Hollywood, California, the Lux Radio Theater presents Edward Arnold and Anne Shirley in Come and Get It with Walter Brennan, Lou Ayers, Mary Nash, and Maddie Christians. Then, Hollywood, if you enjoy these programs, ladies and gentlemen, remember that they are made possible through your purchases of all products and come to you with a sincere appreciation of our sponsors. I'll play tonight adapted from Edna Furbish's great novel, stars Edward Arnold and Shirley, Walter Brennan, Lou Ayers, Mary Nash, Maddie Christians, and Marion Burns. As a special guest, we present Ms. Helen Rolden, author and columnist, writer of the Merrig Around, the famous and nationally known column on love and merries. Lois Silvers conducts our orchestra. And now, here's our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Many young men sincerely believe that they cannot succeed without a lucky break. And perhaps they're right. But I should like to point out to them the case of Edward Arnold. His break was usually a heartbreak. Arnold was born deep in the New York slums. When he was eight, his father went blind. And his mother died when he was 10. His was the great good fortune to climb out of bed at daybreak to deliver papers and to work for a butcher who paid his weekly salary, not in cash, but in scraps of meat. At the age of 12, he worked 18 hours a day for $14 a week until the bones of his feet gave way, and he had to spend 21 weeks in plaster casts. He went to Columbia University, not to attend classes, but to work in the boiler room of the powerhouse. A welfare organization called the East Side Settlement House started him as an actor. Once in a while, the settlement house made brave attempts to stage Shakespeare. On those occasions, young Mr. Arnold walked off with the honors. He later acted with Robert Mantell, became stage manager for F. Barrymore, and played in films made by the old S&A company. When he returned to the theater, he was so good as a cowboy that no one would cast him as anything else. So he virtually starved to the New York Theatre Guild to give him up. He came to Hollywood in a road company and, as is so often the case, was persuaded to remain. One of our greatest character actors, he hasn't forgotten his lean days. And today is one of our finest citizens. It's a privilege to present him as Barney Glasgow in Come and Get It, the same role he played in Samuel Goldwyn's screen production. Our stage tonight is aglow with stars, as latter, there's Anne Shirley, who delivered such a splendid performance for us recently in Stella Dallas. From the original cast are Walter Brennan, Mary Nash, and Mady Christians. Mr. Brennan, who has just completed a role for me in the Buccaneer, is heard as swan. Ms. Nash is Emmy, Ms. Christians Carrie, and Lou Ares, one of the favorite young men of filmdom, plays Bernie. And now the Lux Radio Theatre presents Edward Arnold in Come and Get It, with Anne Shirley, Walter Brennan, Lou Ares, Mady Christians, and Mary Nash. Here is 1880, and are seen as a lumber camp in the hills of Wisconsin. Near the cookhouse, a small boy beats lustily on an iron triangle, calling the lumberjacks to their five o'clock breakfast. From the road comes Barney Glasgow. He's dressed in city clothes, but his walk is out of a woodsman. He mounts the cookhouse steps and stands beside the charboy, gazing at him with frank amusement. Let me show you how to do that. You gotta put some zing into your mint. Now watch this. Mr., you sure can make that old thing talk. Who did sound like? Up to your old tricks. Once a charboy, always a charboy. Gee, Mr., you was never a charboy, was you? Well, it's nothing to be ashamed of, son. As long as you keep your cookhouse nice and neat, you don't have to call me Mr. Well, there's the boys already. You sure pill them out with that racket, Barney. Hey, who's that? I want to see that, sweet. What are you doing up this way, Barney? Thought you were an office man now. Oh, just looking around? What's the matter? Ain't we cutting enough timber to suit the old man? As it happens, no, not half enough. That's too bad, ain't it? Who's talking, Mr., you or your hangover? What's that? I don't know who you are around here, but I'm Barney Glasgow, and I don't like men drinking on my job. Say a lesson if you think... Get inside, I'll talk to you later. Gee, Mr., I'm sorry.  I'll teach you to splash water on me. Couldn't help it, now take your hands off. Yeah? Take your hands off, bro. Give me a dose of it yourself. When are you starting, mister?  Maybe that'll cool him off a little. Nice job, Barney. He's been listenin' for that for a month. Hey, hey, what's the matter? Break it up. Who's runnin' this camp? Anyway, it's me or you? I am. Hello, Swan. Oh, come and say it's yours, I bet, to see it. Swan, you old bald cat. How've you been?  What happened here? Oh, I just had to put one of your tough boys to sleep for a minute, that's all. Hey, get up, you. Hey, you and the next time you know better than start monkey business at Barney Glasgow. Hey, Barney, what do you mean you runnin' this camp? That's right. You would just made me the boss of the line. Where's we goin' to celebrate, hey, Barney? You bet we will. I'm going to take every man in the camp to town. We sure will. As soon as we get this timber down to the mills. The moment is she'd go up three points this noon. Yeah, that's the south wind. Looks like the spring break up all right. If these figures are mine all right, we've made a record cut, Swan. And we won't leave 10 cents worth of timber behind us when we move out. Bye, golly, Spani. You sure get them to be slave-drivers. Yeah, you gotta be if you're going to get any place. Yeah, you get some place, too. Big boss the whole line now, huh? That's only the beginning, Swan. Maybe you even going to marry Old Man's daughter? What'd you say? What'd you hear about me and Emmy Louise? Ah, you're still one of the timekeepers spoutin'. I guess maybe there's nothing to it. Well, there's no maybe about it. It's a fact, yeah? We're gonna get hitched.  She pretty? Well, she's got a good head on her. I'll say that for her. Then you get them married. Oh, as soon as I get back, maybe. Only before I go, I gotta see that the boys get that little jamboree, I promise. Yeah, if he take care of that, all right? The problems of the scientific world. This is a hand quicker than the eye. All vice-versa is the eye quicker than the hand. Hello, Max. Well, hello, Barney. Feeling lucky this trip? Sure. $5 says the ball is under that shell. Right you are, ladies and gentlemen. Now there are three shell that covers the ball and you win your bet. Try it again, Barney. Well, why not? Can I bet anything I like? Anything you like. Fine. I bet $1, 2, 3, 4, $500. Hey, what? Well, can you cover it? Well, I'll have to ask the boys. Barney, $500. What have you lose? Oh, let me alone. I know what I'm doing. Now come on, boys. Give me a little elbow room around here. We need to move over. Excuse me. Oh, that's all right. I didn't see you standing there. You going to bring me luck? If I do, it'll be the first time. Oh, so you're not lucky, huh? You think I'd be here if I was? I'd say that's OK, Barney. You're OK. Go ahead. Fine. Are you ready, Barney? Let her roll. Barney, you're crazy. Now watch me closely, gentlemen. Finally observe that I wear no mustache to deceive you. There you are. Now, which shell is it under? Well, she's under this one. Oh, is she? Well, pick up the shell and let's see. And none on your life, mister. You pick up the other two shells. Game and you know, that's the way I'm going to play it. You pick up those other two shells, girlie. Let's see if the ball is under them. Sure. Nothing under here. Looks like you win this game. Come on over and sit down. Thanks. Are you always so lucky? Not in a long time. Nothing's so good looking. I wasn't thinking of myself. I was. Come on over. I'll be there in a minute. I've got to sing another number yet. All right. But don't keep us waiting. Come on, boys, the rest of the night is on me. Sid, Sid. What do you want? Want me to get your money back, Sid? I'll give you 100 bucks if you do. All right. Give me something to knock him out with. Sure, here. There's a powder on this cigarette. Wait a little while, and slip it in your drink and switch glasses on him. OK. And I'll see you later for that 100 bucks. Yeah, wait. Wait a little while before you slip it to him. I don't want no trouble. I got it. There you go. Go ahead. I'm already at an age, too, huh? No, she's beautiful. I wonder what she's doing in a place like this. It's getting late. Sid will be ready to close up soon. Yeah. Lara, how long have you been here? Two, three weeks, why? Oh, I just wondered. Where did you come from? Back east. Why? How long since you left home?  You entertain a girl for a couple of hours. You want to know the history of her whole life. What's it to you anyway? Oh, wait a minute. I didn't mean anything. Sit down. Want a cigarette? No, I've got my own. Light? Oh, gee, I knocked over your glass. Well, there's more where that came from. Here, take mine.  No, no, I don't want mine honest. Please take it. All right. Look, Lara, don't get so on. But is there any good reason why you can't pull out of here and go back to your folks? If you must know, there's plenty of reasons. 165 reasons. Just railroad fare, huh? Ain't that enough? You think that kind of money grows on trees? Sometimes. Here, here's enough for railroad fare, a couple of new dresses, and a little something extra to buy present for the old folks. Huh?  Hey, mister, you ain't trying to make a fool out of me, are you? No. I just think you're too fine a girl for a place like this, that's all. It's all velvet. Go on and take it. No. Go on. No, I tell you. What do you think I am?  Too proud to take it, huh?  I ain't fooling. Your crowd's gone. If you think Sid's going to let you pack off that bankroll, you've got another thing coming. That's all I got to say. Oh, go on, Barney. Please, please do what I tell you. All right, but you're coming with us. No. No, I'm not. I'm staying right here where I belong. Yeah, well, then I'm going to stay with you. Here's looking at you, Lotto. Don't drink that. Why? Put that glass down. Why? Put it down. Martha, why you do that?  Because she's just the kind of a girl I thought she was. We're getting out of here now, the three of us. Come on. Hey, can you turn the steam down a little? You want to boil us? Excuse me, fix it now. Finish steambot.  Martha ain't notice tonight. That's what I'm afraid of. Say, isn't she grand? Did you ever see anybody like her, Swann? By yours, it's a funny thing, Barney. I never see you get so crazy about girl before. All in one week, too. When did I ever meet a girl like her before? You like her, huh? Like her? It's more than that, Swann. It's a lot more. She's everything I've always looked for in a woman I never found. She's every woman I've ever met, all in one. You got to be nice to her, Sonny.  Nice to her. Say, haven't I treated her like she was my own sister? Mr. Gruskower. Yeah, why? Man here to see you. Say his name is, uh, Ewitt. The old man. Get me out of here quick. Tell him to meet us in the dressing room. Yes. We'll be with you in a minute. I'll speak to you now. I got to get right back to Chicago. Yeah? Barney, who's that woman you've been running around with up here? You didn't come all the way up here to ask me that, did you? Never mind about that. I heard all about your goings on, and I'm surprised at you, Barney. I think I really am. Well, I don't blame you. I'm a little surprised at myself. Well, as long as you realize it yourself, I won't say anymore. I've got some good news for you, Barney. Congress has passed that bill. They're giving railroads every other section of land along any new right of way. They are, eh? Yes, and if we work fast, we can put your scheme into operation. What scheme? We're going to build a railroad, Swan. 100 miles of useless tracks right through the pine belt. The government will sell us the best pine territory in the state for $1,000 a mile. Come on, Barney. Get into your clothes. We've got to travel. Yeah, that's right. But there's someone I've got to look after first. Now look here, Barney. I thought you were going to be sensible about this woman. But if you're not, that's all I want to know. Now wait a minute, Mr. York. That's no way to talk. Oh, I'm not going to put any pressure on you, Barney. But if you don't drop this whole sickening affair right here and now and come along with me, you're not going to be any son-in-law of mine, much less a partner. Partner? You heard me, I believe. I said partner. Now listen, Barney, you ain't. You keep out of this, Swan. How soon does that train leave? I'll meet you at the station. Good. I'll be waiting. Well, go ahead. Why don't you say something? You tell me not to.  It's stealing, Barney. You ask anybody. I bet your father would say the same thing. I bet he'd say, Barney, you stay in the woods with Swan. You'll be better off. You can't do nothing with money, only spend it. Yeah, sure. And where did it get him?  Large in the big trunks as they came down until one day he slipped. It's a nice finish, isn't it? We all take chances, Barney, that our life. And what about Rother? You should think about her, too. She going to feel pretty bad. Oh, she'll be all right. She'll get over it. Ain't no. Women is funny sometimes. Well, tell her if she ever needs anything, I'll tell her just to let me know. Me tell her? You mean you're not going to see her before you go? I haven't got time, Swan. Well, so long, I'll see you next summer. But Barney, what they tell her? Tell her the truth. I can't do that. I can't.  Barney! Hit me, Lother. Oh, Swan, come in. Where's Barney? He said he'd be ready early tonight. Lother, he? He said if we could polish off this town tonight, we might go up tomorrow and wait to take a wack at Lacroix. Oh, crazy, Barney. Listen, Lother, I got to tell you something about Barney. You ain't no? Sure, I know. He's just on a big spree, and I better not take him too seriously. Isn't that what they tried to tell you? Oh, Swan, I know women have spoiled Barney, but all this ain't anything like that. I knew it the minute I seen him. It was like getting a bang on the nose. For a while, I didn't know it was a matter with me. Oh, he ain't said anything, Swan. He's not the kind.  But if he don't feel the same way I do. Lother, who ain't? Please. What's the matter? Barney, he ain't coming back. What? He gone. He already leave on noon train. You're, you're fool, an anxious one.  He gone, Lother. What fool? What did I do? You ain't do nothing. But that the way Barney is. He always been like that. Work, work all the time. Last year, he's scaling timber for me. Next time I see him, he's my boss. Now, he's sure it's partner. Going up north to steal $100 million. Marry boss's daughter, I ain't know. The boss's daughter. I guess I wasn't good enough for him. Barney going to be big man someday. That all he think about. I would have helped him. I would have worked with him on and done anything. Oh, I don't believe it. He couldn't do it. He couldn't, he couldn't. You mustn't blame Barney, Lother. It ain't his fault. He just liked that, that all. And I know I ain't much, but I'm here, Lother. And maybe I could make you happy if you let me try. Oh, it's swan. Oh, it's swan. Yes. They're waiting for us. I know, swan.  No, Lother. I don't love you. Yeah, I know. You love Barney. But you like me a little bit. You're willing to marry me after I tell you a thing like this. Yeah, sure. I love you, Lother. I got to look after you. And now maybe you give me a little kiss. Yours for luck. A man as good as you are will always have luck, swan. And if you want me as bad as that. They're waiting for us, Lother. All right. I'm ready. They're starting Edward Arnold and Angela. While we're waiting for act two, we want you to go with us to a party. Let's join Dorothy M, a fashion reporter, who is taking in this party with an out-of-town friend. Wait till the folks back home hear about this. I never saw so many famous people in my life. Oh, Dot. Dot, look over there. Who's that? Oh, I've been looking for her. This year's best-dressed New Yorker. Some hat. Oh, Dot, it must be at least a foot high. That's very small this year. See, she's wearing a lame suit to match the hat. And the skirt is much shorter. There's a new fashion note. What? A run in the left stocking. Oh, she must be dying. That happened to me. And at the worst moment. You'll have to learn my rule for cutting down stocking runs. Use luck flakes. Why luck flakes? Why, indeed. Well, for one thing, because it has no harmful alkali. And of course, with luck flakes, there's no rubbing. You know, rubbing stockings with cakes are weakens for threads. I hadn't thought of that, but I suppose it does. But just sowsing them up and down in luck sod saves the elasticity of the thread. Then they stretch without snapping so often. Oh, I've saved an awful lot on stockings by lucking them. You better tell the best-dressed lady about luck. She'd probably be grateful. I might put it in the column tomorrow. Note to a dubiously well-dressed woman get a large package of luck flakes and start lucking your stocking. And it helps cut down those embarrassing runs, which can ruin even the best-dressed woman's appearance. Our producer, Mr. DeMill. We continue with Come and Get It, starring Edward Arnold and Anne Shirley, with Walter Brennan, Lou Ares, Mary Nash, and Mady Christians. Married to old Hewitt's daughter, Barney Glasgow's success was certain. His advancement rapid. He's at the head of the firm now, a perfect type of middle-aged business executive, taken his decisions and sure of his judgment. In the bedroom of his handsomely furnished townhouse, he stands before the mirror, carefully adjusting his tie. Evie, his daughter, enters with a letter in her hand. Morning, Dad. Well, the Gibson girl. Aren't you getting old enough to have your breakfast in bed? None of your gusts, please.  Here's a letter from Swan. Oh, yeah? Open it up and read it. I did already. He says, dear Barney, may Becky Spetter say we go back to work next month if that's all right with you. Maybe you think I'm too old, but they ain't. You come up here, I show you. Make you look sick, cuttin' tree down. You slay Kay always did, they give me. Is that true? Well, I never liked to hurt his ceiling. Go on. Anyway, there's a lot of deer and quail, and I saw some new bear tracks yesterday by the creek, but don't come up on my account. Thanks for nice stone you send for Lotta's grave. Must cost you lots of money. My sister Carrie and young Lotta send their love.  Say hello to your wife and the young ones. They must be getting pretty big now, too. Your friend, Swan Bastrum. Good old Swan.  Oh, gosh, I'd like to, you know. I haven't seen Swan for three or four years, the old polecat. What study said about a stone for Lotta's grave? Well, I sent it up when you went back east for the convention that time. Oh, you did, what for? Well, seeing that you've always let me read Swan's letters to you, it wasn't hard to put two and two together, especially after the look on your face when you got word that Lotta was dead.   What? Honest, you've got more for Prissy lately. You could leave today. Do you good? Well, aren't you having a party tonight? You know I am, and the very thought of it makes you want to cuss. Well, how did you know? Because it makes me feel a little that way, too. Dad, take me with you when you go up to the ridge some time, will you? Sure I will. We'll take a trip all by ourselves. Oh, that'll be wonderful. Let's do it before I marry you. Yeah, sure. Look here, Evie, are you sure you want to marry Orville Bremmer?  You think I'd do it if I didn't want to? No, it has been done. But not you, my dear. Come on. Mother, they are breakfasts ruined. More coffee, Bernie? Oh, thanks, mother. Morning, mother. Morning, Bernie. Bernie, you better be careful how you must up that paper. You know how upset your father gets when it's not fresh.  Frankly, I don't see the slightest connection. It doesn't seem to occur to the richest man in Wisconsin that we might have two morning papers. But that would be silly extravagance. And the reason, Mr. Glass, goes to the richest man in Wisconsin is because he and my father before him knew how to take care of their money. Mother, don't you think your habit of calling father Mr. Glasgow is just a little old fashioned? Perhaps it is, Bernie. But my mother never called my father anything but Mr. Hewitt to his dying day. Never? Never. Good morning. Hello, Dad. Hello, and good morning, dear. Why are you so late? Your breakfast is just. Just ruined, I know. So is the newspaper. Bernie, I've told you a thousand times. What's the matter? I didn't. Have some coffee, dear? Yes, thanks. Here. I see Chapman's are having a sale on down comforters. I have a good notion to run down a Milwaukee with eBay. If it weren't for all the parties. Oh, Emmie, you and Evie will have to count me out for the rest of the week. I've got to go up to Iron Ridge. Iron Ridge? What's wrong? Oh, and business. But Mr. Glasgow, you can. Tonight's Evie's dinner party for Orville and his family. The first one since they've been engaged. I never heard of such a thing. What'll Orville's folks think?  Evie, did you hear what he said? He says he's going up to Iron Ridge. I heard it. I wish I could go with him. A nice spree for a girl to talk is going to be married in two months. If I felt that way, I wouldn't get engaged in the first place, much less married. No. That's an idea. What?  Oh, Orvie's all right. He's a good kid. A good kid? Well, I never. Well, I've got to be off. Got a lot to do before train time. How long will you be gone, Dad? Back of the week, sure. Well, goodbye, Evie. Goodbye. Goodbye, Evie. So long, Dad. Bring me back a bear. What? I mean, come back quick. Did you say bear? Goodbye, Evie. Bye, bye, Evie. Goodbye. Goodbye. You're looking fine, Swan. How's the old back holding up? Pretty good. Yeah, I'm pretty good. You hurt Nate sometimes. We get an old, maybe, huh? Old? Not me. Say, I'm hungry. Where are we going to eat out to camp? Well, no. I got bad news, Barney. The camp she burned down in the middle of the night. What? Oh, that big, full cookie I sent over. He start fired. You mean to say I can't stay at the camp? Why, dog-outed? I only came up here to shoot. Well, I'll go back on number 11 to 9. Oh, Barney, we ain't need no camp. We get this anyway. You stay at my house. No, no, I'm going back on number 11. Oh, Barney, you ain't want her to have that. This first time I see you for years, you got to see my sister Carrie and Young Latter.  Man, that's right. Where is she? Up at hotel. Ain't tell me, Sister Carrie, she got to have fang of breakfast to you. Carrie? Oh, that's so. Carrie's working at the ridge house. Yeah, sure. She had raters. In May, Young Latter, she raters there, too. She is? But she's only a kid. She can't be old enough to wait on a table already. No. Wait till you see Young Latter, Bay Yemini.  I guess you don't remember me. I'm Carrie, Swan's sister. Why, Carrie, hello, hello. Swan said you'd be here, and I'm getting a nice breakfast all ready for you. Oh, that's fine. Have you got any good Swedish food, Carrie? No, not here. But how'd you like to come to Swan's tonight, and I'll get you a good supper? All sweet cooking. No, no, I can't. I'm taking number 11 back tonight. Custom over there wants to see you, Aunt Carrie. Oh, Latter. Latter? Is that Latter? You want me, Aunt Carrie? Yes. This is Mr. Glasgow. Pleased to make your acquaintance, Mr. Glasgow. Latter? Kind of favors her mother, doesn't she? But she's the image of her. Everybody says that, who used to know Mother. You know her, didn't you? Yes, yes. I knew her. Well, I've got to get busy. See you later, Mr. Glasgow. Yes, yes, yes, yes. Sit down, Latter. No, I can't, no. Oh, go ahead, sit down. It's all right. Well? How long have you been working here, Latter? Just a couple of months. Of course, I helped Aunt Carrie off and on ever since I came out of high school in Ashland. I graduated there. Well, well, that's fine, isn't it? Do you like it here? They pay pretty good, but I don't like waiting on table much. Oh, the fellas get too fresh, do they? Not with me, they don't.   No, I wish I was sure of that. Do that again. What? Laugh like that again. Why?  That one on the side is a little crooked. Oh, yes, I ought to. They'll all even accept that one. Well, I'd better get your breakfast. Pa said you're going back on number 11. Who, me? Oh, no, I'm not in such a hurry. I can get it tomorrow or maybe the day after. You're going to stay. Oh, Pa'll be so glad. We'll see you then, won't we? Oh, sure. Sure, you'll see me. Well, what's got into you? Ianing this time of day. I've got to have a clean dress for Mr. Glasgow supper tonight. You put that one on this morning. Two clean dresses a day? Well, why not? Look, Lara, soon's dinner is over this noon. I'm going to beat it right home and get things going. You could often be up there. Time Mr. Glasgow and your pa get there. No, I'll come later. Well, why, for Pete's sake?  And then he waits a while and thinks maybe I'm not coming and then I come. What are you driving at anyway? He likes me. What are you up to, young lady? Nothing, Aunt Carrie. Only if I have to work hard and can't get anywheres until late, Mr. Glasgow would feel sorry for a person, wouldn't he? What are we, dummy? What have he is?  Well, thank you, Miss Marty. And where does Mr. Glasgow come in? Well, he's rich and can do a lot for me if I can just make him think I'm worth helping. You know, he don't think of me just like anyone. I'm Swan Boston's girl and I got looks. I can amount to something and he'll help me. You just wait and see. Oh, no, I won't. You're not going to begin any of your shenanigans at Mr. Glasgow. He's only been nice to us on account of Swan and you know it. I know lots of things, Aunt Carrie. You know how Ma kept after me, always saying she didn't want me to be like other girls. Well, I'm just beginning to see what she meant. That was nice, Lada. You sing that good, huh, Bernie? Just like a Ma. Yeah. Yeah, beautiful. Thanks. Well, you're sometimes, I think, when I look at a singer like that, I think. Bernie, what the matter? What you're looking at, huh? Oh, nothing, nothing, I was just thinking. Let me fill your glass, Lada. Thank you. Well, for Pete's sake, Lada, give me those glasses, Mr. Glasgow.  She isn't going to wait on anybody anymore if I can help it. Huh? What do you mean? Well, girls like her have got no business in a hotel dining room. It's a crime the way those men looked at her this morning. You don't realize it, Swan. She's got to have the right start, and I'm going to help her. Me? Oh, Mr. Glasgow. Well, why not? It's the least I could do for old times' sake. Grandmother, from father, I guess. What does it say? Here, give it to me. Here, Emmy, Swan's back much worse and bringing him down for treatment. Tell Bernie to look for a house. Carrie and young Lada are with us. Love. But Lada, Lada, what's the matter? Didn't you enjoy your dinner? It's the last meat I'll eat in that dining car. Why didn't you tell us we looked like rooms? Well, what are you talking about? You looked all right. Don't lie to me. You were ashamed of us. I could see it, and I could feel it, when all those women gobbling and grinning at our clothes. Listen, Lada, you don't need to worry about what other women think, because you'll always be the most beautiful woman in the room, no matter where you are.  Now, remember that. Carrie, just look at it. It's the most beautiful house I've ever seen. It's heaven. That's what it is. It's almost too good for us. Oh, and Carrie, I didn't know anybody could be so happy. Was there ever such a man as Mr. Glasgow? All he's doing for us were pa. Yeah. He's sending me down into town again tomorrow. Wants me to pick out whatever I want. What do you mean? Close, silly. You've got enough now, Lada. Not to suit him, I haven't. He wants me to be as well-dressed as anybody in this town. Better even. And I will. You can bet on that. Lada, wait. You mustn't do this. Why not? Because you mustn't. There's more to this man than just doing things for pa. He's known pa for years. He never did anything for him before. How is it all going to end, Lada? How do I know? Lada, you. Mr. Glasgow is a married man more than twice your age. What if he is? Nobody in the world has ever been so good to me as he has.  And I'm not going to give it up for you or anyone else. I don't care how it ends. Do you understand that? I don't care. This is the Columbia Broadcasting System. We will continue in a moment with Act 3 of the Lux Radio Theater presentation. Come and get it. As you listened, you heard with recurring persistence the call of a woman to a man when, after 25 years, the image of that woman recreated in her daughter rolls back the years. Our guest in the Lux Radio Theater this evening is known throughout the country as a philosophical thinker on such matters. Her name is Helen Rowland. Her column, The Marigoround, has for the past eight years been distributed by King Feature Syndicate, appearing in nearly 100 newspapers throughout the United States. She speaks to you now from New York City, Ms. Helen Rowland. Thank you, Mr. DeMille. You're very gracious. You know at heart I'm really an incurable romanticist. Believe it or not, my fear is that real love comes only once in a lifetime.  Life, after all, is like a poem. The most important thing about it is not that it should be long, but that it should be beautiful and interesting. And that's what love makes it. I don't believe that a man's heart or a woman's either should curl up like a cat and go fast to sleep after 40. There's no reason why you should not have love, companionship, and romance as long as you live, but seek it with somebody of your own generation, someone who speaks your own language and sings your own song and doesn't expect you to dance the Big Apple when you're only gated to a waltz. You know the real problem nowadays is not how to get a husband, but how to hold on to him after you've got him. To find your mate, that is luck. To know him when you find him, that's inspiration. To win him when you know him, that is art. To hold him when you've won him, that is a life work. I've just been asked if I believe that it's the hand that rocks the cradle which rules the world. Well, that may be true, but it's the hand that keeps itself soft and white and kissable that gets the man. That's one reason why we women owe a vote of thanks to such a marvelous product as Luxe. For the loveliest white hands sometime have to get down to such things as dishwashing.  You know it's far easier to keep a dozen men guessing than to keep one man after he's stopped guessing. And a man always stops guessing about you when you cease to be a polar ornament and have become a kitchen utensil. But all your life long you can have love and romance. It may come in the springtime of life, all fresh and glowing and tender, or it may come in life's Indian summer. But if it's the real thing, it never dies. Because love is not a fleeting infatuation, it is understanding, flavored with sentiment, tenderness, colored with romance, comradeship, sprinkled with stardust. And that combination is immortal. From Hollywood we send our thanks, Miss Rowland. And return now to Edward Arnold and Anne Shirley in Come and Get It with Walter Brennan, Lou Ayres, Mary Nash, and Maddie Christians. As the days pass, Barney devotes more and more time to Lotta, seeing in her the reincarnation of the girl he loved long ago. Carrie's fears take firmer root. And finally in desperation, she goes to Swan and tells him of her suspicions. We've got to go back to Iron Ridge. This is no place for us. Why, Carrie? I'm scared, Swan, scared for Lotta. All these things Mr. Glasko's been doing for us, it isn't for us, it's all for her. I tell you, he's in love with her. He is, Swan. You make big mistake, Carrie. Barney not in love with Lotta. He's still in love with her Ma, that all. But he doesn't know that. And she likes him. Oh, anything might happen. No, no, Carrie. I won't hear such talk. You ain't no Barney Glasko. He's my friend. How do you do? Are you, uh, Lotta Bostrom? Yes. I'm Barney Glasko. Yes, I know. I hope he'll excuse my looks. I'm just making some taffy. Won't you come in? No thanks. Is your father home? I know he is, and he's gone for a walk with Aunt Carrie. Then I'll tell you what I came to say. The Glasko family won't stand for you or any other yellow-haired vampire making a fool out of my father. What? I don't pretend to know how far things have gone. But I stand ready to pay you any reasonable sum to leave town. I'm assuming, of course, that it's money you want.  Now, just a minute.    Stop it.  What's the matter? It's burning. It's burning. What? My taffy, and it's all your fault. But look, I didn't mean to. Don't speak to me now. Just look at that taffy. Just look at it. I'm sorry. Here, let me help you. Let it alone. Don't you touch it. But I am. Don't touch it, I said. You and your big talk coming in here and telling me that. Oh, wait, please. You mustn't get so excited. I can see I've misjudged you and I'm sorry. Really, I am. All right. Never mind that now. If you want to show me really how sorry you are, you can help me clean up this mess. The flower, then the taffy won't stick to them. Oh, I get the idea. Go on, Mr. Glasgow. What were you saying about paper? Oh, yes. Well, the art of papermaking was first used by the Chinese, the ancient Chinese. To them is generally conceded the discovery of the art of papermaking of the sort familiar to us from fibrous matter reduced to pulp. Really? I never knew that. Oh, yes. And there's a Chinese saying, time and patience will change the mulberry leaf into satin. Oh, isn't that beautiful? Most beautiful thing I ever saw. I mean, heard. Go on. Tell me some more about paper. You talk so beautifully. I never knew history was so interesting, Mr. Glasgow. Never seemed so darned interesting before. And please don't call me Mr. Well, you keep calling me Miss Bostrom. All right. Is that a sign you've forgiven me? No, I'll never do that. I'm an awful ass, but honest, I thought you were. A vampire? Yeah. I didn't realize you were so young and kind of innocent and sweet. You'd forgive me if you knew how sorry I am. I forgive you, Bernie. You do? Thanks. Lotta. Ha, ha, ha, ha. When carpet walking up and down like that. Well, where is she? She ought to be home from business school now. I wanted to speak to her about something. Oh, I think maybe it was me you come to see. Well, it's all of you. Well, I like folks to be in once in a while. This isn't the first time either. Bernie, I ain't understand you sometimes.  Well, there she is. Who's that with her?  Come on. Bernie. Oh, hello, Dad. Hello, Mr. Glasgow. What are you doing here, Bernie? Boy, I met Lotta coming from business school. I gave her a lift. I suppose the office couldn't just go hang waiting for you, huh? No. Get back to the office right away. I'll see you there later. All right. So long. So long. Wait, Bernie. I've walked the auto with you. You're late today, Lotta. Don't I know it? Pa'll be yelling for his dinner. Wait a minute. Wait a minute. Don't run away. I've got to help Carrie. Oh, sit down. I want to speak to you. Well? Are you happy, Lotta? Oh, of course I am. That's good. You've done everything for us. I'll never be able to tell you what it's meant to pa. Oh, I didn't know you'd do it for Swan. You were in on this thing, too. I know, and thank you. You're Lotta. Lotta, I want to. Oh, I've just got to start dinner. You'll stay, won't you? Well, if you want me to. You know I do. All right. It's a deal. Swan, what do you think of that? Paper drinking cups. Brand new idea. How do you like them, Lotta? It tastes the same as drinking out of a glass. Yeah, that's what I was thinking. Good idea, Pony. You bet it's a good idea. I'm going to start making them right now. A fella named Tony Schwierke thought of it. A young fella down at the mill. You're Schwierke? Yeah, and I don't say a word about this, but Evie's crazy about him, and it looks like wedding bells, too. Evie? But she's engaged. Yeah, she was, but you don't know Evie. She was never very strong for awful Bremmer, I guess. This Tony Schwierke has a real inside track. He must be all right if Evie likes him. Now, don't tell her soul. Mrs. Glasgow doesn't know a thing about it. Anyway, the point is I'm going to give you a few shares of this stock in this cup here, Swann, and make you do a little work. If it catches on, you'll be independent for life. Oh, Mr. Glasgow. But, Bonnie, I ain't know nothing about paper business. They better stick to timber, then they know where I am. What? Yeah. They think they better go back to A&R. Pa! What are you talking about? Don't you like it down here? Sure we do, but you know, Swann, when it gets lonesome for the woods? You mean you're all going back? Oh, Pa, just what I'm getting along so well at the business calling here. Now, now, Latha, don't get excited. You can go to Renate Ashland in summer just like you did before. Sure. Do you think I'm going back to waiting on tables? Why not?  Oh, now I see. You put him up to this, didn't you? Just because you think someone likes me and I might be happy. Well, I'm not going back to A&R. I'm going to stay here and take what I have a right to. I don't care what anybody says. I'm not afraid. I can look out for it. You heard what she said. Bonnie, you mustn't think Bonnie. Oh, she's right, Swann. You mustn't stand in her way. She's right. A mill hand. And you say you're glad about it. Why not, Emmy? It's just he's just as good as we are. Besides, he's invented a paper cup that may make him a rich man one of these days. And if she marries him, she won't. Not if I can help it. You let her alone. She's not going to make the same mistake you and I did. Mistake? Emmy, I came home tonight and intended to have a talk with you. We should have had it a long time ago. I don't know what you're talking about. I'm talking about a divorce. I want you to get a divorce, Emmy. You're crazy. Why should I give you a divorce? No, no, no, no. You get one. I won't. You're crazy. Are you in love with someone? Is it that girl, Swann? Are you trying to trade an old wife for a new one? Now, listen to me, Louise. You're not happy with me. You married me and are fortunate with me. And I've paid for it for 25 years. And so have you. You? You never cared for me, did you? Answer me. I did you a great wrong marrying you. I never really. No, no, don't say it. Don't say it. I know it's true. I've always known how you felt, but I loved you. From the very first time I set eyes on you, I'm like that yet. Emmy, please don't.  I don't care who Evie marries. If you'll only stay with me, I look like I'm the healthiest thing in the world. Anything you say, only. Only don't leave me. Don't. Emmy, please don't cry. Please don't cry, Emmy. It's late, dear, and you'd better go to bed. We won't talk about this now. We'll wait. We'll wait until after Evie is married. Take this man for your wedded husband. I do. Then I now pronounce you man. Here, Bernie.  Waiting for you. It's a great party, isn't it? You know, the minute I can stand on my own feet, I'd like to give one of these parties myself, for us. Oh, Bernie. Come, dear, I took care of them. Can I bring you anything from Chicago, Mother? Yes. Is this a sale of downed comforters, you might? Oh, never mind. I may not be here. You may not. What? I can't tell you now. I'll see you outside. Come on, Evie. Oh, wait, Dad. Do me one more favor. Sure. Will you find Bernie for me? Tell him I've got to see him. Sure, where is he? I think you might find him with Lata. That's where he usually is, isn't he? What's that? With Lata? I saw them upstairs together in the front room. Oh. Be that soon, Bernie? But it will be. Lata, darling, how did I ever live before you came here? Oh, Bernie, dear. What? What, Dad? What's the matter with you? What are you doing here with her? Lata and I are going to be married.  She's my girl. Don't you believe him, Bernie? It's a lie. It's a lie. As can't carry, as pie is lying. Say you're lying. Say it's a lie, what you just said. I'll show you who's boss around here. Say it's a lie, or I'll beat the daylights out of your father or no father. Bernie, let him go. There I am.  I threw him out. Bernard. That girl. Is that all? Don't you care? No. As long as it isn't you, I thought it was you. Me? Why, Emmy, I'm an old man. Didn't you know that?  Oh, no, Bernard. You couldn't help yourself. I know how it was. You know. And I still love you. I told you that. Emmy, I won't ask your forgiveness. I've got that I know. Just let me forget everything. I'm ready to forget now. And I am too. Everything. That's, that's fine, Emmy. Thank you, Emmy. It's, it's almost time for lunch. Oh, if they'd only all come in now. I'll get them in for you. I'll get them in for you. Bonnie, hey, Bonnie, have you gone to? Bonnie, what's the matter? Oh, nothing. Well, you look like maybe you see ghosts. Swan, where's that, that old triangle? The one I bring you? Yeah. They hang it over here on porch. But, uh, stand by me, Swan. Stay with me. Bonnie, you sure something ain't wrong? Oh, no. I'm old Swan.  I'll send them again shortly. In the meantime, Melville Ruaick has a word. Thank you, Mr. DeMille. We'd like to tell you tonight about Mrs. Richard James of New York City. Mrs. James has been married for almost 10 years and has always done her own work. But her hands don't show it. In fact, they are so beautiful that they have recently been photographed for publication. I'd like you to hear just how Mrs. James keeps her hands lovely in spite of dish washing. Here it is in her own words. Well groomed, attractive hands are important to me, so I won't take chances with a soap that might chap them or make them red. I know Luxe keeps hands lovely. Nine years of dish washing approved it to me. Here's the reason Luxe flakes protect your hands. They contain no harmful alkali to dry the oils of the skin which keep it soft and youthful.  It costs very little, especially if you get the economical, large-sized package of Luxe flakes. I return you to Mr. DeMille. A moment now with Mr. Arnold and Miss Shirley. Here's our microphone. Come and get it. I thought the phrase come and get it refers to eating. Can that be why you and Eddie Arnold are such a study in contrasts. You weigh only a hundred pounds and Eddie, well I'd estimate his displacement at say two hundred and... Two hundred and eighteen pounds exactly, Mr. DeMille. And I guess I'm the only actor out here who doesn't mind having a waistline. When I went to the beach this past summer, hundreds of people used to lie down in my shadow to get out of the sun. Oh come now, that sounds a little exaggerated. Well maybe it is then. But you remember the scene of the play tonight that took place in the steam bath? Yes. In the picture we had a real steam bath and I spent days in it. Walter Brennan kept telling me that it wasn't so bad after all because there I was losing pound after pound getting paid for it. And how many pounds did you lose? Well frankly I gained a couple. But Walter who's a slender is a couple of beanstalks and he lost eleven. Walter come over here. Are you going to stand for being called a couple of beanstalks? Well the studio ain't seemed to mind and if the studio got the yak I'll be the beanstalk anytime and I'm just a fellow that can do it too. That seems to be the mill over there. I'm glad you made infinity. You got him in shape to play a lean Tennessee hillbilly for me and the buccaneer. And don't pay the attention to that Swedish accent of Walter's. He's really Irish. Well CB you showed us all such a good time tonight that there's only one thing I could wish. I hope Etna Ferber who wrote the book, come and get it, is listening in. I've never met Miss Ferber and the nearest I came to it was to hear a talk a few weeks ago to the audience of the Lux Radio Theatre. But I want to thank her for being, well for being such a darn good writer. Thank you all too and good night. Good night everyone. Good night. Mr. Arnold appeared in courtesy of B.T. Schubert. And he played his film as Boston's on Broadway. And Shirley from R.K.O. Studios. Mr. DeMille and Lewey's Paramount. Where the latter just completed Holdham Navy. Louis Silver's is from 20th Century Fox. Already directed music for Second Honeymoon. Come and get it was presented through courtesy of Samuel Goldman, producer of Hurricane. Word of our next show comes to you now from Mr. DeMille. Back by a magnificent record of success on stage and screen. Robert Emmett Sherwood's thrilling drama The Petrified Forest. Comes to the Lux Radio Theatre next Monday night. It's a play alive with action and suspense. Heightened by a touching love story. And set against the exciting background of the Arizona desert lands. As the disillusioned wanderer, we bring you Herbert Marshall. As the girl who longs to find expression in the outside world, Miss Margaret Sullivan. And as the tight-lipped killer who throws them suddenly together, Eduardo Cianelli. Three great players in one of the greatest plays of recent years. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Herbert Marshall, Margaret Sullivan, and Eduardo Cianelli in The Petrified Forest. This is Cecil B. DeMille saying goodnight to you from Hollywood. This is the Columbia Broadcasting System.


Okay, let's build some connective tissues. What were the components of our connective tissue?  We're going to need some cells, right? We're going to need some fibers, right? And then we're going to need some ground substance. And this is because connective tissues are cells in a matrix of fibers and ground substance. What kind of cells can we possibly find in connective tissue? Lots and lots of options. So let's talk about some of the more common. There's a cell that we're going to see often, especially when we're talking about our other connective tissues like bone and blood. We're going to see these cells called mesenchymal cells. Comal cells. I'm not going to write the word cell down because if it's in the cell pile, it's a cell. Mesenchymal cells are stem cells. And so these guys give rise to all sorts of other types of cells that you can find in connective tissue. Another type of cell that you will find quite commonly is called a fibroblast. Fibroblasts are specialized cells that actually build fibers. So guess what? Check it out. Our friend, the fibroblast, is basically going to barf out a bunch of fibers into the surrounding environment and produce the fibers of the connective tissue. So fibroblasts are actually building the fibers. I remember that, blasts, build stuff, and we're going to see that again, especially when we talk about bone. We're going to see other blasts that are building stuff. That makes it a little bit easier to remember. We also have different kinds of connective tissues, have different kinds of cells. There are cells called adipocytes. These guys are only found in adipose tissue, which is fat, and we'll see them of all of our tissues that we're going to learn. I think adipose tissue might be my favorite. We see it everywhere in almost every single histology task that we have. There is, if we're looking at an actual organ or an actual structure in the body, we will be able to find adipose tissue in almost everything. So these guys are kind of fun. We'll look at them in a little more detail. Then you have a whole bunch of immune cells, and these guys basically patrol the connective tissue. And you, I don't know, it'd be interesting to find out, like, what are you made of mostly? I would think they're, I don't know, muscle tissue. I would argue that you are more connective tissue than any other kind of tissue type. But I'd be really curious. The one that I would think might be close is muscle tissue. There might be more muscle tissue in the body. Somebody go look that up and tell me, or somebody in YouTube land post a comment, because I'm really curious about that. Hmm, what is the most common tissue type in the human body? The immune cells that we're talking about, they're going to include macrophages, mast cells, that says mast, and somebody else, and various lymphocytes. Okay, so basically a whole bunch of immune cells that come in and are patrolling the area to make sure that everything is cool. Is this it? Is that the only kind of cells that you're going to find? Absolutely not. And when we look at specific kinds of connective tissue, we will look at other possibilities as well. Fibers. Here's your menu of cell types, and you can throw in whatever you want to make your connective tissue. There are three possible fibers that we can use. First of all, there are collagen fibers. Collagen fibers are big, rope-like fibers that are super strong, wholly strong, but they're not very stretchy. So collagen is strong, not stretchy. So that collagen fibers for their diameter or size, whatever, they're stronger than steel, very cool. You also have fibers called reticular fibers, and this is going to make you mad. This word is going to make you mad. So burn into your sweet, precious, brilliant little brains right now that there is a type of fiber called a reticular fiber, and in Achillea, it's actually made of collagen. What? So you have collagen fibers, which are big, thick, strong ropes of collagen, which is nothing more than a protein. And then you have reticular fibers, which are thin, like kind of bouncy, like a bouncy ball. You can use reticular fibers to make bouncy balls, or lymph nodes, you choose. But they're also made of collagen, so collagen is just a little bit, what's the word? Dinner. That was the word. Then you have elastic fibers. Elastic fibers are what? Holi stretchy, they're the stretchy little fun fibers, and they're made of a protein called elastin. They're really fun to see in a slide, because they're really distinctive. They're like worms, like long, thin, dark worms that are different, the collagen fibers. Sometimes the collagen fibers are so big and thick that you don't even realize that you're looking at a fiber. You just think that that's the background, but it actually is a collagen fiber. So, okay, so those are our three fiber choices on the menu tonight. Now, shall we add in some, I think we're gonna go for some pink ground substance. The ground substance is what everything is floating in. Can you imagine that? It's like the cup, and we have fibers, which could be the spaghetti in the cup, and wait a minute, the ground substance isn't the cup. The ground substance is like the fluid in the cup. Top ramen.  Those are yourselves. You just made a ground substance for dinner. Fantastic. Ground substance is mostly made of water. That's the broth. But is the broth like nothing but water? No, it has some stuff in it. So it has solutes in it, flavoring. I'm gonna give you some names of solutes, and we're going to see why we care about these when we get to cartilage. But proteoglycans, I'm not even gonna write them down, because we'll write them down when we get to cartilage. Proteoglycans and glycosaminoglycans are really hydrophilic substances that are found in the ground substance in cartilage, which is really fantastic. And that helps, and they're found in lesser amounts in other connective tissues.  That was me trying to say hydrated and bloated at the same time. I was trying to think of, hmm, I wonder if those solutes are responsible for lotion. That's a word. You guys, where's my matrix? I'm just gonna throw this out here right now. If we add these two together, that's my matrix. Do you wanna look at how we classify different connective tissues? Because here they are, these are all of our possibilities.  If you throw in a whole bunch of elastic fibers, it's gonna have a different characteristic entirely. So you can imagine how we can fiddle with these things and we can make a great diversity of connective tissues. So let's see what kind of connective tissues we can make. Great idea.


No one understands how the Google bot actually like works the ominous the great the Google bot What are them, you know pop three of things that I should be doing is a much of a difference between like framework sizes and approaches For how those might get crawled is JavaScript the devil On one end is content and the other is app But it blends at a certain point people often find that their sales will go up. They'll get more engagement From audiences they didn't know they had just because they can now access the content There's a gap in translation between The SEOs and the developers and how they think and what they consider Let's bust these moves and like let's shed some light on these topics. I don't know Martin. Do dogs look up? I Think so. Hmm. We should myth-bust that. Yeah There's nothing to do with us. Nothing to do with SEO, but it's felt pretty good


Yes. I guess a lot of people approach you with the question, I want to get into service design or I want to become a better service designer.  I think one of the things that I get asked about or where people are at, not just getting into service design raw, but especially transitioning from other design disciplines into service design, is that you need to service design because you're dealing with many channels, many touchpoints.  Understanding and listening and empathizing and appreciating those people is key to navigating the landscape of complexity and politics and personalities and individual needs as well as organizational and customer needs. Just having that empathy and respect for the other people that you work with, understanding that they need to get things to satisfy themselves and their leadership is really essential to being a successful service designer, turning that sense of rather than advocating for service design or telling the organization they do a bad job with services or customer experience of empathizing with them and when you have that deep empathy, then you find the right opportunities to advocate for change. And until you have that deep empathy, your advocacy is likely to fall on deaf ears. So having empathic advocacy as you embrace the new opportunities and challenges of service design I think is maybe one of the most important things.


pyroptosis has gained attention due to its association with innate immunity and disease, and its potential as a treatment strategy for tumours. The relationship between pyroptosis and tumours is diverse in different tissues and genetic backgrounds, and the rational use of this dual effect can help explore the formation and development of tumours and provide ideas for new drug development. This article was authored by PNU, Xu Zhong, Yang Liu, and others.


You made a fool of a chance for us to accidentally be good. One. They're just taking it. Come on! Ask Silverstone. It's not really something to do, though.