Lux Radio Theatre - Madame Sans-Gene

A high-budget anthology series adapting major films and stage plays for radio, often with the original Hollywood stars. It brought cinematic drama into living rooms weekly.

Episode Transcript

Speaker 1 (00:00):
Hollywood, Gallifornia, Monday, December fourteenth, The Nuts Radio Theater presents
Gen Harlow and Robert Taylor in Madame San Jen with
Cloud Brains and c Henry Gordon.

Speaker 2 (00:29):
Lux presents Hollywood Ursars Jeen Hollow, Robert Taylor, Claude Rains
and see Henry Gordon. Our guests Jerome Napoleon Bonaparte and
William Councilman, screenwriter and creator of Ellis Inders, Our producer
Cecil B. De mill Our, Conductor Lois Silvers. Do you
who crowd our theater on Hollywood Boulevard tonight? And do

(00:50):
you unseen Milliams the Nation of a Welcome to the
Lux Radio Theater. Now for a do and a don't
use all the cosmetic and rules you wish, but don't
run the risk of getting cosmetic skin with its tiny blemishes,

(01:11):
enlarging pores and dull complexionies. Protect your skin away. Nine
out of ten screen stars do with Lux toilet soap,
whose active lather cleanses the pores thoroughly and leaves your
skin healthily, clean, smooth and lovely. I now turn you
over to the producer of the Lux Radio Theater. Ladies
and gentlemen, at dercessor d Demur. Greetings from Hollywood ladies

(01:43):
and gentlemen. To preface tonight's play as it would be
prefaced on the screen, I should smack my lips, glance
at the audience, and roar like the metro Golden Mayle liar.
So we're presenting two of them GM's brightest stars, Geen
Harlow and Robert Taylor. I've been hearing about Jean ever
since she was a child. My daughter Cecilia used to

(02:05):
come home from school and tell me that this little
blue eyed blonde was making so many conquests there weren't
enough boys left to go round. At seventeen, Jeane was
offered a contract by the Holroad Studios, but the shock
of seeing her on the screen was too much for
her grandfather. His telephone call from Kansas City resulted in
her promise to stop acting for eight months. Jeane kept

(02:27):
her word, Then Grandpap prelented and she went into the
lead of Hell's Angels. She has since become quite a well,
quite a figure in the industry of Robert Taylor's storybook rise.
I told you a few weeks ago when he appeared
here in Saturday's Children Like Lord Byron. He awoke one
day to find himself famous. He's just completed his role

(02:49):
opposite Cretagabo and Camille. To night he becomes Count Nitperg
and Miss Hallowe Madame san Jeanne the French words for
Missus devil may care. Claude Raines, who started his stage
career as a corboy, carpenter, property man and manager at
his Majesty's Theater London, will be Napoleon, a character he

(03:10):
recently portrayed and hats Divided. Starred in The Invisible Man,
the first picture he made in Hollywood. Mister Rains is
the only actor whoever appeared in the film without being
seen in it. As Fouchet, Napoleon's aid, we have c
Henry Gordon, one of the screen's most delightful menaces. Our
play is by Victorian Sadou and nothing remains but to

(03:33):
ring up the curtain lights music. The Luxe Radio Theater
presents Gene Harlowe and Robert Taylor in Madame San Jeanne
with Claude Rains and see Henry Gardon. August tenth, seventeen

(03:58):
ninety two. Francis rocked by revolution in the city of Paris,
a rabble mob sweeps down with the privalies fursting for
a venge and ten on the slaughter. They're singing queens

(04:22):
dragged's bearded, patriots, eyes hot with a lust of battle,
swarm madly in the rose, and the casts that fikes
raised high in the air, their voices lifted, and a
lost hymn.

Speaker 3 (04:32):
Of hate through the crowd comes a young girl are
clothing and shreds the.

Speaker 2 (04:44):
Laundry basket on her arms. She fights past the men,
pushing away toward the end of the street.

Speaker 4 (04:58):
Out of my way.

Speaker 2 (05:00):
You here, Hey, where are you going? Tell you come
back here?

Speaker 5 (05:03):
Get me alone.

Speaker 2 (05:03):
You want to be pushing a name.

Speaker 4 (05:05):
I'm danger shot and you're like to shop.

Speaker 2 (05:07):
I was fighting down there. You'll get your store packed.

Speaker 5 (05:10):
And it's my though, what if they had.

Speaker 2 (05:11):
Not advanced food?

Speaker 4 (05:13):
No, it's not food.

Speaker 5 (05:14):
It's a logy man who lives there. I hear he's
going to skip. Well, he owes me for three week boys,
counting this one, and he's not gonna skip without pain.

Speaker 1 (05:24):
A revolution going on a role she thinks about as
a laundry business.

Speaker 5 (05:27):
Don't shut your mouth. I know her.

Speaker 2 (05:30):
Her name is Madam Sanger. My damn devil may care.
Huh well, my damn devil, make care.

Speaker 3 (05:35):
You're a brave little girl, and pay Pioty too.

Speaker 2 (05:38):
Come here and give me a kiss.

Speaker 5 (05:40):
Take your dairy hands off me.

Speaker 1 (05:41):
Watch don't kiss for honest patriot.

Speaker 6 (05:44):
You may be a patriot, but you smell of guns,
my man, I.

Speaker 4 (05:49):
Tell him what you tell you a basoner.

Speaker 2 (05:51):
You don't talking pain. We won't much a punching me
the sun. And as he knows you're putting in the neck,
you'll give him someone water.

Speaker 5 (05:58):
Go on now, medling too, end up bearing with a
lady's business. Wait a life, who's there? Come up and

(06:22):
behind that waystub, I know you're there. Oh it's you, fushi.

Speaker 2 (06:27):
Yes, what are you doing here? Nothing? Very much.

Speaker 5 (06:29):
You were hiding, weren't you?

Speaker 2 (06:31):
No, no, no, I was just resting.

Speaker 5 (06:33):
Why aren't you out there with the rest of the
men where you belong? You call yourself a patriot? Haven't
you got any blood in your vain?

Speaker 2 (06:38):
None to spare? I don't see why I should waste it?

Speaker 5 (06:42):
You're afraid.

Speaker 2 (06:43):
Now he's to his own trade, my dear. Some men
are sent into the world to fight, and some to organize.
Now I am an organizer.

Speaker 5 (06:50):
You won't get much organizing down behind a war tub.

Speaker 2 (06:52):
Well, that's where you're wrong. Sitting there a while ago,
listening to the cannons in the distance, I thought of
an excellent plan of action. Once a tree reason our hands.

Speaker 5 (07:01):
I suppose you think they'll make you.

Speaker 2 (07:02):
An official of something, Well, why not? I should make
a very good minister.

Speaker 5 (07:06):
Well, it won't be a minister of war, or even that.

Speaker 2 (07:09):
When the war is over.

Speaker 5 (07:10):
You've got about as much chance of being a minister
as I have of being a duchess.

Speaker 2 (07:15):
I can scarcely imagine you in.

Speaker 5 (07:17):
That character, my dear, No either can I a part
and water?

Speaker 2 (07:22):
Well, besides, they're going to do away with duchesses, but
they will always need organizers.

Speaker 5 (07:27):
Well, when you're a minister, I hope you won't forget
that little washing bill you owe me.

Speaker 2 (07:31):
Ah for shame, my dear, asking favors already? How is
it you're so hot on me when you're so obliging
to others hot others? Well, that young artily officer what's
his name, Bonaparte? I'm sure you never press him for money.

Speaker 5 (07:45):
You know a lot, don't you.

Speaker 2 (07:46):
I merely observe things, well.

Speaker 5 (07:48):
Napoleon Bonaparte can have all the credit he wants. He's
a soldier at the center of his country.

Speaker 2 (07:52):
Napoleon. What an outlandish name.

Speaker 5 (07:55):
It's Corsican and sells he yes, I suppose it is
listener hiding is coming closer?

Speaker 2 (08:00):
Yes, so it is?

Speaker 5 (08:00):
So how long have you been here? And well he
might be with that mob, but you better get out.

Speaker 2 (08:08):
Well I can't leave now, all right?

Speaker 5 (08:09):
Then say if you don't mind having your next tressed.
Oh he's very jealous, mile, Oh, not of me. He's
crazy enough to be because if you want to say
it up to you.

Speaker 2 (08:18):
Well, I believe I have time to get to my rooms.
Good night? Got it that here were down?

Speaker 6 (08:51):
What what do you mean by pushing in here?

Speaker 5 (08:56):
If you own the place?

Speaker 2 (08:57):
Sorry, I've been wanting to get out.

Speaker 5 (08:59):
Of this name. Well it does to me. You're not
a Frenchman, are you?

Speaker 2 (09:04):
I know Austrian Austria. Don't scream, I'll.

Speaker 5 (09:08):
Scream if I want to. Where did you come from?

Speaker 2 (09:11):
The tweeries? I escaped a royalist and it's a royalist
who has done his duty defending the queen.

Speaker 5 (09:15):
Am I supposed to help you?

Speaker 2 (09:16):
For that queen is Austrian? Too. She's my country woman.

Speaker 5 (09:20):
If I find you here, they'll rip you to pieces.

Speaker 2 (09:22):
Here anywhere else. I'm throwing myself on your mercy, all right?

Speaker 5 (09:27):
Now? What's your name?

Speaker 2 (09:28):
Count Night Perk Contanato. Yeah, why do you stare at me?

Speaker 5 (09:34):
I haven't seen many noblemen of clothes Differently when I
now let me see it.

Speaker 2 (09:42):
They did a good job, isn't they.

Speaker 5 (09:44):
Only say you're still alive. I'll got something to bandage
it with.

Speaker 2 (09:48):
You'd rather see me dead?

Speaker 5 (09:49):
I suppose I'd rather I never saw you at all.
If the save now, i'd help the royalists, he'd throttle me.
You don't know.

Speaker 2 (09:56):
No, of course, not let me know.

Speaker 5 (09:58):
If I hate you, you won't to marry me.

Speaker 2 (10:02):
You're very much in love, I suppose he is.

Speaker 5 (10:05):
Hold your arm up and keep it there.

Speaker 2 (10:07):
You haven't told me your name yet. My name, well,
i'd like to know to whom I'm indebted for all this.

Speaker 5 (10:13):
Well, my name's Castine, but they call me madame.

Speaker 2 (10:17):
Oh yes, devil make care the suit you?

Speaker 5 (10:21):
Yes? What makes you think so?

Speaker 2 (10:23):
You would never be doing this for me if you weren't,
Devil may care. Harboring a royalist is a capital offense
among patriots, isn't it.

Speaker 5 (10:30):
You mean they'd kill me, wouldn't they? Will you keep
your arm up?

Speaker 2 (10:34):
I'm sorry.

Speaker 5 (10:35):
You're a funny person. You force your way in here,
what I like it or not, and then you worry
about what might happen to me if they catch you.

Speaker 2 (10:42):
Well, I'm not going to stay. I wasn't thinking much
about anything when I broke in here. I'm sorry. If
you finished with my arm, I.

Speaker 5 (10:49):
Leave now, and I stay where you are. I'll get
you some other clothes. They'd spot you in a minute
with that funding rotated coat, just as Hugh spotted me.
I knew you went French. I guess how I knew
you weren't like the rest of them. Ab're you're a gentleman.

Speaker 2 (11:04):
If you talk like a royalist, sympathized, Well.

Speaker 5 (11:06):
I'm not. But that doesn't mean I can't sympathize with
one of you.

Speaker 2 (11:10):
Thank you.

Speaker 5 (11:11):
We'd all have been nobles if we could have been.
Even though right now I'm glad I'm not.

Speaker 2 (11:16):
You should be well.

Speaker 5 (11:20):
I guess you can go now. Count then.

Speaker 2 (11:22):
I don't know how I can thank you for this.

Speaker 5 (11:24):
Don't try.

Speaker 2 (11:25):
If I get out safety and if there's anything I
can ever do for you. You'll let me know, won't you.

Speaker 5 (11:29):
I guess I won't need much help.

Speaker 2 (11:31):
I don't believe you will. Who's that quick?

Speaker 5 (11:36):
Get into the bedrooms, but you don't start to talk.
Go in there.

Speaker 7 (11:39):
I don't come out.

Speaker 5 (11:40):
Until I tell you under stay very well, I'm coming.
Don't be in such a rush.

Speaker 8 (11:49):
It's a hard time.

Speaker 7 (11:51):
And never wear you up in the garret.

Speaker 5 (11:53):
I don't open doors at night until I find out
who's there.

Speaker 2 (11:56):
HU a good rule.

Speaker 7 (12:00):
Well, don't we get a kiss if you want? If
you want, there's a nice greeting for a victorious patriot.

Speaker 5 (12:06):
Victoria.

Speaker 7 (12:07):
You've taken the Twileries by storm. Listen to them, not
to night to be remembered, girl, the King and Queen,
the temple, under lock and key.

Speaker 2 (12:14):
They won't be prolonged.

Speaker 7 (12:15):
If that mob has anything to say about it.

Speaker 2 (12:19):
Bring me some wine.

Speaker 7 (12:21):
We'll drink a toast to Madame guilty. Hey Catherine, Yes,
what's the matter with you? Why you're so quiet?

Speaker 5 (12:28):
Did you say you wanted wine?

Speaker 2 (12:29):
Come here?

Speaker 7 (12:31):
You're in a funny mood tonight. I came here expecting
to be greeted with open arms.

Speaker 5 (12:36):
You expected too much.

Speaker 2 (12:37):
I'll get the glass I can wait.

Speaker 5 (12:40):
What are you looking at?

Speaker 7 (12:41):
I think someone came here tonight?

Speaker 5 (12:43):
Yes, oh, your friend Fouchet. You're not jealous?

Speaker 2 (12:47):
Are you anybody else?

Speaker 5 (12:48):
Now?

Speaker 2 (12:48):
Sure?

Speaker 5 (12:49):
Cause I'm shore. Why do you ask?

Speaker 7 (12:51):
For no reason except that I can't imagine Fouchet wearing
a brocaded coat.

Speaker 2 (12:57):
It's hardly Fouchet's style.

Speaker 5 (13:00):
On that tot and got out of here. I'll have
a look around for raising.

Speaker 2 (13:02):
That door is thank you you're aware.

Speaker 5 (13:05):
I'll go with all it down.

Speaker 7 (13:06):
I mean it, Yes, you too, don't you now? I
understand why you've been putting me off for so long,
don't I won't be any longer.

Speaker 2 (13:13):
I'm going into that room.

Speaker 6 (13:14):
You'll go in there when you're my husband, and not before.
And if you ever want to be my husband, you
better get out of here.

Speaker 2 (13:20):
What do you mean? Oh?

Speaker 6 (13:21):
I'm sick of your jealous tips, sick of you're raving
every time I happen to look at another man.

Speaker 5 (13:26):
There's nothing wrong here tonight, not a thing.

Speaker 7 (13:28):
And why not let me see for myself.

Speaker 5 (13:30):
Because you've got to learn the trust me, and you've
got to learn now.

Speaker 6 (13:33):
I warn you, if you open that door half an inch,
I'll never see you again.

Speaker 7 (13:37):
And if I don't open the door, I've already told you.

Speaker 9 (13:42):
All right, I'll get out.

Speaker 2 (13:43):
But don't forget.

Speaker 10 (13:44):
We're gonna be married soon.

Speaker 2 (13:55):
Everyone handle.

Speaker 11 (14:06):
Wushally is underneath of probably astant in the wrink. I
tell you for the part table me for.

Speaker 5 (14:33):
Woa, whoa, whoa? What is the man ever going to stop?

Speaker 2 (14:36):
Never? Probably? But why worry?

Speaker 7 (14:39):
You haven't done so badly, Catherine, the wife of General
of Tate. So far, cry from washing.

Speaker 5 (14:45):
Dirty linen, Stop putting on ass You've just been lucky, lucky,
and tend to be luckier we the Napoleon is through
with the Austrian.

Speaker 2 (15:05):
You have a list of the wounded, pardon and the dead.
Monsieur au storts will be a costly victory. And the
officers killed twelve monsieur, one of them a general, who
is it, General la fave monsieur. He died at the
hospital tent an hour ago, Madame.

Speaker 5 (15:29):
Yes, a gentleman to see you, Madame. I'm telling him
to come in.

Speaker 2 (15:35):
Thank you. Good afternoon, Madame la favorochet.

Speaker 5 (15:39):
I'm glad to see you.

Speaker 2 (15:41):
Thank you. That's been a long time since i've met you.

Speaker 5 (15:44):
Been ages. I hear you've gone up in the world, bouchet.

Speaker 2 (15:48):
Oh, yes, his majesty the Empire seemed fit to bestow
certain honors of family.

Speaker 5 (15:52):
Don't be so papouse. I brought you here.

Speaker 2 (15:55):
I have a bit of news for you.

Speaker 5 (15:57):
I'll bet it's bad news if you're bringing us now.

Speaker 2 (16:00):
First, may I offer my sincere regrets on the passing
of your husband.

Speaker 5 (16:03):
You're a little late, fouchie. My husband died at Austerlitz.

Speaker 2 (16:06):
Yes, I'm aware of that, and so was his Majesty
when he made your husband the Duke of Dancy.

Speaker 5 (16:11):
What.

Speaker 2 (16:12):
Yes, the Duke of Dancy. His Majesty conferred the honor
on the field of battle.

Speaker 5 (16:16):
So that's your news.

Speaker 2 (16:17):
Well whatever, or don't you realize what that means? You're
the Duchess of Dancy. You have a title, and what
am I supposed to do with it? Oh, my dear girl,
what does anyone do with the title?

Speaker 5 (16:28):
That's what I'm trying to find out.

Speaker 2 (16:30):
But you go to court, you attend his majesty he
seems to.

Speaker 5 (16:33):
Have enough attendance. Now, who's at the court, fouche. I'm
not up on those things.

Speaker 2 (16:37):
Among others, they're the Duke of Rovigo, Carnouville the Queen
Calarn of Naples, the Count of Nyperg what nothing?

Speaker 5 (16:45):
Come on? Count? The knipega? Who else? What?

Speaker 2 (16:48):
Doesn't make any difference? There are many hundreds of them.

Speaker 5 (16:51):
It's funny, Fougie. Remember a long time ago I said
you had about as much chance of being a Minister
of State as I had of being a duchess.

Speaker 2 (16:58):
Oh be a minister yet, but.

Speaker 5 (17:00):
I'm a duchess already. Tell me, do I meet all
those people at the court? Certainly on the same footing.

Speaker 2 (17:07):
Practically you'll be the social equal of any person there.

Speaker 5 (17:11):
Even of a count?

Speaker 2 (17:12):
What count?

Speaker 5 (17:13):
Who were any count?

Speaker 2 (17:15):
Well? I should say yes.

Speaker 5 (17:17):
All right, then I'll go. It might be fun after all.

Speaker 2 (17:34):
He will continue presently starring Jean Harlow and Robert Taylor
in Madame San Jane. But now let's drop into Musso's
Beverly Hill Restaurant on Wilshire Boulevard, around the corner from
the famous Cafe Circle Theater. It's six o'clock dinner. Guests
are beginning to fill the tables. In a corner. A
fortune teller talks spanishly to two.

Speaker 12 (17:52):
Young girls, and the cards say you will have a
great change this year.

Speaker 2 (17:57):
What do you want husband, it will come true.

Speaker 6 (18:00):
You will have great romance, Oh but very great the
king of hearts.

Speaker 12 (18:06):
See hm, Well you're encouraging the fifty cents right, Yes,
thank you.

Speaker 5 (18:12):
Good evening and good luck. You needn't be so uppity Adele.
After all, she was.

Speaker 12 (18:17):
Doing her best well personally, I'm sick and tired of
hearing about romances and wishes coming true. She might as
well have predicted I'd be a second John Blondell.

Speaker 5 (18:27):
Say, Adele, you look a little like Joan at that,
and John Blondell just had a big romance. Listen, Adele,
would you get mad? I told you something? No, why
should I listen? I know fortune teller, and I'm not
trying to say you'd be a second Blondell. But doesn't
it make sense to you if well, donosa, Adele, why
don't you do something about your complexion?

Speaker 2 (18:49):
It's in the cards that if you have a lovely complexion,
you're bound to win, So don't take chances with cosmetic
skin dollness, tiny blemishes and enlarging poise. John Blondell never
makes such chances. This beautiful star is a lux toilet
soap user. She knows the active lather of Lux toilet
soap guards against cosmetic skin because it removes dust, dirt, stale,

(19:11):
rouge and powder thoroughly so they can't choke the pores.
Use powder and rouge all you like, but remove them
with Lux toilet soap. Remember nine out of ten screen
stars use this soap. John Blandell says, I'm delighted with
the way Luck's toilet soap keeps my skin so smooth.
And you know, clear smooth skin means success romance. And now,

(19:35):
mister de Mill, we continue with Madame saint En, starring
Jean Harlow and Robert Taylor, with Claude Rains and see
Henry Garden. Another year has passed for Madame saint En,
now the Duchess of Danzig. Life at the Cotton has

(19:57):
been half enjoyment, half bottom. Weary of its pettish snobbery,
she is made up for it by a more than
friendly interest in the Count Nightberg. She is still the
same person, however, unassuming and charmingly direct, perhaps a bit
too direct for the ladies of the court. As she
enters the glittering ballroom at the Palace, Napoleon's two sisters,

(20:20):
Caroline and Elisa, are especially malicious.

Speaker 5 (20:27):
There she is now coming in the door, your Highness,
for a horrible dress, fantastic.

Speaker 6 (20:34):
She seems, as usual to be having a little difficulty
with the train, almost as much as she has with
her speech. Have you ever heard some of the expressions
she uses?

Speaker 4 (20:43):
Yes, the men seem to enjoy it.

Speaker 5 (20:46):
Look at them walking to her.

Speaker 6 (20:48):
I don't see the Count and Knightpug. Isn't he usually
dancing attendance.

Speaker 5 (20:53):
Upon her, My dear, don't be absurd.

Speaker 4 (20:56):
Count Knightberg is amused by her, not in love with her, to.

Speaker 6 (21:00):
Wonder she doesn't come to you at once, Your Highness,
She must know tonight's ball is in your honor.

Speaker 5 (21:05):
I take little courtesy from a washer woman.

Speaker 6 (21:08):
I'd like to tell her that sometime, to our faith,
she's coming over.

Speaker 4 (21:12):
I'm honored, a highness. Oh my dear Catherine, we're delighted
to see you.

Speaker 5 (21:17):
I hope your Highness of pardon me for being so
awfully late. I had a terrible job getting into this dress.

Speaker 4 (21:22):
It's a little tight around the same.

Speaker 5 (21:25):
Oh, my dear, how Queen twaint, Yes, we've noticed, Duchess,
you have a very original manner of expressing yourself.

Speaker 2 (21:34):
So picturesque.

Speaker 4 (21:35):
Are you making made me?

Speaker 5 (21:36):
Madam? Savre?

Speaker 2 (21:37):
You are?

Speaker 5 (21:38):
You can say yourself a trouble. That's the way I
have always spoken, and that's the way I always will speak, really,
if you'll forgive my saying so, your expression seemed to
have been borrowed from the lower classes. Not borrowed broth.
I'm from the lower classes myself.

Speaker 6 (21:53):
I shouldn't boast of it, my dear, I'm not, but
I'm not ashamed of it either. Just what were you
before you became a duchess cat?

Speaker 5 (22:00):
I think you know that, but I don't mind telling
you again. I was a warsher woman. I should think
you'd rather keep that christ, my dear, your highness, there
aren't any stupid trades, only stupid people. You forget yourself.

Speaker 6 (22:14):
I had a trade, and I am proud of that.
And let me tell you I'm in good company here.

Speaker 5 (22:18):
Monsieur Duprey used to sell oil. Bessier was a wig maker,
bruna printer, and your own husband, your Highness, who is
now the King of Naples, was one for seven in
his father's wine shop. Quiet and some people here who
now call him your Majesty, used to shout out him, Hey, wait,
I bring me some soup gold.

Speaker 4 (22:36):
I think you have said enough. The Empress you'll hear
of this.

Speaker 5 (22:39):
I'm sure he will. Good evening, your highness.

Speaker 9 (22:51):
Catherine, Whatever have you done?

Speaker 5 (22:53):
Hello, bouchet?

Speaker 2 (22:54):
You realize you've been son of the empress sister.

Speaker 5 (22:56):
She's had it coming to over a year. She'd stayed
a little longer.

Speaker 4 (22:59):
I had a lot.

Speaker 2 (23:00):
You may pay daily for it. The Empress in a
nasci moon tonight. What well?

Speaker 6 (23:04):
Heaven only knows, if Heaven knows, So do you now?

Speaker 5 (23:07):
What is it?

Speaker 2 (23:08):
There's something about the Empress, a little jealousy.

Speaker 5 (23:11):
I think is that he got over it.

Speaker 2 (23:14):
You take other people's love affairs very lightly, my dear, I.

Speaker 5 (23:16):
Happen to know something about jealousy. I murd the five.

Speaker 2 (23:20):
No, of course, and jealousy is very stupid.

Speaker 5 (23:22):
It doesn't get you anything in the end.

Speaker 2 (23:24):
That's quite right. Oh, by the way, how is the
counter nightwork?

Speaker 5 (23:29):
I haven't seen him for a week.

Speaker 2 (23:30):
Oh really? Oh? Then it wasn't you who was driving
with him in the park last Wednesday?

Speaker 5 (23:34):
In the park? Was he in the park?

Speaker 2 (23:36):
Yes, we're the woman they passed. I really couldn't say.
She was very heavily veiled, however, wander my carriage?

Speaker 4 (23:43):
What my carriage?

Speaker 2 (23:44):
I'm going home, My dear Catherine. What has happened to
your philosophy of jealousy?

Speaker 5 (23:48):
Do you think that I'm in love at night?

Speaker 2 (23:49):
Take it well, aren't you?

Speaker 4 (23:51):
Oh, Fouchet, you're a nosy meddling.

Speaker 5 (23:53):
Old school way.

Speaker 2 (24:01):
Majesty the Emperor. Good evening, your majesty, Good evening, you,
your majesty, Good evening, sire, Good evening. If you receive
my message, Fouchet, No, Sire, I asked you to report
to the West wing as soon as you arrived. I'm sorry,
your majesty, but never mind. Go there and wait for me.
There's something I want to speak to about. Go now, yes,

(24:22):
your majesty. At once, your Majesty, the Duke of Chantier
asked if you might see you in private. Tell him
I'm busy, Yes, your Majesty, and your sister, the Queen
of the may tell her that I'm busy. I'm going
to the west room. Can throw all appointments and see
that I'm not disturbed. Yes, your madicy Sit down, Fouchet,
Thank you, sire. Now, Fouchet, how well are you acquainted

(24:45):
with the palace guards? You know eight or ten who
commit trusted to keep their mouth shut. Why I believe so, Sire, good,
find them and tell them to report to Roussin. I'm
putting a special guard around the empress apartment tonight, and
I want men, not fools, a special guard around her
majesty's apartment. And may I ask, quiet, sire, are you

(25:05):
pretending that you don't know? For your majesty, I have
reason to suspect Fouchet, and someone will try to gain
admittance to the empress chambers late tonight. A scandal must
be avoided at all costs, for your majesty. You surely
don't imagine why. It's incredible you must be mistaken, sigh.
I'm paid to follow orders Fouchet, not to question them.
Very good, your majesty. One moment, yes, sir, there's a

(25:30):
woman here tonight, the Duchess of Dancing. You know very well,
your majesty. My sister tells me this woman has insulted
her publicly. I wish to see her at once. I'm sorry,
your majesty, but the Duchess of Dancing has already left
the palace. Are you sure? I'm quite sure, your majesty,
she asked, me to order her carriage. She must be
on her way by now. Well, i'll see you in
the morning. We were that she's to be here at

(25:51):
ten o'clock. Yes, sir, your grace, Well what is it?
The Count Denberg is here, your grace in the drawing room.

(26:14):
I told him you were the now, Yes, your grace.

Speaker 5 (26:19):
Good evening, Louis.

Speaker 2 (26:22):
I've been waiting for you.

Speaker 5 (26:23):
You knew I was at the palace if you wanted
to see him.

Speaker 2 (26:25):
I wanted to speak to you alone. There is much time, Catherine.
I may have waited too long now, but I couldn't.

Speaker 5 (26:33):
Leave without live Where What are you saying?

Speaker 2 (26:36):
I'm trying to say goodbye, Catherine, I'm leaving France tonight. Yes,
why this afternoon? The Duke of Rovigo handed me the
Emperor's orders to leave before night. Yes, to cross the
frontier by the shortest route. Never come back.

Speaker 5 (26:50):
What have you done? He can't send you away for nothing.

Speaker 2 (26:55):
My mother covers all crimes, Catherine. I've been faithful, faithful
to my name into Austria. You see, I was a
friend of the Duke dong Leanne. Napoleon never forgets that.
When the date was fixed for his marriage to Marie Louise.
A list of officers was submitted to his inspection officers
who would conduct her majesty from Austria to France. With

(27:17):
one stroke of a pen, he scratched my name from
the list.

Speaker 5 (27:20):
He hates me, and that's why he's sending you away now.

Speaker 2 (27:24):
He's a little too clever for that. He's discovered what
he thinks to be a love affair of mine in
the palace. He's become very strict on that point since
his second marriage. He's using this affair as an excuse
to get me out of the.

Speaker 5 (27:36):
Country, he said, only an excuse. Louis, Yes, you don't
love this woman.

Speaker 2 (27:42):
I told you I didn't.

Speaker 5 (27:44):
Why do you look so sad?

Speaker 2 (27:46):
Oh? Is she?

Speaker 5 (27:46):
Louis?

Speaker 2 (27:48):
I can't tell you that.

Speaker 5 (27:49):
Then you do love it, don't you, Catherine? You do?
It's written all over you. Are you going to see
her before you leave?

Speaker 2 (27:55):
Tonight? Very late? She's arranged a meeting.

Speaker 5 (27:58):
Louis, will you do something for me?

Speaker 2 (28:00):
Yes?

Speaker 5 (28:01):
Don't see it's.

Speaker 2 (28:03):
My last chance for my sake. Do you know what
you're asking?

Speaker 5 (28:08):
I think I do. I know what you're going through, Louis.
I know what it means to love of someone that
you can't have you?

Speaker 2 (28:17):
Why why every man at court is mad about.

Speaker 5 (28:20):
You except one. He's the only one that matters. Please, Louis,
don't see this woman?

Speaker 2 (28:27):
Why do you ask that?

Speaker 5 (28:28):
If Napoleon hates you now, how will you feel when
he finds out that you deliberately disobeyed it?

Speaker 2 (28:33):
He won't find out you forget. I'm leaving France for good.

Speaker 5 (28:36):
Oh but there may be some hope if someone spoke.

Speaker 2 (28:38):
Up for Napoleon annoying when he's at his feathers ruffle.
It's like speaking to a stone.

Speaker 5 (28:43):
Wall when he counts end jelway, like is he kept? Louis,
wait here for.

Speaker 2 (28:47):
Me, Catherine? Where are you going?

Speaker 4 (28:49):
I won't be long.

Speaker 5 (28:50):
Just wait, please, Franzi, your grace, order the carriage. I'm
going back to the palace.

Speaker 2 (29:04):
No, majesty, well what is it? Don't you see? I'm busy.
I beg your pardon, sire. But the Duchess of Danzig
is here, she insists, upon seeing you at once, Sire,
these are well. Who did you say was the Duchess
of Danzig? Sire? Oh? Yes? Send her in, Yes, sire,
your majesty, So you're the Duchess of Danzig.

Speaker 5 (29:25):
Yes, your majesty must have seen you.

Speaker 2 (29:27):
I can't remember. Everybody saidan thank you, sir. It's strange
that you should come here tonight. It's about it's strange
because I was going to send for you in the morning.
I suppose you know why.

Speaker 5 (29:38):
Yes, your sister has been carrying tales again.

Speaker 2 (29:41):
What's that?

Speaker 5 (29:42):
She told you? I insulted it, and she's right.

Speaker 2 (29:44):
You have no hesitation about admitting it.

Speaker 5 (29:46):
Have you, no, sire?

Speaker 2 (29:47):
I hope you realize you've caused the scandal.

Speaker 5 (29:49):
I hope I have. But do your sister a lot
of good, Sarah. Someone took her down a peg. She
forgets that she had an humble beginning too, like a
lot of us.

Speaker 2 (29:57):
That if frank almost brutal.

Speaker 5 (29:59):
That's my army training, sire. You see, I've served under
the flag you with a brandickeg on my hip, giving
brinks to the wounded in.

Speaker 2 (30:06):
The die a bid one year.

Speaker 5 (30:07):
Yes, little I say, thirteenth of the vote, Army of
the vote, Army, the motell, Army of the wrong. That's
where I had a donkey shot out from underneath me.
The general name me in the orders of the day
and kiss me right in front of the whole regiment.

Speaker 2 (30:21):
Why have I never heard about this?

Speaker 5 (30:22):
You didn't have either, did your sister?

Speaker 2 (30:25):
Oh?

Speaker 5 (30:26):
All she knows is that I was a washer woman.

Speaker 2 (30:28):
Yes, I've heard about that. You've tried all trades, then, No,
only two one two minutes have one year? Good? But
a washer woman when where paras ninety.

Speaker 5 (30:40):
One and ninety two? I had a lot of bad customers,
though I've me in the palace as a soldier. Whollowys
me sixty francs to this day. He's got up in
the world, but he never played me. I think I'll ask.

Speaker 2 (30:51):
Him for it. That would look nice, wouldn't it.

Speaker 5 (30:53):
I've even brought his bill with me. I thought you'd
like to see him.

Speaker 2 (30:56):
No, thank you, Oh, just to see the name on it.
I suppose you would like me to collect.

Speaker 5 (30:59):
It for you when he has an old letter of
his asking for credit. Listen, out of my small pay,
I am again called upon all the writing's awful, again
called upon to come to the aid of my mother
and sisters, who are about to take refuge in Marseille.
What's that as they are obliged to flee from Corsic Corsica.

Speaker 2 (31:24):
Let me see that.

Speaker 5 (31:25):
Look at the signature, sire, Yes, that's my bad.

Speaker 2 (31:31):
Let me see your shop, the Ruse and Ann the
Rue DESORTI I remember, but your name. I can't recall that. No, no, no,
the other name. Well, so you were Madame Sang. Well
I was in bad streets then I'd almost decided to
become a furniture dealer.

Speaker 5 (31:51):
There's a lot more money in what you're doing now.

Speaker 2 (31:53):
Huh oh yeah. Well let's say about this bill. Forty
francs for mending alone. That's rather high.

Speaker 5 (32:00):
He isn't high at all. You never had a whole
shirt to your back.

Speaker 2 (32:03):
Well, we weren't barging about it. We will say, Napoleon Bonaparte, who's.

Speaker 5 (32:07):
You were crying? And the improtat that makes a seventies.

Speaker 2 (32:12):
Well, I'm afraid fre it's against me. I am to
sew in my pocket.

Speaker 5 (32:16):
Now, well, i've waited this law. I'll give you another
day to settle.

Speaker 2 (32:23):
Yeah, we'll be waking up the whole palace. But it's
a moment. You didn't come here to present this bill,
no style.

Speaker 5 (32:34):
I only brought that with me to remind you that
I once did you a favor. Yes, because I'm going
to ask a favor of you go on. There's a
man here at the court, a man you're going to
punish just because you happen to dislike him.

Speaker 2 (32:49):
You come to feed for him. Yes, I'm not in
the habit of punishing a man for personal reasons.

Speaker 6 (32:53):
Oh, don't let him stay, don't send him back one moment.

Speaker 2 (32:58):
What man is this?

Speaker 5 (33:00):
Count the knight head?

Speaker 2 (33:01):
You can save your breath, I said, you can save
your breath. You hear me? Well, what is it downstairs?
The door of the private staircase has just been open
to see who it was? Yes, sir, I well come on,
speak up, man, there's a counter dye herd yet, please
you put a guard around her Majesty's apartment. I did her, now, Duchess,

(33:24):
perhaps you understand why your friend must leave.

Speaker 5 (33:26):
But it's impossible.

Speaker 2 (33:27):
You're all wrong, Rousta keep this woman here?

Speaker 5 (33:30):
Yes, think and he's wrong.

Speaker 4 (33:31):
I've got to tell him.

Speaker 2 (33:40):
Your farm serious? I all we put it, Louis, Well, sir,
I was prepared for this, so I see. Perhaps you
will tell us what you were doing at the door
to the empress apartment. I didn't wish to leave without
bidding her majesty farewell. Really, at this hour, your Majesty

(34:02):
didn't give me the choice of the hour at which
I should receive the orders of my sovereign. And what
orders have you to receive from the Empress? Those which
she alone has the right to dictate to me. I
am neither the subject nor the valet of your majesty.
I'm a general in the service of my country, and
in that character I have all of my devotion to
the arch Duchess of Austria, the Empress Marie Louise, And

(34:22):
in that character it will be my pleasure to see
you stand before the farthing squad.

Speaker 5 (34:27):
Take him away, your Majesty, you can't do.

Speaker 2 (34:29):
This is murder. Take him away before for station identification.
This is the Columbia Broadcasting System. Jean Harlowe as Madame

(35:14):
San Jeanne and Robert Taylor as the Count de nightperg
resumed the events of our play in a few moments,
and now, ladies and gentlemen, from the corridor of Napoleon's palace,
the Chateau de Campaigne, we traverse land Sea and time
to enter the drawing room of a later Napoleon Bonaparte.
It's a privilege and an anna to present the only

(35:37):
living descendant of the Emperor of France in America, one
of the great figures in the social life of New York,
Palm Beach and Newport. We switch you now to New
York City, to the drawing room of a house on
East sixty ninth Street. Seated there amid rare portraits of
his illustrious ancestor. Is that Emperor's great great nephew from Hollywood.

(36:00):
We welcome and introduce him from New York. He speaks
to you, they pretender to the French Empire, Jerome Napoleon Bonaparte.
Thank you, mister Demil, and good evening.

Speaker 13 (36:14):
I counted a great pleasure to take part in one
of the performances from your brilliant lux Radio theater.

Speaker 2 (36:20):
As I sit here, I know that if the likeness
of the Emperor in this room could come to life,
he would not his approval.

Speaker 13 (36:27):
In his day, all the theaters were under the subsidy
of his government, and whenever you returned to Paris from
Frans European campaigns.

Speaker 2 (36:36):
He wasted no time in taking his place with his
court to hear the latest plays at the Committee Francais.
This famous institution had been closed during the Revolution, but
Napoleon was so interested in it that he had it
reopened in seventeen ninety nine.

Speaker 13 (36:52):
Uri established it in the building which it still occupies today.
Sister de Mill introduced me as a pretender to the
French Empire. I think his statement needs some explanation. Technically,
I am the present pretender, as I am the direct
descendant of the Emperor Napoleon's brother by his first marriage.

Speaker 2 (37:13):
But I have lived all my life in America.

Speaker 13 (37:15):
My family and my friends are here, and also there
is no French Empire. There's one detail of my ancestry
mister de Mille omitted in introducing me, and it's.

Speaker 2 (37:26):
One that I'm very proud of.

Speaker 13 (37:28):
While I am descended from the Emperor of France, I
also claim another honor. My mother was the Formers Appleton
of Boston, and the great grand daughter are the great
American statesman Daniel Webster.

Speaker 2 (37:43):
It always amuses me to think that the.

Speaker 13 (37:45):
Great Napoleon has become related by other people's marriages to
Daniel Webster.

Speaker 2 (37:50):
Our family, of course, can never enter into.

Speaker 13 (37:53):
Discussions as to whether or not the pen is mighty
of the sword. As I am seated here. The microphone
stands on a rosewood desk that may interest you.

Speaker 2 (38:03):
I have used it all my life.

Speaker 13 (38:05):
It was originally given to my cousin, the Empress Uzhenie,
by the city of Paris when her son, the Prince Imperiel,
was born. There's no telling how many great documents have
crossed it, and its value to me personally is even
greater now that a Napoleon can use it to broadcast
his words to a nation. Now in saying good night

(38:25):
to you, may I congratulate you all on this great
lux radio theater. My compliments to your brilliant Madame San Jane,
Jean Hollow, to mister Taylor, and of course to mister
cord Rains for his very fine characterization of my great
great uncle.

Speaker 2 (38:51):
Thank you, mister Bonaparte. We're back in Hollywood now, where
Geen Hollow and Robert Taylor star for us, and Madame
San Jane with Cloud Rains and see Henry Garden. It's
later the same night. The execution of the County Knightberg

(39:14):
is set for five o'clock, three hours from now. In
the drawing room of her house, Catherine faces the floor nervously,
desperately trying to find a way to save him. She
has sent for Fouchet as he enters, she moves quickly
taught him bouchet.

Speaker 5 (39:33):
Is there any news?

Speaker 7 (39:34):
None?

Speaker 2 (39:34):
I try to see the emperor, but it's no use.
He won't see anyone.

Speaker 5 (39:37):
What time is the executioner?

Speaker 9 (39:38):
At five o'clock?

Speaker 2 (39:40):
A lightpeg? Where are they holding at the palace. I'm
afraid it's a bad job, Catherine, the Empress keeping the
whole thing hushed up to avoid his candle. We can't
do anything through the usual channels.

Speaker 5 (39:49):
We've got to get night Peg out of the country.

Speaker 2 (39:51):
Are you men? What do you intend to do? Storm
the palace? Reason why? I Tellier's useless. He's blundered badly
this time of all, a woman in the palace of
fall in love with he picks the Empress.

Speaker 5 (40:02):
Does she know what's happened? Oh?

Speaker 2 (40:04):
Napolners have been anyone to see her.

Speaker 5 (40:06):
Then she won't know until until it's.

Speaker 2 (40:09):
Over, exactly. He's taking no chances of her of hearing.

Speaker 5 (40:13):
We've got to do something. We've got to Oh why
do you stand They used to pid fool. They're going
to kill him. Do you realize that they're going to
kill him?

Speaker 2 (40:22):
I'm sorry that you love him so much, Catherine. There's
nothing I can do or anyone else.

Speaker 5 (40:28):
I've got to see. Take me to him, Fusche, I can't.
You've got to you can arrange it. Please, just a
few minutes along with him, a few minutes, Fouche.

Speaker 2 (40:39):
If I could only reach the control eagle.

Speaker 5 (40:41):
Oh you can't please.

Speaker 2 (40:43):
I can't promise that thing, Catherine. But I shall do
my best. Oh m h m hm hm. In here,

(41:05):
thank you? You can't stay long. When I knock on
the door, you must come out.

Speaker 5 (41:09):
I will thank you.

Speaker 2 (41:11):
Who's there? It's me, Louis, Catherine, Catherine, How did you
get in here?

Speaker 5 (41:15):
Bouchet arranged it. I have to see you again, Louis?
Why did you do it? Why didn't you wait?

Speaker 2 (41:22):
You probably would have done any good.

Speaker 5 (41:24):
I came here to night to see the Emperor to
ask him to let you stay.

Speaker 2 (41:28):
You came here without knowing the facts, Catherine.

Speaker 5 (41:30):
You did you try to send word to the emphasis.

Speaker 2 (41:33):
There's no one I can trust. The letter would be
intercepted assad the time. It's no use, Catherine, you see, well,
shall we shall? We talk about something else?

Speaker 5 (41:51):
But what else is there? If time is so precious?

Speaker 2 (41:55):
Time is nothing now? There's so little of it left
this time even you can't say me this time. You
haven't forgotten that you saved me once. I've thought of
that night often. I always meant to ask you, how
did you get rid of the favor?

Speaker 5 (42:07):
Doesn't matter now.

Speaker 2 (42:09):
I went back there once after the revolution.

Speaker 5 (42:11):
Back to the shop, Why, Louis, I wanted to thank you.

Speaker 2 (42:15):
Oh, and they told me you would married a favor.
Never thought i'd see you again. Then that night, the
night you were first presented at court.

Speaker 5 (42:22):
The Duchess of Dancing, you still threw me quick enough.

Speaker 2 (42:25):
If I recognize you, if that's what you mean.

Speaker 5 (42:27):
But you knew that I wasn't really a duchess, but
you were.

Speaker 2 (42:32):
You are a katain.

Speaker 5 (42:33):
No, I'm all dressed up now, and the servants called
me your grace. Way down underneath, I'm the same as
I always was. I can't be like the rest of them.

Speaker 2 (42:43):
I've tried, but I can't A thousand times better, Louis.

Speaker 5 (42:48):
Maybe if I if I'd been born a lady, a
real lady.

Speaker 2 (42:53):
What Catherine?

Speaker 5 (42:54):
Nothing? Why do we sit here and talk?

Speaker 2 (42:57):
And what are you crying?

Speaker 5 (43:02):
I guess I am. I never cried before. I can remember.

Speaker 2 (43:06):
Look up here. You mustn't do that. That's a fine
thing for a vivandiere. Louis, you're not afraid afraid to die? Now?
Why should I be?

Speaker 12 (43:16):
You?

Speaker 2 (43:17):
You love her that much as any soldier loves his queen.
What are you saying? I'm devoted to her? I asked
you if you loved her as a man. Now, but
Louise and I grew up together in Austria. We've been friends,
good friends since childhood. She came here as Napoleon's wife.
We tried to continue that friendship, that's all. But tonight
you were going to her request jas to see me.

(43:38):
Oh why didn't you tell that to the answer They
laugh in my face. But he thinks that, he thinks
whatever choose us to think.

Speaker 5 (43:44):
You do love her. You don't love her.

Speaker 2 (43:47):
It's to God you'll have to go a Louis Grace,
one moment, please, I'm sorry, your grace. Goodbye, Captain, goodbye, Louis. Wait.

Speaker 5 (44:01):
I want you to take you to the Empress.

Speaker 2 (44:03):
Take me to him. He won't see you, you won't
see anyone, your grace.

Speaker 4 (44:06):
Take me to him.

Speaker 5 (44:06):
If you don't, I swear I'll wake the whole palace.
I want to see the Empress.

Speaker 2 (44:10):
Why sit down?

Speaker 5 (44:21):
Thank you sire.

Speaker 2 (44:22):
Now that you blackmailed your way in here, I suppose
you've come to peete for your friend again.

Speaker 5 (44:26):
I've come to straighten things out, sire. Indeed, your Majesty,
the Count of Npeg is not in love with.

Speaker 2 (44:31):
The Empress, really, And just how did you reach that conclusion?

Speaker 5 (44:36):
He's her friend and perhaps her adviser. She'd need one
in this place, thank you. The paper is to it
he's not in love with her anymore than she's in
love with him.

Speaker 2 (44:44):
You still haven't answered my question.

Speaker 5 (44:46):
No, I can't give you proof. You'll have to take
my word for it and your wife's.

Speaker 2 (44:51):
And just why should I do that? In the past
three months, I've had the Count and knypeg followed day
and night. There are the reports. Those reports inform me
that has been meeting the Empress regularly and secretly. I
prefer to take the word of my police officers.

Speaker 5 (45:09):
The Count is her Majesty's friend.

Speaker 2 (45:11):
These reports confirm that.

Speaker 5 (45:13):
But he's not in love with her.

Speaker 2 (45:14):
I know it. You seem so sure.

Speaker 5 (45:17):
I am why because because he's in love with me
what he is. That's why I came here to night.
I love him and I'll do anything to help him.

Speaker 2 (45:25):
You're lying, am I?

Speaker 5 (45:27):
You said you had reports of his movements? Have you
got one for the Knight suddenly? Then look at it
and find out where he was before he came.

Speaker 2 (45:33):
Here at ten to the home of the Duchess of Dancy. Well,
it doesn't prove anything.

Speaker 5 (45:39):
But it makes good sense. Where does a man go
when he's ordered to leave the country to the woman
he loves? He came to me.

Speaker 2 (45:45):
He also came to the Empress.

Speaker 5 (45:47):
I knew he was coming, he told me, but he
came to her because she asked him to. He loves me.

Speaker 2 (45:53):
You mind if I ask him that in your presence?

Speaker 5 (45:56):
Of course?

Speaker 2 (45:57):
Not there he were. Brooster and the Count Nightberg brought
here at once?

Speaker 8 (46:22):
Oh open that door, Count knightperg Yes, what is it?

Speaker 2 (46:34):
You come out here? Please? Mid you a little early,
Captain o'clock struck half past four, just a moment ago.
I have orders to take you pretty well. You don't
mind if I finish a letter. I hope you'll have
time for that later. I'm afraid not. Will you come please?
The Emperor wants to see you. The Emperor before I'm
not here to answer questions. I was told to bring
you to his study fall in please certainly? O oh

(47:16):
your bring him in roustin in here please? Louis, what
are you doing? That will be all Rousta? Wait outside? Yes?
Hire well, Nberg, Your majesty, I have a question to
ask you. It's rather important, so I want you to
think carefully before answering. May I thank you? I'll ask

(47:38):
it myself, n Berg, if you'll pardon a purely personal question.
Are you in love? I have been for a long time.
I hardly knew it myself, but I'm sure of it. Now. Good, Now,
this is the important point. Would you mind telling me

(48:01):
with whom must I answer that? I insist very well,
since I'm to die in an hour, it can't do
much harm. Who is she? Well, your majesty doesn't know, Louis.
I don't know, your majesty. Her name is Madame Sangean. Yeah,
catch up quick, Catherine. What's wrong? She's fainted? So that's

(48:34):
why he wanted to know.

Speaker 5 (48:35):
Yes, but he knew me as Madame Sangeane too.

Speaker 2 (48:38):
It seems that I gave the right answer.

Speaker 5 (48:40):
If you'd given any other, you'd be dead by now.

Speaker 2 (48:43):
There wasn't any other. I love you, Catherine, Louis. Why
didn't you tell me I was going to a month ago?

Speaker 5 (48:49):
I wish you had Louie take me home. I think
by me is a giving answer.

Speaker 2 (48:55):
Well it's late. You must be tired.

Speaker 5 (48:56):
I'm tired. I feel as if I had done a
hard day. It was.

Speaker 2 (49:30):
The players through, but not the players. Geene Hollow and
Robert Taylor returned shortly for a curtain call. Ella Cinders
is a human being known in most American homes, where
she drops in daily as the heroine of a comic strip. Tonight,
we present her creator, William Kunzelman. Bill came to Hollywood

(49:51):
ten years ago when Ella Sinders was made into a
motion picture starring Colleen Moore. He has remained to become
one of twentieth century Fox studios most sterling and reliable
scenario writers. Many of were Rogers's pictures came from his typewriter,
likewise many of the Shirley Temper films. His latest hit,
written in collaboration is Pig Skin Parade, and he is

(50:15):
now writing the story for Irving Berlin's new musical On
the Avenue. Ladies and Gentlemen, Mister William Kantlman, all I
do first talk about movies and comic strips, and you
can choose your weapons.

Speaker 5 (50:33):
Bell.

Speaker 2 (50:33):
But remember you're supposed to be a humorist, all right,
And suppose I tell the latest story making the Hollywood rounds.
It's about a well known director present company accepted, who
was posted to death every single day, with people trying
to see him. Nothing he could say to do is
keep them away. Well, last week he was taken suddenly ill.
He rushed home and told his wife to get a

(50:53):
doctor quickly. Three hours later she managed to reach one
of us. The physician drove up to the house. The
director's wife rushed into his room. Henry, She said, doctor
Brown is here to see you. Impossible, he said, weakly.
Tell him to drop around next week. Can't you see
I'm much too sick to see anybody. They're not bad,
they're not bad for a stata. But now I have

(51:14):
to confess that story I just told is pure myth.
It's the exact story worried a little differently that was
pulled in France about four hundred years ago. I decided
it to prove the point I'm about to make, Namely,
there's no such thing as a new joke. Take any
funny story, and if you're curious and patient enough, you
can find it's duplicate, told in different languages, all the

(51:36):
way back to ancient Greece and Rome. That's why trying
to be funny is such a sad job. All we
can do is grind away and trust will be lucky
enough to find a new twist to someone else's gag.
That goes for pictures and comic strips too. I've noticed
a definite change in comic strips there. They seem to
be dropping humor in favor of melodrama. Even La Cinders

(51:56):
has lost those frectos she used to have. That's because
the people didn't like Killo with freckles. Women take a
tremendous interest in comic strip characters. Originally Ella was a
skinny little girl with freckles and scraggly hair. Readers protested
so much we dropped the freckles. The next campaign to
get Ella permanent waves. This we drew the line. If
we're ever interested in making Ell as beautiful as the

(52:18):
Hollywood picture stars, why we'll follow their example and a
quaint Ella with your splendid product lux toilet self. Once
Charlie Plum, my associate, and I were debating whether or
not to have a marry. This question drew forty thousand
letters from our readers and the blisses and pitfalls of
the wedded state. Ella, by the way, is still single today.

(52:41):
About two hundred different comic strips are in the United States.
Over a period of time. They wield a mighty influence. Popeye,
for example, has probably sold more spinach than all the
advice the physicians can give. The first comic strip ever
published was printed in Germany about fifty years ago. While
the granddaddy of the American fire was the still remembered

(53:01):
Yellow Kid. Ella Senders is perhaps a little different from
most others, and that has it closely in the continuity,
and we try to tell a complete story every day.
Between the movies and Ella, I seldom waste a single gig.
If I can't work it into a scenario you can
depend you'll see it in the funny papers. But whether
it's a motion picture, a comic strip, or a radio program,
we're all working for the same common end to please

(53:24):
as many people of as many different types as possible.
It's been very nice being here, mister Demo, and meeting
you and Robert Taylor again. I can't help but feel
a little proud of Bob's success. When I was writing
the script of Handy Andy for Will Rogers, we decided
to look outside our own studio for the masculine love interest.
We borrowed Bob from MGM, and Handy Andy was the

(53:44):
first picture you ever played it. Thank you and good night,
good night About this is a high point of the evening,
the moment when we present Tonight's Mano's characters in a play.
But there's two of Hollywood's supreme favorites, Geene Hollow and

(54:06):
Robert Taylor the mill.

Speaker 5 (54:10):
I'm glad you said nothing about glamour in your introduction.
If you had, I'm afraid.

Speaker 2 (54:14):
I would have screamed, why don't you glamor? You scream
almost as well as you scream the poor puns to
the Mill. Well, then may I have your autographs?

Speaker 5 (54:25):
Mob is the one who does that. Was last week
he visited his alma matter at Tomna College. The co
ed almost tore him to pieces trying to get into
sign things.

Speaker 2 (54:34):
One girl couldn't find anything for me to sign except
for examination paper. I was a little disappointed when I
saw it was Mark D in economics. However, you've been
in Hollywood nearly twenty five years, mister de mill, what
is it that turns nice, peaceful people into autograph hunters?
I've asked them that bobs. The most sensible answer I

(54:56):
ever received was from a young lady who said, I
don't care about your autograph, mister Demil, I just wanted
to see what you look like.

Speaker 5 (55:06):
Hollywood is unique for a number of things. Beside autograph hunters.
Out here you can take life a lot easier. That
there's just as much hard work done in Hollywood as
any other town. You drop into any place like the
Brown Debby, you find half the girls and fault with
evening dress and half in slacks and sweaters. But everybody
feels ill at ease. If you're invited to someone's home
for seven o'clock dinner, you arrive at nine and you

(55:28):
find you early. But the only thing that really puts
on a show in Hollywood is a Hamburger sandwich, and
they are served with pecans and walnuts, and well, this
is a town that is all so constantly bubbling over
with new ideas. Hundred doesn't come and go every week.
But as far as keeping a lovely complexion is concerned
the actresses, including myself, have just one idea and as

(55:50):
to use lucks toilet so oh when Yes, Hollywood is
probably the only towel where a kiss is measured in
feet five feet of film for a peck and eighty
five feet for the real thing.

Speaker 2 (56:04):
Hey, the strangest kiss I've seen in pictures with that film.
The other day at Paramount Marsha Hunt and Leif Ericson
playing in College Holiday were the participants and the scene
of action was the bottom of a tank filled with
forty thousand gallons of water.

Speaker 5 (56:19):
Ducky, I call it.

Speaker 2 (56:21):
Oh, that's worse than I Oh, Robert, any further remark
and gene except my thanks to the Lux Radio Theater
for another swell evening, and mine to mister Demill. It
really was a privilege to be here. Good Night, good night, Jeane,
good night, good night bad Thank you, Miss Hollow, and

(56:45):
thank you Robert Taylor. Ladies and gentlemen, this is your announcer,
Melville Ruick. Before mister de Mill tells us of next
week's program, may I say that our stars tonight came
to us through courtesy of Metro Golden Mayer Studios. Miss
Hollow will next be seen with Wallace Bury and Spencer
Tracy in The Foundry, Mister Taylor in Camille with Greta Garbel.

(57:07):
Mister Rains appeared through courtesy of Warner Brother's Pictures. His
next picture is Stolen Holiday with Kay Francis, while c
Henry Gordon is currently seen in the Charge of the
Light Brigade. Mister de Mill is from Paramount and Mister
Silver's Twentieth Century Fox, where he was in charge of
music for the new film Ban Joe on My Knee.
Our Cast to Night included lou Merrill as le Fay,

(57:30):
William Royle as the General and Constant, Corn Ross as
Madame Savarey, Sarah Selby as Eliza, Phyllis Coglan as Caroline,
Gretchen Thomas as Marie, Frank Nelson as Roustin Ken Chevelle
as a footman, David Kerman as a guard, James Eagles
as a sergeant, Ross Forrester as a patriot, Giles Emerson

(57:53):
as Citizen, and George Finney as Citizens Dufray and now
mister de mill two of Hollywood's most glittering personalities teamed
first in Warner Brothers Pictures and more recently in matrimony
are teamed again in the Lux Radio Theater next Monday Night.

(58:15):
They are Dick Powell and Joan Blandelle, and they all
star for us in a sparkling musical comedy, the radio
version of Warner Brothers. Picture Roldiggers, our sponsors, the makers

(58:38):
of Lux Toilet Soap, join me in inviting you to
be with us again next Monday night, when the Lux
Radio Theater presents Dick Powell and Joan Blandelle in.

Speaker 9 (58:49):
The radio version of Warner Brothers.

Speaker 2 (58:51):
Picture Roll Diggers.

Speaker 9 (58:53):
This is Cecil V.

Speaker 2 (58:54):
De Mill saying good night to you from Hollywood. This

(59:15):
is the Columbia Broadcasting System

Speaker 12 (59:21):
H