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Lux Radio Theatre - "Death Takes a Holiday" (Old Time Radio, 1937) · The 50 Greatest Old Time Radio Shows | Old Time Radio

• 0:00
  Speaker 1: After an uncanny accident on a moonlit Italian road, Grazia
• 0:04
  Speaker 1: San Luca and Corrado Lamber arrive at Duke Lambert's castle,
• 0:08
  Speaker 1: where an enigmatic visitor calling himself Prince Circe soon unsettles
• 0:13
  Speaker 1: the household. From March 22nd, 1937, this is Lux Radio Theatre,
• 0:17
  Speaker 1: episode 125, Death Takes a Holiday. Frederick March returns to
• 0:26
  Speaker 1: his screen role as Prince Circe, with Florence Eldridge as Grazia.
• 0:31
  Speaker 1: The cast also includes Kay Johnson, Arthur Byron, Gene Lockhart,
• 0:35
  Speaker 1: and Howard Phillips. Produced by Cecil B. DeMille, the broadcast
• 0:41
  Speaker 1: adapts Walter Ferris' English-language version of Alberto Casella's play. Now,
• 0:47
  Speaker 1: back to the golden age of radio.
• 0:51
  Speaker 2: Hollywood, California, Monday, March 22nd. The Lux Radio Theater presents
• 1:01
  Speaker 2: Frederick March and Florence Eldridge in Death Takes a Holiday
• 1:05
  Speaker 2: with Kay Johnson, Arthur Byron, and Gene Lockhart. Lux presents Hollywood.
• 1:18
  Speaker 2: Our stars, Frederick Marsh, Florence Eldridge, Kay Johnson, Arthur Byron,
• 1:23
  Speaker 2: Gene Lockhart, and Howard Phillips. Our producer, Cecil B. DeMille.
• 1:28
  Speaker 2: Our guests, the celebrated screenwriter and adapter of Death Takes
• 1:32
  Speaker 2: a Holiday, Mr. Walter Ferris. And the famous star of
• 1:35
  Speaker 2: silent pictures, Miss Blanche Sweet. Our conductor, Louis Silvers. So
• 1:40
  Speaker 2: do the makers of Lux Toilet Soap welcome you to
• 1:43
  Speaker 2: another hour in Hollywood and to the 125th production of
• 1:47
  Speaker 2: the Lux Radio Theater. Now, a word to the ladies
• 1:56
  Speaker 2: in our audience. If there's a man in the room
• 1:58
  Speaker 2: with you now, your husband, your brother, your sweetheart, what
• 2:02
  Speaker 2: is he thinking about your complexion? Is it so smooth,
• 2:05
  Speaker 2: so fresh and clear that he's bound to be admiring?
• 2:08
  Speaker 2: If you're not quite sure, better begin today to use
• 2:11
  Speaker 2: Luxe Toilet Soap, the soap with active lather. And be
• 2:15
  Speaker 2: sure you're removing cosmetics thoroughly, too. Use Luxe Toilet Soap
• 2:19
  Speaker 2: regularly before you put on fresh makeup, always before you
• 2:23
  Speaker 2: go to bed. Women everywhere find this simple care guards
• 2:26
  Speaker 2: against unattractive cosmetic skin, dullness, tiny blemishes, and large pores. Remember, too,
• 2:33
  Speaker 2: that right now in Hollywood, actually nine out of ten
• 2:36
  Speaker 2: screen stars use luxe toilet soap. And now, our distinguished producer,
• 2:43
  Speaker 2: ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood,
• 2:55
  Speaker 2: ladies and gentlemen. Throughout the thunderous years of the World War,
• 2:59
  Speaker 2: an Italian soldier named Alberto Castella heard the command to die.
• 3:05
  Speaker 2: It was blasted in his ears by a screaming shrapnel,
• 3:08
  Speaker 2: whispered by gases that crept into shattered outposts, sung by
• 3:11
  Speaker 2: the fatal choirs of machine guns, until death and Alberto
• 3:15
  Speaker 2: Castella became bosom companions. Yet the soldier survived. Inspired by
• 3:20
  Speaker 2: his grim associate of the trenches, he wrote the tender
• 3:23
  Speaker 2: fantasy from which tonight's play, Death Takes a Holiday, was adapted.
• 3:29
  Speaker 2: Casella's regard of death as an almost physical being... not cruel,
• 3:33
  Speaker 2: but wise beyond understanding... may be interpreted in the lines
• 3:37
  Speaker 2: he once wrote to a friend. Speaking of death, he said... Occasionally,
• 3:41
  Speaker 2: we felt His Highness was on a vacation. Many a time,
• 3:45
  Speaker 2: he willfully overlooked a comrade... later coming back to escort
• 3:49
  Speaker 2: someone else... out of a tired, bleeding world. Death often
• 3:53
  Speaker 2: seemed human to me. Originally produced in Italy... the adaptation
• 3:58
  Speaker 2: of Death Takes a Holiday, met with great success on
• 4:01
  Speaker 2: stage and screen. The leading role tonight, as in the
• 4:05
  Speaker 2: film version, is played by one of the most discerning
• 4:08
  Speaker 2: and believable performers. It has been my pleasure to direct
• 4:11
  Speaker 2: Frederick March, who starred for me in Sign of the Cross.
• 4:15
  Speaker 2: Freddie's presence here tonight can be traced to an attack
• 4:18
  Speaker 2: of appendicitis, which sent him to the hospital from his
• 4:22
  Speaker 2: desk in a New York bank. While recuperating, he decided
• 4:25
  Speaker 2: to leave finance and turn actor, Playing in Denver, he
• 4:29
  Speaker 2: met and married Miss Florence Eldridge, who is again this
• 4:32
  Speaker 2: evening his leading lady. Hollywood has also brought new honors
• 4:36
  Speaker 2: to Miss Eldridge. Featured in many films, we remember her
• 4:39
  Speaker 2: best for her splendid performance as Queen Elizabeth in Mary
• 4:42
  Speaker 2: of Scotland, and hear her tonight in the part of Grazia.
• 4:47
  Speaker 2: Our Madame Alda is Kay Johnson, whom I saw on
• 4:50
  Speaker 2: the stage in The Silver Chord, and brought to Hollywood
• 4:53
  Speaker 2: to play the leads in Dynamite and Madame Satan. Before
• 4:57
  Speaker 2: I could engage her for a third film, director John
• 4:59
  Speaker 2: Cromwell made an engagement I could not interfere with. He
• 5:03
  Speaker 2: married her. Arthur Byron, recently on the stage with Catherine Hepburn,
• 5:09
  Speaker 2: with Catherine Cornell in St. Joan, and with John Gielgud
• 5:12
  Speaker 2: in Hamlet, is heard tonight as Duke Lambert, Jean Lockhart
• 5:16
  Speaker 2: as the Baron, and Howard Phillips as Corrado. Behind the
• 5:20
  Speaker 2: wings of the stage, our stars have left their dressing rooms,
• 5:23
  Speaker 2: the callboys shouting curtain times, and Deluxe Radio Theater presents
• 5:27
  Speaker 2: Frederick March and Florence Eldridge in the romantic fantasy Death
• 5:32
  Speaker 2: Takes a Holiday, featuring Kay Johnson and Arthur Barrett. A
• 5:44
  Speaker 2: lonely road in Italy. A full round moon hangs low
• 5:48
  Speaker 2: in the sky, bathing the countryside in ghostly radiance. An
• 5:52
  Speaker 2: automobile purrs softly through the night, making its way toward
• 5:56
  Speaker 2: the old castle of Duke Lambert. At the wheel is
• 5:59
  Speaker 2: the Duke's son, Corrado. And beside him, Grazia San Luca,
• 6:03
  Speaker 2: a lovely young girl who seems lost in a dream
• 6:07
  Speaker 2: as she surrenders to the beauty of the night. You
• 6:15
  Speaker 2: haven't heard a word I've said, Grazia.
• 6:17
  Speaker 3: What?
• 6:17
  Speaker 2: You haven't been listening to me.
• 6:18
  Speaker 4: Yes, I have. Really, Corrado. It's just this night. It's
• 6:23
  Speaker 4: so beautiful.
• 6:24
  Speaker 2: I asked you when we were to be married.
• 6:25
  Speaker 4: I know, dear. And I told you.
• 6:28
  Speaker 2: You told me soon. You can't expect me to be
• 6:30
  Speaker 2: satisfied with that. I love you too much. Far too much.
• 6:34
  Speaker 2: And soon so easily becomes never.
• 6:37
  Speaker 4: Please, let's not talk about it now.
• 6:39
  Speaker 2: Well, why not?
• 6:40
  Speaker 4: I don't know. It wasn't meant for talking this night.
• 6:44
  Speaker 4: There's something miraculous in the air. Haven't you felt it?
• 6:49
  Speaker 4: Like an old story you can't quite believe. And a
• 6:53
  Speaker 4: strange shadow is following us.
• 6:55
  Speaker 2: A shadow? You're imagining things.
• 6:58
  Speaker 4: It's been behind us all the way.
• 6:59
  Speaker 2: It's the shadow of a tree, perhaps.
• 7:01
  Speaker 4: It isn't a tree.
• 7:02
  Speaker 2: Maybe it's a cloud across the moon.
• 7:04
  Speaker 4: There are no clouds. And it is a shadow. Sometimes
• 7:08
  Speaker 4: it's close by. Sometimes we almost lose it.
• 7:11
  Speaker 2: Very well, then. We lose it. Watch?
• 7:14
  Speaker 4: Oh, yes. So fast, Corrado.
• 7:15
  Speaker 2: How's this? Faster, faster. Like it?
• 7:17
  Speaker 4: Oh, it's glorious to go fast. It feels like we.
• 7:20
  Speaker 2: We are almost flying at this speed. The car won't
• 7:22
  Speaker 2: do much more than... Grazia! Corrado! I can't see the road.
• 7:25
  Speaker 2: Get down! Get down! Grazia. Grazia.
• 7:36
  Speaker 4: Here, Corrado.
• 7:37
  Speaker 2: Are you... Are you all right, darling? Yes. Yes. Oh,
• 7:41
  Speaker 2: thank God.
• 7:42
  Speaker 4: I haven't a scratch.
• 7:44
  Speaker 2: You, Corrado? No, nothing at least.
• 7:47
  Speaker 4: No, not even a mark.
• 7:49
  Speaker 2: It's a wonder we weren't both killed. It's a miracle, Grazia.
• 7:53
  Speaker 4: Look at that car. I said there was something strange
• 7:56
  Speaker 4: in the air. Something miraculous.
• 7:59
  Speaker 5: Grazia, that shadow you saw. I saw it too, just
• 8:04
  Speaker 5: before we crashed. It seemed to envelop the whole car.
• 8:08
  Speaker 5: I couldn't even see the road.
• 8:11
  Speaker 4: And I wasn't imagining things. No.
• 8:15
  Speaker 2: What was it?
• 8:16
  Speaker 4: What could it have been?
• 8:19
  Speaker 2: We'd better get on to the house. You know, Father
• 8:20
  Speaker 2: will be waiting for us. Here, give me a hand, darling,
• 8:23
  Speaker 2: and stay close to me. And that was it, Father.
• 8:35
  Speaker 2: We seemed to turn over and over endlessly. I'm sorry
• 8:38
  Speaker 2: about the car, sir. Never mind the car. I'm thankful
• 8:41
  Speaker 2: that you both weren't killed. You're sure you're both all right?
• 8:44
  Speaker 2: We haven't a scratch between us, Mother. Perhaps you'd better
• 8:46
  Speaker 2: go and lie down, Grazia.
• 8:47
  Speaker 4: Thank you, but it's not necessary.
• 8:49
  Speaker 2: It's a lucky night for all of us, it seems.
• 8:51
  Speaker 2: We had a rather narrow escape ourselves this evening. Who, Father?
• 8:54
  Speaker 2: The Baron Cesaria, Madame Alda, and myself. We were driving
• 8:57
  Speaker 2: home from the village, and we ran into a street
• 8:58
  Speaker 2: vendor's cart. We were traveling rather fast at the time.
• 9:02
  Speaker 2: Must have carried the cart 50 feet, and the peddler
• 9:04
  Speaker 2: with it. Good Lord, Father, he wasn't... No, luckily. We
• 9:08
  Speaker 2: picked him up, and he seemed to be none the
• 9:09
  Speaker 2: worse for it. It was a relief, I can tell you.
• 9:12
  Speaker 2: The strangest part of it was that none of us
• 9:15
  Speaker 2: even saw the cart. There seemed to be a cloud
• 9:18
  Speaker 2: in front of us. A cloud? Well, not exactly that, perhaps.
• 9:20
  Speaker 2: More like a shadow. A shadow? That's what we saw.
• 9:24
  Speaker 3: What?
• 9:25
  Speaker 2: Yes, just before we crashed. It doesn't seem possible. You know, son,
• 9:30
  Speaker 2: I think... Yes, sir? I think the night has been
• 9:32
  Speaker 2: playing tricks with us. And in the future, we'd better
• 9:35
  Speaker 2: have our headlights cleaned more often.
• 9:37
  Speaker 4: It was my fault you planned it. I asked Corrado
• 9:39
  Speaker 4: to go fast. It felt as if we were flying.
• 9:42
  Speaker 2: Really? Well, Grazia, we think you've been flying long enough.
• 9:46
  Speaker 2: When are you going to fold your wings and become
• 9:48
  Speaker 2: my daughter-in-law? We were speaking of that tonight. I've been
• 9:51
  Speaker 2: trying to persuade Grazia to make it next month. Won't you, dear?
• 9:54
  Speaker 4: I wish I could, but.
• 9:56
  Speaker 2: It's only a question of making up your mind, my darling.
• 9:59
  Speaker 4: You know I love you. all and want to please you.
• 10:02
  Speaker 4: But don't you see? I'm not ready.
• 10:05
  Speaker 2: But why, Grazia?
• 10:06
  Speaker 4: Because life is too full. There's a kind of happiness
• 10:10
  Speaker 4: I want to find first, if I can.
• 10:13
  Speaker 2: Aren't you happy with me?
• 10:14
  Speaker 4: Oh, yes, dear. But that isn't quite what I mean.
• 10:17
  Speaker 4: I wish I knew how to tell you. There's something
• 10:20
  Speaker 4: out there, out there in the night, which I must
• 10:24
  Speaker 4: find first and understand. Grazia. I'm going into the garden.
• 10:32
  Speaker 2: May I come with you? I'd rather be alone, if
• 10:35
  Speaker 2: you don't mind. Grazia's so strange at times. I don't
• 10:40
  Speaker 2: understand her. I don't myself sometimes. She's so fine, so delicate,
• 10:45
  Speaker 2: so utterly remote from us all. It puzzles me. I
• 10:49
  Speaker 2: wouldn't worry, my son. You'll win her yet.
• 10:51
  Speaker 6: Madame Alder, I believe the peddler thought you were an
• 10:57
  Speaker 6: angel when we picked him up.
• 10:59
  Speaker 2: Baron, Madame Alder, I hope you've both quite recovered from
• 11:02
  Speaker 2: your shock.
• 11:03
  Speaker 7: It was hardly a shock, Duke Lambert. More in the
• 11:05
  Speaker 7: nature of a very intense thrill. I rather enjoyed it.
• 11:09
  Speaker 2: Madame Alder lives for thrills.
• 11:11
  Speaker 4: Well, why not? Is there anything better to live for, Baron?
• 11:14
  Speaker 6: Only love, and you probably count that among your thrills.
• 11:19
  Speaker 2: I know I always did, in my younger days, of course.
• 11:23
  Speaker 2: Corrado and Grazia had a lucky escape tonight themselves. Really? Yes,
• 11:26
  Speaker 2: we were driving home along the hill road when... What.
• 11:29
  Speaker 4: On earth was that?
• 11:29
  Speaker 2: She's in the garden. It sounded as if she... Grazia, Grazia!
• 11:33
  Speaker 2: You'd better see. She came from the fountain. This way. Corrado, Corrado,
• 11:37
  Speaker 2: where are you? Here, Father. Corrado.
• 11:38
  Speaker 4: There she is, Grazia, lying on the ground.
• 11:41
  Speaker 2: Is it? Corrado, what's happened? I don't know. She was
• 11:43
  Speaker 2: just lying here.
• 11:44
  Speaker 4: She wounded all Lambert.
• 11:46
  Speaker 2: Now, now, my dear, it'll be all right. Lift her
• 11:49
  Speaker 2: up a little, Corrado. This is coming. Grazia. Grazia.
• 11:55
  Speaker 4: Don't let it come near me. Don't let it come
• 11:57
  Speaker 4: near me.
• 11:58
  Speaker 2: What happened, Grazia?
• 12:00
  Speaker 4: I don't know. There was something cold and terrible. I
• 12:04
  Speaker 4: was sitting by the fountain watching the water. And then
• 12:07
  Speaker 4: an icy wind touched me. But it wasn't the wind
• 12:10
  Speaker 4: because all the leaves were still. Perhaps you fell asleep
• 12:13
  Speaker 4: and dreamed.
• 12:14
  Speaker 2: No. No, I saw it. What? What did you see?
• 12:17
  Speaker 2: A shadow.
• 12:19
  Speaker 4: An enormous darkness. And yet it wasn't a shadow because
• 12:23
  Speaker 4: the moon shone through it. Oh, Corrado, I felt something
• 12:27
  Speaker 4: behind me running. It wasn't any sound, but I felt someone.
• 12:32
  Speaker 4: And then it touched me. Something cold.
• 12:35
  Speaker 2: Oh, Grazia. Carry her into the house. I'll help you, Corrado. Oh. Stephanie? Yes?
• 12:42
  Speaker 2: Call Gratia's mother. Tell her there's nothing to worry about,
• 12:44
  Speaker 2: but ask her to come. It's just a case of nerves,
• 12:46
  Speaker 2: I think, but we'd better play safe. Yes. Thaddele, have
• 12:58
  Speaker 2: you searched the grounds? Pardon me, Your Excellency, but we
• 13:01
  Speaker 2: found nothing. Not even a footprint. Oh, there must have
• 13:03
  Speaker 2: been something. I'll have a look myself. You clamber. My
• 13:06
  Speaker 2: revolver is in the desk drawer, Thaddele. Give it to me, please. Yes,
• 13:09
  Speaker 2: Your Excellency. Yes, sir. Don't tell my wife I've gone out.
• 13:14
  Speaker 2: Don't tell anyone. Very good, sir. Who's there? Who's there
• 13:27
  Speaker 2: in that shadow? Answer, or I'll shoot.
• 13:37
  Speaker 3: It will be quite useless against me.
• 13:41
  Speaker 2: Stand back.
• 13:44
  Speaker 3: You see? Who are you?
• 13:48
  Speaker 2: What are you doing here?
• 13:51
  Speaker 3: Shall I show you my face? Look, my friend. Good God!
• 13:57
  Speaker 2: Who are you?
• 13:57
  Speaker 3: I am not of your world. I am... How shall
• 14:01
  Speaker 3: I describe it? A sort of vagabond of faith.
• 14:07
  Speaker 4: I am.
• 14:09
  Speaker 3: I was until I came into this garden. Death.
• 14:14
  Speaker 2: Death? But please be reassured. I am not on my
• 14:18
  Speaker 2: usual mission tonight. I have already stood beside one of
• 14:21
  Speaker 2: your number tonight without harm. That lovely young girl in
• 14:26
  Speaker 2: the garden.
• 14:26
  Speaker 3: Then.
• 14:28
  Speaker 2: Then it was you?
• 14:29
  Speaker 3: Yes. And on the road I was there too and
• 14:31
  Speaker 3: no one was harmed.
• 14:33
  Speaker 2: Doesn't that reassure you that I have no fatal intentions? But...
• 14:38
  Speaker 2: But why did you come here, if not on your
• 14:40
  Speaker 2: usual mission? Why?
• 14:43
  Speaker 3: That may be rather difficult to explain.
• 14:46
  Speaker 2: However, I am about to take a holiday. I shall
• 14:50
  Speaker 2: take only three days, and after that I must go back.
• 14:53
  Speaker 2: But why? Why do you do this?
• 14:55
  Speaker 3: For a number of reasons.
• 14:56
  Speaker 2: For one thing, to discover why men fear.
• 15:00
  Speaker 3: Me as they do.
• 15:02
  Speaker 2: Don't you know?
• 15:03
  Speaker 3: How should I know? What could terror mean to me
• 15:07
  Speaker 3: who have nothing to fear?
• 15:09
  Speaker 2: Can you conceive how weary I am of always being misunderstood?
• 15:15
  Speaker 2: Can you conceive how lonely I am when there is
• 15:18
  Speaker 2: nothing that does not shun me? What is it you
• 15:22
  Speaker 2: are seeking?
• 15:23
  Speaker 3: There must be something here on earth to be known
• 15:25
  Speaker 3: and felt.
• 15:26
  Speaker 2: Something desirable that makes men fear me and cling to
• 15:31
  Speaker 2: their life. I must know what it is. Will you
• 15:35
  Speaker 2: accept me for these three days as a guest? As
• 15:40
  Speaker 2: a guest?
• 15:41
  Speaker 3: Don't be alarmed. As a mortal, of course. I assure you,
• 15:46
  Speaker 3: I shall be quite a man of the world. Will
• 15:49
  Speaker 3: it be a great trouble for you to put me up? Well.
• 15:52
  Speaker 2: Oh, no, no, no. No, not at all. No, I...
• 15:54
  Speaker 2: I have a suite of rooms prepared for an old
• 15:57
  Speaker 2: friend who is expected. Prince Serki. Indeed.
• 16:02
  Speaker 3: Prince Serki of the Talva Alexandri? Yes. Prince Serki will
• 16:07
  Speaker 3: not come to see you. Not in this lifetime.
• 16:11
  Speaker 2: I don't understand.
• 16:12
  Speaker 3: I saw him early this morning.
• 16:15
  Speaker 2: Then... Then he... He's dead. Yes.
• 16:20
  Speaker 3: I did not know, of course, that he was a
• 16:21
  Speaker 3: friend of yours.
• 16:23
  Speaker 2: Poor son.
• 16:24
  Speaker 3: Tell me. Was the prince known to your family and
• 16:27
  Speaker 3: your guests?
• 16:28
  Speaker 2: No. Excellent. I shall be Prince Ducky of Etalba Alexandre
• 16:32
  Speaker 2: for these three days. What? Oh, please. Please understand that
• 16:36
  Speaker 2: my presence in your house will not be a menace,
• 16:39
  Speaker 2: but a protection... Thank you. But there is one condition
• 16:42
  Speaker 2: on which I shall insist.
• 16:43
  Speaker 3: Yes?
• 16:44
  Speaker 2: I am to be Prince Circe and no other. When
• 16:46
  Speaker 2: I leave you now and return later in.
• 16:48
  Speaker 3: His person, I shall be mortal.
• 16:51
  Speaker 2: And I must be treated as a mortal in every particular.
• 16:56
  Speaker 2: No one under this roof must show repulsion or fear
• 17:00
  Speaker 2: on pain of my instant displeasure. I don't understand. No?
• 17:07
  Speaker 3: Let me put it this way.
• 17:09
  Speaker 2: If my secret is divulged, I shall leave instantly at
• 17:13
  Speaker 2: Circe and return in my proper person.
• 17:18
  Speaker 3: Do I make myself clear this time? I.
• 17:22
  Speaker 2: I understand, Your... Your Highness. So at last, I am
• 17:35
  Speaker 2: to become mortal. Change my whole person so none will
• 17:40
  Speaker 2: fear me. I shall feel blood in my veins.
• 17:42
  Speaker 3: The warm blood of life. I shall know what you
• 17:45
  Speaker 3: know and feel what you feel. My hunger shall be
• 17:50
  Speaker 3: appeased for an hour. My hunger that is as old
• 17:57
  Speaker 3: as time. Those that I love need not be afraid.
• 18:03
  Speaker 3: Not afraid.
• 18:05
  Speaker 2: I am beside myself. My holiday is just caprice, a
• 18:08
  Speaker 2: mad joke I play with life. But what a monstrous,
• 18:12
  Speaker 2: what a sublime joke. And you, you, my friend, will
• 18:15
  Speaker 2: be distinguished among hosts. For none has entertained death before
• 18:21
  Speaker 2: and lived. You may expect me soon.
• 18:33
  Speaker 3: For me, I've never.
• 18:34
  Speaker 2: Found anything like it. Oh, but why at this hour?
• 18:38
  Speaker 4: Unusual, but interesting, Baron. My husband asked especially to see
• 18:42
  Speaker 4: everyone in the library. I don't know why. Ah, here
• 18:45
  Speaker 4: he is.
• 18:46
  Speaker 2: Well, Lambert. I'm sorry to arouse you at this hour,
• 18:50
  Speaker 2: my friends. It's important, believe me. Lambert, Grazia's mother is here. Ah, Maria. Oh,
• 18:57
  Speaker 2: I'm glad to see you.
• 18:58
  Speaker 4: I was so worried about Grazia when I heard.
• 19:01
  Speaker 2: She'll be all right. Have you seen her?
• 19:03
  Speaker 4: She's upstairs, resting. It isn't necessary for her to be
• 19:06
  Speaker 4: here now, is it?
• 19:07
  Speaker 2: Why, no, my dear. Well, Lambert. My friends, I... I
• 19:15
  Speaker 2: have received a message tonight from Prince Circe.
• 19:18
  Speaker 4: Oh, so he's coming at last.
• 19:19
  Speaker 2: Yes, he's coming. I, uh, I... I want to tell
• 19:27
  Speaker 2: you all something very seriously. This guest whom we're expecting
• 19:30
  Speaker 2: is no ordinary person. Now, if he should appear eccentric
• 19:33
  Speaker 2: or strange in any way, you must take no notice.
• 19:37
  Speaker 2: Treat him as a prince and a gentleman always. And
• 19:41
  Speaker 2: above all, you must not be afraid. Lambert, I don't understand.
• 19:45
  Speaker 2: And no matter what happens, you must never shun him
• 19:49
  Speaker 2: or protest. or run. It wouldn't do any good if
• 19:55
  Speaker 2: you did. You can't run from... From what, Lambert? Nothing.
• 20:02
  Speaker 2: I didn't mean.
• 20:04
  Speaker 2: Wilfred Ailey? His Highness Prince Circe. Circe. Welcome, Your Highness,
• 20:13
  Speaker 2: to our villa. Thank you, my dear Duke. I am
• 20:17
  Speaker 2: so happy to be here. We're more than honored. May
• 20:21
  Speaker 2: I present my wife, Prince Circe? Your Highness is most welcome.
• 20:25
  Speaker 2: Thank you. I have rarely been so charmingly received. And now,
• 20:29
  Speaker 2: may I present my guests? It will be a pleasure,
• 20:31
  Speaker 2: Madame Alda.
• 20:33
  Speaker 4: How do you do, Prince Circe?
• 20:34
  Speaker 2: Ah, may I say I had not realized that the
• 20:38
  Speaker 2: women of your country... were so beautiful.
• 20:41
  Speaker 4: Your Highness is most kind.
• 20:43
  Speaker 2: I wish that we might never meet when you are
• 20:46
  Speaker 2: less beautiful, and I must be less kind. The Princess Maria,
• 20:53
  Speaker 2: Prince Circe. Your Highness. Your Highness. The Baron Cesarea, sir.
• 21:00
  Speaker 2: A statement who was once important in the affairs of
• 21:04
  Speaker 2: the world, who now looks back on a long and
• 21:07
  Speaker 2: interesting life. I am delighted to meet thee, Baron. At last.
• 21:11
  Speaker 2: And I to meet you, Your Highness. Considering your distinction
• 21:15
  Speaker 2: and your age, it is surprising that fate has not
• 21:17
  Speaker 2: introduced us before. Your Highness, my son Corrado. Ah, Pius,
• 21:23
  Speaker 2: the son who drives his car so furiously. I beg
• 21:26
  Speaker 2: your pardon, sir? My friend, please, permit me to call
• 21:29
  Speaker 2: you my friend. Your Highness, please make no change in
• 21:32
  Speaker 2: your plans because of my sudden appearance. I should like
• 21:35
  Speaker 2: to join in your pleasures, if I may, and enjoy
• 21:38
  Speaker 2: the hours with you. I beg you not to make
• 21:41
  Speaker 2: a stranger of me. Your rooms are ready, Your Highness.
• 21:45
  Speaker 2: My room? Yes, at your pleasure. Then if you will
• 21:50
  Speaker 2: forgive me, I think I will go now. I have
• 21:54
  Speaker 2: not slept for ages, and I feel curiously tired.
• 22:00
  Speaker 4: Baba.
• 22:01
  Speaker 2: Grazie.
• 22:02
  Speaker 4: I couldn't sleep, Yuklan, but I was too restless.
• 22:06
  Speaker 2: This is a guest I have not had the pleasure
• 22:08
  Speaker 2: of meeting. Oh. Grazia, this is Prince Serki, the Princess
• 22:16
  Speaker 2: Maria's daughter, Your Highness.
• 22:18
  Speaker 4: How do you do, Your Highness?
• 22:22
  Speaker 2: How do you do? We.
• 22:25
  Speaker 4: We have not met before, Your Highness.
• 22:28
  Speaker 2: Perhaps for a few fleeting moments. Yes.
• 22:33
  Speaker 4: Yes, that is how it seems. A few fleeting moments.
• 22:38
  Speaker 4: I am happy to welcome you now, sir.
• 22:41
  Speaker 2: Please, give me your hand, Grazia. Ah, so young and
• 22:47
  Speaker 2: firm and full of life. And it lies so trustingly
• 22:54
  Speaker 2: in mine.
• 22:55
  Speaker 4: Is there any reason why it should not?
• 22:58
  Speaker 2: Thank you, Grazia. You have done me a great kindness tonight.
• 23:07
  Speaker 2: My friends, my holiday begins most agreeably. Before we go
• 23:23
  Speaker 2: on with the Lux Radio Theater presentation of Death Takes
• 23:25
  Speaker 2: a Holiday, starring Frederick March and Florence Eldridge, we're going
• 23:28
  Speaker 2: to let you in on a Hollywood beauty secret. We're
• 23:31
  Speaker 2: going over on La Brea Avenue to a little stucco
• 23:33
  Speaker 2: house where happy Mrs. Thomas F. has been chatting with
• 23:36
  Speaker 2: her friend Ethel over tea. Ethel has suddenly looked at
• 23:39
  Speaker 2: her watch.
• 23:40
  Speaker 4: Marion, I had no idea it was so late. It's
• 23:42
  Speaker 4: a quarter past six. Gosh, I haven't left you any
• 23:45
  Speaker 4: time at all to rest. Oh, don't be silly. I
• 23:47
  Speaker 4: loved having you. I have plenty of time to get
• 23:50
  Speaker 4: dressed before Tom gets home. My bath only takes two shakes,
• 23:53
  Speaker 4: and it always rests me. I'll feel like a million.
• 23:57
  Speaker 4: Tom will think you look it, too. We always talk
• 24:00
  Speaker 4: about the way you keep Tom so adoring. So long, Marion.
• 24:03
  Speaker 4: So long, dear. Call me if you're home tonight.
• 24:06
  Speaker 2: Marion keeps Tom in love with her because she knows
• 24:09
  Speaker 2: this secret. One thing a man adores in any woman
• 24:12
  Speaker 2: is skin that's sweet. That's why Marion is devoted to
• 24:15
  Speaker 2: Hollywood's beauty bath. Luxe Toilet Soap's active lather removes perspiration,
• 24:21
  Speaker 2: every last trace of dust and dirt from the pores.
• 24:24
  Speaker 2: Its delicate, expensive fragrance lingers. After her Luxe Toilet Soap
• 24:28
  Speaker 2: beauty bath, Tom's sure to greet his wife like this. Hello, darling.
• 24:31
  Speaker 2: How's my girl? Gee, you look so swell. I think
• 24:34
  Speaker 2: I ought to take you out. How about it? We
• 24:36
  Speaker 2: could go anywhere, and I wouldn't find another girl that's
• 24:39
  Speaker 2: half as sweet. Why don't you protect daintiness? Keep romance
• 24:43
  Speaker 2: the luxe toilet soap way. We continue with Death Takes
• 24:54
  Speaker 2: a Holiday, starring Frederick March and Florence Eldredge. Three days
• 25:01
  Speaker 2: have gone by, and the phantom death is still a
• 25:04
  Speaker 2: guest at the home of the Duke, still enjoying his
• 25:07
  Speaker 2: brief visit to Earth in the person of Prince Circe. Meanwhile,
• 25:11
  Speaker 2: the world is an astounded witness to a series of miracles.
• 25:15
  Speaker 2: In London... SS Cedric explodes at sea, sinks within an hour,
• 25:22
  Speaker 2: no lives lost. In Paris... Man jumps from Eiffel Tower
• 25:26
  Speaker 2: in attempted suicide, walks away uninjured. In Japan... Island of
• 25:32
  Speaker 2: Kobushima totally demolished by heaviest earthquake in history. All residents
• 25:36
  Speaker 2: are safe. And so for three days, no life is endangered,
• 25:42
  Speaker 2: no living thing destroyed, while death amuses himself. Now at conversation,
• 25:47
  Speaker 2: now at yachting, now at the gaming table of a
• 25:49
  Speaker 2: fashionable resort where his luck amazes other players. It's unbelievable.
• 25:58
  Speaker 4: He's doubled seven times on the six.
• 25:59
  Speaker 2: If he's right once more, you'll own the casino. You
• 26:02
  Speaker 2: mustn't double again, Your Highness. Oh, Baron, should I not?
• 26:05
  Speaker 2: You'll lose all you've won. Mademoiselle, shall I or shall
• 26:08
  Speaker 2: I not?
• 26:09
  Speaker 4: Yes, say it. I think the world is all yours
• 26:12
  Speaker 4: to do with as you choose.
• 26:14
  Speaker 3: Your Highness?
• 26:15
  Speaker 2: Yes, Croupier? I'm very sorry, but it's against the rules
• 26:18
  Speaker 2: of the house to double a game. Oh, but look here.
• 26:20
  Speaker 2: You make it necessary for me to take a great
• 26:23
  Speaker 2: deal of this metal away with me.
• 26:26
  Speaker 3: I'm sorry, Your Highness.
• 26:27
  Speaker 2: Very well, but I have no use for it. Here, here.
• 26:32
  Speaker 2: You divide it, please, among those who need it. Baron? Baron?
• 26:38
  Speaker 2: Shall we go out on the balcony? Delighted. A magnificent gesture,
• 26:47
  Speaker 2: Your Highness. Magnificent. You make life exciting again. I felt
• 26:51
  Speaker 2: 20 years younger ever since you arrived. You know, Baron,
• 26:57
  Speaker 2: out here is the night. Crowded with beauty. And all
• 27:01
  Speaker 2: of you, you heard inside in smoky rooms... feverish over
• 27:05
  Speaker 2: little games. Why? Why? One comes here to gamble, and
• 27:09
  Speaker 2: one gambles to win. It seems to me that men
• 27:13
  Speaker 2: have not begun to discover the magnificence of this life.
• 27:17
  Speaker 2: Will you tell me what in the world you're looking for, Pensike?
• 27:20
  Speaker 2: I came here looking for a game to play, a
• 27:22
  Speaker 2: game worth playing. I have been among you almost three days,
• 27:27
  Speaker 2: and what you do with yourselves still seems to me
• 27:31
  Speaker 2: so very futile and empty. There are only three games, money, love,
• 27:37
  Speaker 2: and war. Have you tried war? Plenty of it. I
• 27:42
  Speaker 2: could never make out what it was they were fighting about.
• 27:45
  Speaker 2: It's usually a flag, isn't it? Or a barren piece
• 27:49
  Speaker 2: of ground that neither side wants.
• 27:51
  Speaker 6: Well, I suppose they fight to make themselves heroic for
• 27:55
  Speaker 6: someone they love.
• 27:55
  Speaker 2: Oh, oh. It all comes down to one game. One game,
• 28:01
  Speaker 2: that's what it comes to? Mm-hmm. One never grows tired
• 28:05
  Speaker 2: of love. Shall I tell you something, Baron? This last
• 28:08
  Speaker 2: great game of yours, this of which you never tire,
• 28:11
  Speaker 2: seems to me to be the strangest, the saddest, the
• 28:17
  Speaker 2: emptiest of all. Can it be that you are inexperienced
• 28:21
  Speaker 2: in such matters? Entirely.
• 28:23
  Speaker 6: Ah, you don't know what you've missed. One pair of
• 28:27
  Speaker 6: lips will change your mind for you someday.
• 28:29
  Speaker 2: Indeed. It depends upon the subject. Madame Aldous, for instance.
• 28:34
  Speaker 2: Madame Aldous? She's quite taken with you, you know. She
• 28:37
  Speaker 2: thinks you're fascinating.
• 28:39
  Speaker 6: You might try your game of love in that quarter,
• 28:41
  Speaker 6: Your Highness.
• 28:42
  Speaker 2: Yes. You don't seem very interested. You were thinking of another, perhaps? Perhaps. Who,
• 28:49
  Speaker 2: Your Highness? It is growing late, Baron. I think we'll
• 28:53
  Speaker 2: go back now. Lambert, I must know what all this
• 29:08
  Speaker 2: mystery is about. Mystery, Maria? I felt it too, Father.
• 29:12
  Speaker 2: I don't know what it is, but you seem afraid
• 29:14
  Speaker 2: of something. My dear boy, please. Lambert, who is this
• 29:19
  Speaker 2: guest of yours? He is Prince Circe.
• 29:24
  Speaker 7: I feel that you are concealing something.
• 29:26
  Speaker 2: Maria.
• 29:27
  Speaker 7: And Grazia has been very strange these past three days.
• 29:31
  Speaker 2: Restless. Almost exalted.
• 29:34
  Speaker 4: I think she is attracted to this man.
• 29:37
  Speaker 2: I've seen it too. And Madame Alda.
• 29:38
  Speaker 3: No, no.
• 29:39
  Speaker 2: They couldn't be.
• 29:40
  Speaker 7: Why?
• 29:40
  Speaker 2: I mean, nothing could come of it. He wouldn't encourage them.
• 29:44
  Speaker 2: And Maria, it's his last evening. He goes at midnight.
• 29:47
  Speaker 2: Why at midnight? That's his natural... That is... Oh, it's
• 29:51
  Speaker 2: a whim of his. Just a whim, nothing more. Your Excellency. Yes, Fedele.
• 29:55
  Speaker 2: You asked to be informed as soon as Prince Circe
• 29:57
  Speaker 2: returned from the casino. Oh, yes. He's in the library,
• 30:00
  Speaker 2: Your Excellency. Very well. You'll excuse me, Maria? Of course.
• 30:05
  Speaker 3: Thank you. Your Highness.
• 30:12
  Speaker 2: Oh, good evening, my friend. You have returned early from
• 30:15
  Speaker 2: the casino. Yes, I was very bored. I'm sorry. I
• 30:19
  Speaker 2: had hoped that your last evening... Yes, my last evening.
• 30:23
  Speaker 2: But it isn't over as yet. No, Your Highness. You
• 30:25
  Speaker 2: haven't told anyone about me. None of your guests know
• 30:28
  Speaker 2: my real identity. No one knows, Your Highness. Good. I
• 30:32
  Speaker 2: wish that reserve kept without fail. I shall be in
• 30:36
  Speaker 2: the garden for a while now. There's very little time left.
• 30:39
  Speaker 2: And I still have not found your reason for existence.
• 30:53
  Speaker 4: Good evening, your highness.
• 30:55
  Speaker 2: Ah, Madame Alda. Good evening. All by yourself? Yes.
• 31:00
  Speaker 4: I felt that you would be out here. I've been
• 31:03
  Speaker 4: waiting for you.
• 31:05
  Speaker 2: Many people do, but none quite so cheerfully. Aren't you afraid?
• 31:11
  Speaker 2: Of you?
• 31:14
  Speaker 4: Well, perhaps I am a little. But my interest is
• 31:18
  Speaker 4: far greater than my fear.
• 31:19
  Speaker 2: Oh, I am glad. But if you knew... You are
• 31:24
  Speaker 2: so fortunate here, you people. I think I used to
• 31:28
  Speaker 2: despise you all with your little whims and desires, all
• 31:31
  Speaker 2: leading up to nothing. Now, there is nothing I want
• 31:35
  Speaker 2: so much as to share them.
• 31:38
  Speaker 4: I've so often thought all that of myself.
• 31:41
  Speaker 2: Oh, but my dear Alda, you can have whatever dreams
• 31:43
  Speaker 2: you wish. But suppose you had been sat down for
• 31:46
  Speaker 2: a few hours or a few days among the inhabitants
• 31:49
  Speaker 2: of the moon, and that was all the life that
• 31:51
  Speaker 2: you could have forever. And you knew no one there.
• 31:57
  Speaker 2: And no one dared to know you.
• 32:01
  Speaker 4: Do you really feel that?
• 32:02
  Speaker 2: Yes. I am not one of you.
• 32:05
  Speaker 4: Then I wish that you were.
• 32:06
  Speaker 2: You do?
• 32:09
  Speaker 4: I've waited for someone like you.
• 32:12
  Speaker 2: Even though I am not what I seem? No, but
• 32:14
  Speaker 2: you are.
• 32:14
  Speaker 3: No, no.
• 32:15
  Speaker 2: I am a fear, a shadow, a wandering thing. Isn't
• 32:20
  Speaker 2: there a story among your legends of a merman... Who
• 32:23
  Speaker 2: came asking a woman to love him so that he
• 32:25
  Speaker 2: might have a soul?
• 32:27
  Speaker 7: Well, if there is, I'm sure she'd give him what
• 32:30
  Speaker 7: he asked. I think she'd give up her own soul gladly.
• 32:35
  Speaker 2: If she were in love? Yes. You see, I have
• 32:40
  Speaker 2: come asking for that.
• 32:42
  Speaker 4: Of me?
• 32:42
  Speaker 2: Yes. But also, it is impossible.
• 32:46
  Speaker 4: Why?
• 32:46
  Speaker 2: Because you will take one step toward me and know
• 32:49
  Speaker 2: my secret and lose courage.
• 32:52
  Speaker 4: Try me.
• 32:55
  Speaker 2: You... You do love me? Yes. How much?
• 33:02
  Speaker 4: More than life itself.
• 33:04
  Speaker 2: You can give me a soul only if you know
• 33:07
  Speaker 2: me and can still love me. Now look into my eyes.
• 33:13
  Speaker 2: Look deep. What do you see there? Shadows. Look into
• 33:18
  Speaker 2: those shadows. Let your thought go to its wildest reach.
• 33:23
  Speaker 2: I will you to know who I am. No. No.
• 33:31
  Speaker 2: I want to live. You're afraid of me. Oh, let
• 33:37
  Speaker 2: me go.
• 33:39
  Speaker 4: Please let me go.
• 33:39
  Speaker 2: You're afraid. The mere thought of my real person puts
• 33:42
  Speaker 2: a chill around your heart.
• 33:44
  Speaker 3: Let me go.
• 33:45
  Speaker 8: Kidding me?
• 33:46
  Speaker 3: No, then. Go back to your petty little existence. You
• 33:49
  Speaker 3: are not great enough for me, young.
• 33:51
  Speaker 2: I am looking for a response such as you could
• 33:53
  Speaker 2: never give. I am searching for someone who knows and
• 33:59
  Speaker 2: is not afraid.
• 34:14
  Speaker 4: Such a lovely night, Your Highness.
• 34:16
  Speaker 2: You? A very serene and lovely princess.
• 34:22
  Speaker 4: You do me too much honor, Your Highness. I'm not
• 34:25
  Speaker 4: really a princess, you know.
• 34:27
  Speaker 2: Let me call you so.
• 34:29
  Speaker 4: I like to be called Grazia by my friends.
• 34:32
  Speaker 2: How charming of you. Grazia, then.
• 34:36
  Speaker 4: You make it sound like music.
• 34:38
  Speaker 2: It is like music. It has overtones that go singing
• 34:42
  Speaker 2: on and on. But they are not sad, nor they
• 34:46
  Speaker 2: are full of grace and light.
• 34:48
  Speaker 4: Oh, when you speak like that, I hear music too.
• 34:52
  Speaker 4: Great sweeping chords.
• 34:55
  Speaker 2: I could say so much more.
• 34:58
  Speaker 4: Your Highness is being very kind tonight.
• 35:02
  Speaker 2: I wonder if I am being kind.
• 35:06
  Speaker 4: Perhaps I should have said gracious.
• 35:08
  Speaker 2: No, no, no, not gracious either. I have discovered that
• 35:14
  Speaker 2: even the mightiest must sue for certain favors.
• 35:19
  Speaker 4: I should think Your Highness would never need to sue.
• 35:22
  Speaker 2: On the contrary. I am feeling strangely humbled for the
• 35:28
  Speaker 2: first time in my life.
• 35:30
  Speaker 4: And I am feeling strangely thrilled and proud.
• 35:35
  Speaker 2: Grazia.
• 35:36
  Speaker 4: Yes, you glambed.
• 35:38
  Speaker 2: Your mother is asking for you, my dear.
• 35:41
  Speaker 4: Thank you, Your Highness.
• 35:45
  Speaker 2: Until later, Grazia.
• 35:47
  Speaker 4: Until later, Your Highness.
• 35:51
  Speaker 2: Your Highness. Yes? You'll forgive me, but... I'm worried, Your Highness. Worried?
• 36:00
  Speaker 2: About Grazia. She's a lovely child. I hope that one
• 36:07
  Speaker 2: day she and Corrado will be... Enough, Your Highness. I...
• 36:12
  Speaker 2: I hope that you are not thinking... Enough, I say!
• 36:14
  Speaker 2: If you don't understand, you're flamboyant. I've been caught in
• 36:18
  Speaker 2: this web of flesh, caught and tortured. I thought to
• 36:21
  Speaker 2: put it on like a garment and cast it off
• 36:23
  Speaker 2: as easily. But to put it off is to die.
• 36:27
  Speaker 2: To die without having lived. To die alone, without loving
• 36:32
  Speaker 2: or being loved. And that I will not have. But
• 36:37
  Speaker 2: it is fatal to love you. And you promise to
• 36:39
  Speaker 2: harm no one in this house. Have you forgotten that
• 36:41
  Speaker 2: in an hour I must go with empty hands? Are
• 36:43
  Speaker 2: you certain it will be with empty hands? Quiet! I
• 36:48
  Speaker 2: am an expert at conclusions, my friend. Grazia! Grazia! Here, Corrado. What? Oh, Grazia,
• 37:06
  Speaker 2: I'm so glad to find you.
• 37:07
  Speaker 4: Why, dear?
• 37:08
  Speaker 2: You should be in the house, not walking out here alone. Grazia,
• 37:13
  Speaker 2: will you do me a great favor?
• 37:15
  Speaker 4: Of course.
• 37:16
  Speaker 2: May I stay very close to you this evening? Why?
• 37:20
  Speaker 2: Because I love you, and I'm afraid.
• 37:25
  Speaker 4: But there's nothing to be afraid of.
• 37:27
  Speaker 2: Grazia, why are you so strange?
• 37:31
  Speaker 4: I seem to be waiting for something. Let me stay
• 37:34
  Speaker 4: with you. It's not you that I'm waiting for, Corrado.
• 37:38
  Speaker 2: Grazia, you're so far away. Please come back to me.
• 37:43
  Speaker 2: There's some awful danger.
• 37:45
  Speaker 3: I know it.
• 37:46
  Speaker 4: Oh, no, not danger.
• 37:48
  Speaker 2: Happiness.
• 37:49
  Speaker 4: Something I've been waiting for so long.
• 37:52
  Speaker 2: Grazia.
• 37:53
  Speaker 4: Please don't be unhappy, Corrado. I love you. In some way,
• 37:58
  Speaker 4: I can't make clear... If I didn't feel so far away,
• 38:03
  Speaker 4: I should be in your arms crying and holding you
• 38:05
  Speaker 4: close to me. I want to do that. But somehow,
• 38:12
  Speaker 4: I think I never shall.
• 38:15
  Speaker 2: You're trembling.
• 38:17
  Speaker 4: I'm only a little cold. Will you get my cloak
• 38:20
  Speaker 4: from the hall?
• 38:22
  Speaker 2: I don't want to leave you. Won't you come with me? No.
• 38:27
  Speaker 4: I must wait here, Corrado.
• 38:28
  Speaker 2: Grazie. Yeah.
• 38:30
  Speaker 4: I must wait here for him alone.
• 38:44
  Speaker 2: We pause for station identification. This is the Columbia Broadcasting System.
• 38:53
  Speaker 2: And this is KNX, the Columbia Station.
• 38:56
  Speaker 3: Los Angeles.
• 38:58
  Speaker 2: We call an intermission in our presentation of Death Takes
• 39:01
  Speaker 2: a Holiday, starring Frederick March and Florence Eldridge, to introduce
• 39:05
  Speaker 2: the dramatist who brought this play to American audiences. Formerly
• 39:10
  Speaker 2: instructor in English at Yale University, Walter Ferris is now
• 39:13
  Speaker 2: one of the screen's most valued writers. With such hits
• 39:16
  Speaker 2: to his credit as Under Two Flags, Maid of Salem,
• 39:19
  Speaker 2: and Lloyds of London, he interrupts his work on Shirley
• 39:22
  Speaker 2: Temple's film, Heidi, to be with us tonight. Ladies and gentlemen,
• 39:26
  Speaker 2: Walter Ferris. Thank you, Mr. DeMille. There are no doubt
• 39:36
  Speaker 2: people in our audience who think me morbid for having
• 39:38
  Speaker 2: dealt with this subject, but my intention was anything but morbid.
• 39:43
  Speaker 3: Mr.
• 39:43
  Speaker 2: Cassell's brilliant and compelling conception of death on a holiday
• 39:46
  Speaker 2: suggested all sorts of fascinating ideas to me. One was this.
• 39:51
  Speaker 2: I thought if I were to treat death as a
• 39:52
  Speaker 2: fellow who couldn't understand why people were afraid of him,
• 39:55
  Speaker 2: since his job was only to escort them from one
• 39:57
  Speaker 2: world to another, that those who saw the play might
• 40:00
  Speaker 2: cheer up a little. I thought they might go out
• 40:03
  Speaker 2: of the theater stepping a few inches higher than when
• 40:05
  Speaker 2: they came in, which was what Mr. DeMille and David
• 40:08
  Speaker 2: Blasco achieved with their fantasy on death, The Return of
• 40:11
  Speaker 2: Peter Grimm. That, to my mind, is what every play
• 40:14
  Speaker 2: or motion picture should make an audience do, step a
• 40:17
  Speaker 2: little higher. whether the theme is comedy or tragedy. The
• 40:21
  Speaker 2: adaptation of Mr. Casella's play must have been a very
• 40:23
  Speaker 2: difficult task. It was. Adrienne Morrison, the mother of Joan
• 40:28
  Speaker 2: Constance Bennett, asked me to do it. At first I refused,
• 40:32
  Speaker 2: but then the theme haunted me so that I finally
• 40:35
  Speaker 2: accepted and spent nearly two years in writing the play
• 40:38
  Speaker 2: you are presenting tonight. Four actresses found their way to
• 40:41
  Speaker 2: fame through the part of Grazia. Rose Hobart, Helen Vinson,
• 40:45
  Speaker 2: Margaret Sullivan, and Catherine Hepburn. But how did you happen
• 40:48
  Speaker 2: to turn playwright? By playing hide-and-seek with death myself, really.
• 40:54
  Speaker 2: Like Mr. March, I found myself in a hospital with
• 40:56
  Speaker 2: lots of time to think things over. Freddie got better
• 40:59
  Speaker 2: and became an actor. I became an author. You're both
• 41:02
  Speaker 2: getting better all the time. Certainly, Mr. March has recovered splendidly.
• 41:06
  Speaker 2: But I sometimes have doubts about myself. We've been very
• 41:10
  Speaker 2: lucky in the stars we've had in the part of death. First,
• 41:13
  Speaker 2: Philip Merivale on the stage, then Frederick March on the screen.
• 41:16
  Speaker 2: And now on the radio we have Mr. March and
• 41:18
  Speaker 2: his distinguished wife playing together. And before saying goodbye, I
• 41:23
  Speaker 2: should like to express an author's gratitude to the Lux
• 41:25
  Speaker 2: Radio Theater for the very intelligent fashion in which it
• 41:28
  Speaker 2: uses his material. It's been a pleasure to be here
• 41:31
  Speaker 2: and see how you present a program in behalf of
• 41:33
  Speaker 2: a product which we use every day, both at home
• 41:36
  Speaker 2: and at 20th Century Fox Studios, Lux Toilet Soap. Thank you.
• 41:40
  Speaker 2: It's been a pleasure, Mr. Ferris, to have you with us.
• 41:52
  Speaker 2: Death Takes a Holiday, starring Frederick March and Florence Eldridge.
• 41:59
  Speaker 2: The time grows short. Death's holiday on Earth is almost over,
• 42:04
  Speaker 2: and soon Prince Circe must again take up the black
• 42:07
  Speaker 2: cloak of his real existence. In the garden, Grazia and
• 42:10
  Speaker 2: His Highness sit hand in hand, gazing deep into each
• 42:15
  Speaker 2: other's eyes. You kept your promise, Grazia. You came to
• 42:22
  Speaker 2: meet me.
• 42:23
  Speaker 4: Didn't you know that I would?
• 42:24
  Speaker 2: Yes. I felt it deep within me. It is strange.
• 42:31
  Speaker 2: We seem to understand each other so. We hardly need
• 42:37
  Speaker 2: to speak, do we?
• 42:39
  Speaker 4: Thoughts are so much clearer than words.
• 42:43
  Speaker 2: Then perhaps you can tell me what I've been doing here.
• 42:46
  Speaker 4: I think I can, almost.
• 42:48
  Speaker 2: Tell me.
• 42:50
  Speaker 4: I think you've been holding life in your hands, as
• 42:53
  Speaker 4: I do sometimes. I think you've been a little afraid
• 42:58
  Speaker 4: of its beauty.
• 42:59
  Speaker 2: You do know. You wonderful, exquisite child. Something new has
• 43:07
  Speaker 2: been born in me. And at last, I know the
• 43:10
  Speaker 2: meaning of this life men lead here. I know for
• 43:14
  Speaker 2: the first time men bear a dream within them. A
• 43:19
  Speaker 2: dream that lifts them above their petty lives. And that
• 43:23
  Speaker 2: dream is love. You have brought this to me, Grazia.
• 43:29
  Speaker 2: You have shown me a new world. A world which
• 43:32
  Speaker 2: you made for me and which we share together. And yet,
• 43:38
  Speaker 2: I am alone, too. Still alone.
• 43:42
  Speaker 4: I think we'll never be alone again.
• 43:44
  Speaker 2: We must, Grazia. And I shall miss you so. I
• 43:48
  Speaker 2: shall hear your laughter in every wind that passes. I
• 43:52
  Speaker 2: shall hear your footsteps wherever you are. When our two
• 43:57
  Speaker 2: worlds hold us apart.
• 43:59
  Speaker 4: Why should we ever be apart? What is this that
• 44:02
  Speaker 4: will happen? Who are you?
• 44:05
  Speaker 2: Prince Serkis.
• 44:08
  Speaker 4: I don't mean that. You seem to come from a
• 44:11
  Speaker 4: distant place. You're like the mystery that's just beyond sight
• 44:15
  Speaker 4: and sound. Always just beyond my reach. Something that draws and...
• 44:23
  Speaker 4: and frightens me.
• 44:24
  Speaker 2: Oh, Grazia, Grazia, please, do not be afraid of me.
• 44:28
  Speaker 2: I am Circe who loves you more than any man
• 44:30
  Speaker 2: could love you. I am Circe who needs your warmth
• 44:32
  Speaker 2: and your beauty more than any man could need them.
• 44:36
  Speaker 2: Listen to me, Grazia. I am a great power. And
• 44:40
  Speaker 2: I am humble before you. And tonight, I must go
• 44:45
  Speaker 2: back to my.
• 44:47
  Speaker 2: My distant kingdom.
• 44:48
  Speaker 4: Will you take me with you?
• 44:49
  Speaker 2: Take you?
• 44:50
  Speaker 4: I should be unhappy alone.
• 44:51
  Speaker 2: Take you? Oh, no, not. Do not tempt me. Oh, Grazia. Grazia, please.
• 44:59
  Speaker 2: Give me one hour with you. Let me hold you
• 45:02
  Speaker 2: close to me. For you are the meaning of beauty
• 45:07
  Speaker 2: that I must know. Let me hold you in my arms, Grazia.
• 45:13
  Speaker 2: And know that I have lived Oh, my love.
• 45:19
  Speaker 4: My love.
• 45:24
  Speaker 2: What is that?
• 45:26
  Speaker 4: Only the chimes of the hall clock. It's striking the
• 45:30
  Speaker 4: three-quarter hour.
• 45:30
  Speaker 2: Three-quarter hour? Oh, then soon it will be midnight. Midnight.
• 45:42
  Speaker 2: I tell you, Father, she's slipping away from me, away
• 45:44
  Speaker 2: from all of us. Corrado, please. Maria.
• 45:47
  Speaker 4: She's out there in the garden with him now. He
• 45:50
  Speaker 4: has some strange power over her.
• 45:52
  Speaker 2: We must save her from him. We can do nothing.
• 45:54
  Speaker 2: Stand there and say that. We must do something. We
• 45:57
  Speaker 2: can go out there together and take him by the throat.
• 45:58
  Speaker 2: If we could, should I be standing here? Grazie is
• 46:01
  Speaker 2: no danger there. There is nothing to be alarmed about.
• 46:04
  Speaker 2: But you're alarmed, Lambert. Yes, father, you're terrified. I must
• 46:08
  Speaker 2: know why.
• 46:08
  Speaker 4: Lambert, let me go to her.
• 46:10
  Speaker 2: No, no, wait. Then I'll go. No, I forbid you
• 46:12
  Speaker 2: to move. Then tell me why I can't go. Give
• 46:14
  Speaker 2: me your reason or by heaven I'll kill that man.
• 46:16
  Speaker 2: You can't kill him. But he can kill us. If
• 46:20
  Speaker 2: he but points out his hand, all of us... Who
• 46:22
  Speaker 2: is this prince? You don't know what you're asking. I
• 46:26
  Speaker 2: don't care. I only know that Grazia's in danger. Very well.
• 46:33
  Speaker 2: I'll tell you. He said if I reveal his secret,
• 46:37
  Speaker 2: he will leave instantly as Circe and return as....
• 46:42
  Speaker 8: Steal yourselves, if you are to hear it. He is
• 46:46
  Speaker 8: not Prince Circe. He is the one who waits, the
• 46:51
  Speaker 8: one whom all men dread. His majesty, death, amusing himself
• 46:59
  Speaker 8: on a holiday.
• 47:00
  Speaker 2: Father, death, death. So, my friend, you have broken your promise. Yes,
• 47:13
  Speaker 2: I was desperate, sir. It's my son's life against my promise.
• 47:17
  Speaker 2: I had no choice. I am not used to these distinctions.
• 47:20
  Speaker 2: I thought we should part as friends with kindly remembrances.
• 47:24
  Speaker 2: But now my shadow has come between us. Not already. No,
• 47:27
  Speaker 2: I am immortal still for a few minutes. No longer
• 47:31
  Speaker 2: as Prince Sirki, but as myself with my own feelings.
• 47:35
  Speaker 2: In a few moments, I shall be what I was.
• 47:37
  Speaker 2: And for me, too, there will be an end. But
• 47:41
  Speaker 2: you are above pain and loss. Am I? Yes. I
• 47:44
  Speaker 2: thought tonight I had reached the end of my experiment.
• 47:47
  Speaker 2: I had found love. But it was not the end.
• 47:51
  Speaker 2: Beyond that, I have found the pain of losing love.
• 47:55
  Speaker 2: If I must lose it. But it must be lost
• 47:59
  Speaker 2: to you. Why? Because you are... Death! Death! My dear Duke.
• 48:06
  Speaker 2: Thank you for defining the problem.
• 48:08
  Speaker 4: Your Highness, won't you give her back to me?
• 48:10
  Speaker 2: It's your pain against mine. Why should I deny myself
• 48:13
  Speaker 2: because of your childish fear? You know nothing of the
• 48:16
  Speaker 2: meaning of death. I tell you, there is no death.
• 48:19
  Speaker 2: Only a life beyond. A richer, simpler life than yours.
• 48:23
  Speaker 2: And infinitely more kind. But she is so young to die.
• 48:28
  Speaker 2: To go with me now in love would be triumph,
• 48:31
  Speaker 2: not death. as it is known to you.
• 48:33
  Speaker 4: Oh, in God's name, please!
• 48:34
  Speaker 2: Give her back to me! Give her back to me!
• 48:37
  Speaker 2: One lover must always lose, Corrado. But not like this.
• 48:40
  Speaker 2: Not with death. There are wolves between us, and I
• 48:42
  Speaker 2: cannot reach your minds. Why do men fear my coming? Death.
• 48:47
  Speaker 2: Death is but a word that you've been taught to fear,
• 48:50
  Speaker 2: a symbol of the unknown. And because of that word,
• 48:53
  Speaker 2: you keep her from me. I would only lead her
• 48:56
  Speaker 2: through the gateway to the life that lies beyond. Your Highness,
• 49:01
  Speaker 2: we are not answered. Are we to keep Grazia? Is
• 49:04
  Speaker 2: she yours even now? But she doesn't know who you are. Now,
• 49:08
  Speaker 2: if she knew, what would she choose? Yes, you're right.
• 49:14
  Speaker 2: Even Grazia was born to fear the face of death.
• 49:18
  Speaker 2: She would die with me now as Sir But as death,
• 49:23
  Speaker 2: I cannot tell her. You gave me your word. You
• 49:26
  Speaker 2: think me bound by that? I do. An honorable man
• 49:29
  Speaker 2: would be bound. Must I assume your flesh? Must I
• 49:31
  Speaker 2: assume your weakness? Then pity our weakness. I have seen
• 49:35
  Speaker 2: pity struggling in you. We beg the life of Grazia.
• 49:41
  Speaker 2: I bound myself to life and with it to the
• 49:45
  Speaker 2: petty rules by which it is lived. And now I
• 49:49
  Speaker 2: must bow to it. What a monstrous comedy. Where is
• 49:54
  Speaker 2: he going? To fetch Grazia.
• 49:56
  Speaker 4: Oh, what will he do? What will he do?
• 49:58
  Speaker 2: We must wait, Maria. He's been so long. What is
• 50:09
  Speaker 2: the time? Four minutes to the hour. Four minutes. Shh, Maria.
• 50:15
  Speaker 2: Your Highness, she is coming in. You'll give her back
• 50:18
  Speaker 2: to us? No. It is for her to choose.
• 50:20
  Speaker 4: Your Highness.
• 50:21
  Speaker 2: Come here, Grazia. Oh, Grazia, darling.
• 50:24
  Speaker 4: I've been so frightened.
• 50:26
  Speaker 2: Grazia, don't run away like that again.
• 50:28
  Speaker 4: Not in the night. But I was quite safe with
• 50:31
  Speaker 4: Prince Circe, Mother. I love to be with him. I
• 50:34
  Speaker 4: must stay with him always.
• 50:36
  Speaker 2: Grazia.
• 50:37
  Speaker 4: He's kind, mother. And more tender than anyone I've ever known.
• 50:43
  Speaker 4: Even more tender than you.
• 50:45
  Speaker 2: Don't, Grazia. You don't know what you're saying.
• 50:48
  Speaker 4: Why are you all so strange? Why are you suffering so?
• 50:53
  Speaker 4: I've found my love. There ought to be light and music.
• 50:57
  Speaker 4: Save her, oh, please save her.
• 50:59
  Speaker 2: Tell her what you will.
• 51:01
  Speaker 4: What is there to tell? You think there's anything I
• 51:04
  Speaker 4: don't understand? I love His Highness, and I must go
• 51:08
  Speaker 4: with him.
• 51:09
  Speaker 2: Your Highness, you must tell her.
• 51:11
  Speaker 4: Say what you like. It will make no difference.
• 51:13
  Speaker 2: It's nearly twelve, Your Highness. Yes, I know, Grazia. Grazia,
• 51:18
  Speaker 2: I came to this house in jest and made love
• 51:22
  Speaker 2: to you as a jest.
• 51:24
  Speaker 4: You're trying to destroy my love because they wish it.
• 51:28
  Speaker 4: It was not a jest.
• 51:29
  Speaker 2: Grazia, listen. You must stay here with those who love you.
• 51:33
  Speaker 2: I am going far away to a distant country. If
• 51:36
  Speaker 2: you went with me now, you could never see them again.
• 51:39
  Speaker 4: Why must you say these things to me? They can
• 51:41
  Speaker 4: make no difference.
• 51:42
  Speaker 2: But you don't understand. My holiday is over. I am
• 51:45
  Speaker 2: going at once.
• 51:46
  Speaker 4: I'm ready.
• 51:46
  Speaker 2: No, no, no. You can't come with me. Yes, I can.
• 51:49
  Speaker 4: Shall we go now?
• 51:50
  Speaker 2: But you don't know who I am.
• 51:52
  Speaker 4: You are my love. My love.
• 51:56
  Speaker 2: You heard her? All of you? Do you wish me
• 51:58
  Speaker 2: to speak and destroy this happiness? You must.
• 52:02
  Speaker 3: Oh, Grazia.
• 52:03
  Speaker 2: Grazia, my little love. Please. It was not a jest.
• 52:09
  Speaker 2: But I must go, dear.
• 52:11
  Speaker 1: Alone.
• 52:11
  Speaker 2: Oh, no. Goodbye, my friends. Remember that there is only
• 52:16
  Speaker 2: a moment of shadow between your life and mine. And
• 52:21
  Speaker 2: when I call, come bravely through that shadow. And you
• 52:26
  Speaker 2: will find me only your familiar friend.
• 52:43
  Speaker 3: Now, Gracia, you see me.
• 52:48
  Speaker 1: As I am.
• 52:48
  Speaker 4: Good heavens!
• 52:50
  Speaker 3: As I am, Gracia. As dead. That is why I
• 52:57
  Speaker 3: must go alone.
• 53:00
  Speaker 2: You understand now, Gracia.
• 53:04
  Speaker 4: But I've always seen you like that. You haven't changed.
• 53:10
  Speaker 2: You have seen me like this? Yes, always.
• 53:17
  Speaker 4: And I'm going with you.
• 53:20
  Speaker 3: Then there is a love which casts out fear.
• 53:25
  Speaker 2: And I have found it. And love is greater than illusion.
• 53:32
  Speaker 2: And as strong as death.
• 53:36
  Speaker 3: Come, Grazia.
• 53:38
  Speaker 2: Yes.
• 53:38
  Speaker 3: I'm here.
• 53:41
  Speaker 2: Yes. Yes. Yes, holiday is over, and with it our play.
• 54:01
  Speaker 2: But Frederick March and Florence Eldridge rejoin us at the
• 54:04
  Speaker 2: microphone later. Along with the Gish and Talmadge sisters, Mary
• 54:08
  Speaker 2: Pickford and Marguerite Clark, Blanche Sweet will always be remembered
• 54:12
  Speaker 2: among Hollywood's favorite stars at the silent screen. Discovered by D.W. Griffith,
• 54:17
  Speaker 2: Blanche was in no small measure responsible for the box
• 54:19
  Speaker 2: office competition he constantly gave me. I thought the best
• 54:22
  Speaker 2: way to remove the competition was to acquire the star,
• 54:24
  Speaker 2: which I did. A million miles of film have run
• 54:27
  Speaker 2: through Hollywood's cameras since then. But as I welcome her tonight,
• 54:31
  Speaker 2: I see the same charming Blanche with the lovely blue
• 54:34
  Speaker 2: eyes who brought to silent pictures the eloquence of a
• 54:37
  Speaker 2: great performer. Ladies and gentlemen, Miss Blanche Sweet.
• 54:45
  Speaker 4: Thank you, Cecil, and thank you all. Rather amazing, isn't it?
• 54:49
  Speaker 9: To think back to what pictures were like when you
• 54:51
  Speaker 9: and I began, long before we ever dreamed of speaking
• 54:54
  Speaker 9: to each other with a microphone between us.
• 54:56
  Speaker 4: You know, I.
• 54:57
  Speaker 9: Was just 13 when I made my film debut with
• 54:59
  Speaker 9: the old Edison Company back in New York. My salary
• 55:02
  Speaker 9: was the staggering sum of $ 3 a day. And I
• 55:06
  Speaker 9: remember my first Hollywood film for Mr. Griffith at Viagra.
• 55:10
  Speaker 9: It was a one-reel thriller called The Lone Dale Operator.
• 55:14
  Speaker 9: At that time, you know, the names of the cast
• 55:15
  Speaker 9: were never mentioned by the leading studios, and Biograph made
• 55:19
  Speaker 9: it a point to always withhold the identity of their players. Then,
• 55:22
  Speaker 9: names were advertised by independent companies, who chose this as
• 55:26
  Speaker 9: a new means to combat opposition. So quite unwittingly did
• 55:30
  Speaker 9: the system featuring star personalities come into being.
• 55:33
  Speaker 2: Which do you remember, Blanche, as the most outstanding films
• 55:36
  Speaker 2: of your career?
• 55:37
  Speaker 4: Now, Cecil, that's not for me to say.
• 55:40
  Speaker 9: But I particularly like doing Tess of the d'Urbervilles, Anna Christie,
• 55:43
  Speaker 9: Judith of the Thulia, and, of course, your own production,
• 55:47
  Speaker 9: The Warrens of Virginia.
• 55:48
  Speaker 2: Recently, many of us saw you on the stage, playing
• 55:51
  Speaker 2: with Leslie Howard in Petrified Forest. After your success in that,
• 55:55
  Speaker 2: have you any thought of returning to pictures?
• 55:57
  Speaker 4: Well, I'm due back in New York this spring for
• 55:59
  Speaker 4: a play. I leave next month and expect to go
• 56:01
  Speaker 4: into rehearsal soon after. I'll miss listening to your program, Cecil,
• 56:05
  Speaker 4: when I'm in the theater.
• 56:06
  Speaker 9: But I assure you, I don't have to be reminded
• 56:08
  Speaker 9: to keep on using Luxe toilet soap. I hope I'm
• 56:11
  Speaker 9: not a fussy individual, but I am particular about what
• 56:14
  Speaker 9: I use for my complexion. I've used Luxe toilet soap
• 56:17
  Speaker 9: for many years, and I'm glad to have this opportunity
• 56:20
  Speaker 9: of saying what a marvelous beauty care it is.
• 56:22
  Speaker 4: Now, thank you again. Goodbye.
• 56:24
  Speaker 2: Sweet, isn't she? Patience, as Disraeli once remarked, is a
• 56:33
  Speaker 2: necessary ingredient of genius. And in calling back our leading
• 56:36
  Speaker 2: man to the microphone, with Miss Eldridge, I call back
• 56:39
  Speaker 2: the most patient man I know. Forward, March. Ladies and gentlemen, Mr.
• 56:45
  Speaker 1: And Mrs.
• 56:45
  Speaker 2: Frederick March. Thank you. Thank you, C.B. I don't know
• 56:54
  Speaker 2: quite what you mean by patience, though, unless you refer
• 56:57
  Speaker 2: to the fact that it's been nearly five years since
• 56:59
  Speaker 2: we last worked together. The sign of the cross, what
• 57:02
  Speaker 2: would have been in another DeMille production tonight, has been
• 57:05
  Speaker 2: worth all the patience in the world. Thanks, Freddy, but
• 57:08
  Speaker 2: I referred particularly to the patient you exhibited in the
• 57:13
  Speaker 2: sign of the cross.
• 57:14
  Speaker 4: You mean the time you fed my husband to the lions, Mr.
• 57:16
  Speaker 2: DeMille?
• 57:17
  Speaker 4: I think I deserve the medal for patience, not Freddy.
• 57:20
  Speaker 2: This scene, Florence, was just before he was served to
• 57:23
  Speaker 2: the lions. A jailer was supposed to enter with a
• 57:25
  Speaker 2: simple speech... Forgive me, but we must proceed. The emperor
• 57:29
  Speaker 2: is waiting, excellence. Oh, I remember that, yes. And the
• 57:32
  Speaker 2: jailer was so terribly scared that he just couldn't say
• 57:34
  Speaker 2: the word excellent. Every time he'd ruin the scene by
• 57:37
  Speaker 2: saying your majesty or your highness or your lordship.
• 57:40
  Speaker 4: And what happened?
• 57:41
  Speaker 2: As I remember, after wasting hours, we went to lunch
• 57:45
  Speaker 2: while Mr. DeMille dug up another jailer. This new actor
• 57:47
  Speaker 2: looked the part and he caught his cue perfectly. He
• 57:50
  Speaker 2: glared at us fiercely and he declared... Forgive me, but
• 57:54
  Speaker 2: we must proceed. The emperor is waiting, Excellency. When I
• 58:00
  Speaker 2: heard that lisp, they had to keep me from throwing
• 58:02
  Speaker 2: that jailer instead of Freddy to the lions.
• 58:06
  Speaker 4: Weren't you just a little bit frightened, Freddy, playing the
• 58:08
  Speaker 4: lion scene?
• 58:09
  Speaker 2: Not a bit, my darling. You see, I had just
• 58:11
  Speaker 2: found out that those lions didn't like ham. Freddy tells me, Florence,
• 58:18
  Speaker 2: that you and he are going back on the stage. Yes.
• 58:21
  Speaker 4: We wanted to wait until our children were a bit older.
• 58:23
  Speaker 4: But now Penny's four and a half and Tony's a
• 58:26
  Speaker 4: little past three.
• 58:27
  Speaker 2: Time marches on with the marches. Incidentally, C.B., Penny's a
• 58:31
  Speaker 2: great booster of yours. She told us to be sure
• 58:34
  Speaker 2: to give her love to the man who sells that
• 58:35
  Speaker 2: nice soap.
• 58:38
  Speaker 4: Well, after all, Lux Toilet Soap has been a standby
• 58:40
  Speaker 4: of the March household for a good many years, Mr.
• 58:42
  Speaker 2: DeMille.
• 58:43
  Speaker 4: Not because just about everybody in Hollywood also seems to
• 58:46
  Speaker 4: prefer it. but because it happens to be just about
• 58:48
  Speaker 4: the finest complexion care we know of.
• 58:50
  Speaker 2: Yes, and now, darling, don't you think it's about time
• 58:53
  Speaker 2: we went home and put the kids to bed?
• 58:54
  Speaker 4: Oh, yes, I do. Goodbye, Mr. DeMille. And to all
• 58:58
  Speaker 4: of you out there, our sincere thanks.
• 59:00
  Speaker 2: Goodbye, all. March goes out like a lamb. Mr. March,
• 59:06
  Speaker 2: Miss Eldridge, our thanks. Ladies and gentlemen, this is your announcer,
• 59:09
  Speaker 2: Melville Rose. There's great news coming from Mr. DeMille in
• 59:12
  Speaker 2: a moment. Mr. March will be next seen in the
• 59:14
  Speaker 2: David O. Selznick Technicolor production, A Star is Born. Mr.
• 59:17
  Speaker 2: DeMille appeared through courtesy of Paramount Studios and Louis Silver's
• 59:20
  Speaker 2: 20th Century Fox, where he was in charge of music
• 59:23
  Speaker 2: for the new film, Seventh Heaven. And now, our producer.
• 59:26
  Speaker 2: Next Monday night, the Lux Radio Theater brings you George
• 59:30
  Speaker 2: Burns and his pixelated partner of screen and radio, Miss
• 59:34
  Speaker 2: Gracie Allen. The vehicle for these nitwits of the networks
• 59:39
  Speaker 2: is supplied by those sharp-witted satirists, George S. Kaufman and
• 59:42
  Speaker 2: Mark Connolly, and was the first play that brought them fame, Dulce.
• 59:47
  Speaker 2: In addition to Burns and Allen, our cast will include
• 59:50
  Speaker 2: four of the original players, Howard Lindsay, Wallace Clark, Elliot Nugent,
• 59:54
  Speaker 2: and Norma Lee. Our sponsors, the makers of Lux Toilet Soap,
• 1:00:00
  Speaker 2: join me in inviting you to be with us again
• 1:00:02
  Speaker 2: next Monday night when the Lux Radio Theater stars George
• 1:00:05
  Speaker 2: Burns and Gracie Allen in Dulce. This is Cecil B.
• 1:00:08
  Speaker 2: DeMille saying goodnight to you from Hollywood. This is the
• 1:00:12
  Speaker 2: Columbia Broadcasting System.
• 1:00:22
  Speaker 1: Lux Radio Theater concludes with Death Takes a Holiday. Follow
• 1:00:26
  Speaker 1: the 50 greatest old-time radio shows for more classic broadcasts.