOST:

Zeb is on the way to becoming a national character. What's he done lately, Bob?

MONTGOMERY:

Well, Zeb probably won't speak to me for telling this one on him, but here goes. Zeb has a wife who likes to keep him-- Well, shall we say, under control? Not long ago she decided that Zeb ought to get a new car. Zeb couldn't quite figure that out because the one he had was only eleven years old. So he got a new car. Well, the Davises were having a little party one night when Mrs. D. told Zeb to drive to town for some ice cream and to be very careful of the car. It's a sixteen-mile trip and Zeb sort of hit her up on the way back. He was just about to turn up the road to the house when he stepped on the gas instead of the brake. He ran into a ditch, turned over a couple of times, and ended up with the car on top of him and the ice cream in his hand. Couple of the boys ran up and tried to pull him out, but Zeb was stuck. He didn't say a word until the boys started to get the car off him, and then he let loose. "Leave me alone!" he hollered. "Leave me alone and get that ice cream home 'fore it melts! There's enough trouble 'round here as it 'tis!" ...

GAYNOR:

(CHUCKLES)

HOST:

(CHUCKLES) That's very good, Bob. I hope you'll find Zeb completely recovered and with a lot more stories.

GAYNOR:

As you said, Mr. DeMille, this was my first appearance here, but really I felt quite at home, because I'm well acquainted with the product behind this program. I'm happy to say that Lux Toilet Soap has been in my dressing room and in my home, too, for several years. I wouldn't be without it.

HOST:

Thank you, Janet -- and you, too, Bob -- for launching our program in such distinguished fashion.

MONTGOMERY:

Thank you, C. B.

GAYNOR:

Thank you.

MONTGOMERY:

Good night.

GAYNOR:

Good night.

SOUND:

APPLAUSE

ANNOUNCER:

And thank you, Mr. DeMille. Ladies and gentlemen, this is your announcer, Melville Ruick. News of next week's thrilling show comes to you in just a moment from Mr. DeMille.

Assisting in tonight's cast were Lou Merrill as Oliver Niles, Chester Clute as Pop, John Gibson as Danny McGuire, Margaret Brayton as Anita, Edwin Max as Master of Ceremonies, Forrest Taylor as Judge, Frank Nelson as Moon, Lucille Meredith as Maid, Grace Kern as a waitress, Myra Marsh as Miss Phillips, Sidney Newman as Director, James Eagles as Otto, Gil Patric as Police Officer, and Ross Forester as a photographer.

Miss Gaynor and Miss Robson appeared through courtesy of Selznick International Pictures; Mr. Montgomery, Metro-Goldwyn-Mayer; Mr. Stander, Columbia Pictures Corporation; Mr. DeMille, Paramount; and Louis Silvers, 20th Century-Fox, where he was in charge of music for the new film "Wife, Doctor and Nurse." And here is our producer.

HOST:

Not because he happens to be the star of my new film, "The Buccaneer," not because he starred in two of our biggest successes last spring, but because he happens to be, on and off the screen, a citizen of whom Hollywood is most proud, it gives me particular pleasure to announce that next Monday night the Lux Radio Theatre stars Fredric March. And with him, Florence Eldridge, who in private life is Mrs. March. Our play is from the stage and screen success "The Outsider."

MUSIC:

THEME ... THEN IN BG

HOST:

Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Fredric March, Florence Eldridge, and an all-star Hollywood cast in "The Outsider." This is Cecil B. DeMille saying good night to you from Hollywood.

SOUND:

APPLAUSE ... IN BG, UNTIL END

ANNOUNCER:

Heard on tonight's program was "Afraid to Dream" from "You Can't Have Everything." This is the Columbia Broadcasting System.

MUSIC:

OUT