Lux Radio Theatre - The Legionnaire And The Lady

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, California, Monday, June Firth, nineteen thirty six. Ladies and gentlemen,

(00:20):
we have grand views for you tonight, for the Lux
Radio Theater has moved to Hollywood, and here we are
in the theater of our very own, the Lux Radio Theater,
Hollywood Boulevard, in the motion picture capital of the world.
The curtain rises. Lux presents Hollywood Tonight. The makers of

(00:45):
Lux Toilet Soap bring you Marlene a deep Plock, Gable,
cessil Be the Mill, Jesse Laski, and other great personalities.
Miss Deepree, mister Gable and Noel starkhat will present the
romantic melodrama The Legionnaire and the Lady. Our music is
under the leadership of mister Lewis Silber, who director of

(01:08):
music from the great twentieth century Fox Studios and winner
of the Motion Picture Academy Award for Music.

Speaker 2 (01:16):
Mister Silver's.

Speaker 1 (01:23):
And more good news, we give you as our Hollywood producer,
a man who will not only bring you the greatest
plays and players, but the very spirit of Hollywood itself.
That outstanding figure of the motion picture world, mister Cecil D.
De Mill. Readings from Hollywood, Ladies and gentlemen, There are

(01:49):
two theaters in this town almost as famous as Hollywood itself.
They are Gramman's Chinese and the Khati Circle. Perhaps it's
a coincidence production of mine opened both of these theaters.
The King of Kings raised the curtain at the Chinese.
The Vulgar Boatman was the first theatre ever shown at
the Carthic Circle First Picture, and tonight it is my

(02:12):
privilege to open the new Hollywood theaterre whose audience is
greater than any four walls could encompass, the largest theater
in the world, de Luxe Radio Theater. The stars of
our production tonight are Malena Dietrich and Clark Gable and
the play The Legionnaire and the Lady. Is it possible

(02:32):
that the manufacturers of lux Soap asked me to produce
this series of programs because of all the deluxe bath
tubs that have been seen in my pictures. They should
have a soft spot in their hearts for me. But
I think the real reason goes back far beyond the
recollection of any of us. When William the Conqueror with

(02:54):
the Saxons at the Battle of Hastings in ten sixty six,
the blunt de Mille family Crests was born. The motto
on that pressed is thy Light my Life, which is
of course in Latin and reads Lux to our Vita Mayer.
So you see, Lux has been a household word in

(03:14):
the de Mille family for eight hundred and seventy years.
But producing a program like this is a privilege and
an adventure, a truthful here, I'm a little lord at
the responsibility. Sitting before me in the Lux Radio Theater
is the most distinguished and perhaps the most critical audience
ever assembled in Hollywood. I see a lot of familiar faces.

(03:38):
There's Joan Blandell, Gary Cooper, he stars in my next
Picture of the Plainsman Stuart Irwin and his lovely wife
June Callier, now Joston Ruby Keeler. There's Franchio tone Ah,
there's our Mayor, Frank L. Shaw of Los Angeles, and

(03:59):
I I think I see very much. I fed him
to the lands the last time I directed him. And
now we ring up the curtains on the play of
the evening The Legionnaire and the Lady, starring Marlena Dietrich
and Clark Gable.

Speaker 2 (04:31):
Algiers.

Speaker 1 (04:34):
The land of sun and sand and yellow dunes that
slope down to the seas. In the harbor of Portnaha,
a French steamship rides at anchor near the rail, gazing
at the sunlight minarets of the tiny town stands Army
Joly and entertainer from the shabby music halls of Europe. Suddenly,

(04:56):
she turns.

Speaker 3 (04:56):
From the rail and speaks to the ship steward.

Speaker 4 (05:00):
Oh it's remember are we going to land soon?

Speaker 5 (05:04):
In a moment, mademoiselle, there's no peer in Algiers. The
passengers in the second bat launch to the shore.

Speaker 4 (05:08):
Oh, thank you, sir.

Speaker 1 (05:10):
May I take care of your suitcase?

Speaker 4 (05:11):
Memory, No, I'll carry it myself.

Speaker 2 (05:13):
God see Grandma.

Speaker 1 (05:15):
Oh, Monsieur Latier, of course, what can I do for you?

Speaker 2 (05:17):
Monsieur?

Speaker 6 (05:18):
My valait is mistake from my luggage?

Speaker 2 (05:20):
You're going?

Speaker 6 (05:20):
Please and make arrangements to have it said to the hotel.

Speaker 1 (05:22):
Of course, Monsieur, I will need you.

Speaker 6 (05:23):
What it wants.

Speaker 2 (05:25):
Oh, Mademoiselle, your suitcase.

Speaker 4 (05:28):
It is very stupid of me. It is the second
time I've dropped it.

Speaker 6 (05:32):
Yeah, let me help you pick up your things.

Speaker 4 (05:33):
Oh, please, don't bother.

Speaker 6 (05:34):
What's no bother at all?

Speaker 4 (05:37):
There you are, monsieur, you're very kind?

Speaker 3 (05:41):
Why not.

Speaker 2 (05:43):
It Is this your first visit to Algiers?

Speaker 6 (05:45):
Yes, I make the trip quite often.

Speaker 2 (05:48):
Perhaps I can be of.

Speaker 7 (05:49):
Some service, I think not, Monsieur.

Speaker 2 (05:51):
I'd be happy to help you.

Speaker 4 (05:52):
I won't need any help.

Speaker 6 (05:54):
Well, if you do, you can always reach me at
the hotel.

Speaker 8 (05:56):
Do pray?

Speaker 2 (05:58):
I am monsieur laetier monsieur.

Speaker 4 (06:01):
But now will you excuse me?

Speaker 2 (06:03):
Of course, Mademoiselle.

Speaker 6 (06:11):
Steward, come here?

Speaker 2 (06:12):
See uh that woman who was standing here?

Speaker 6 (06:15):
Do you know who she is?

Speaker 9 (06:17):
Right?

Speaker 1 (06:17):
I know, monsieur, a voidable actress, probably a votable actress.

Speaker 2 (06:21):
Well, just how do you know that?

Speaker 5 (06:23):
We try them every trip, monsieur. They come to sing
and dance from the cafets here. We called them suicide
pats and one way tickets.

Speaker 7 (06:31):
Mm.

Speaker 1 (06:31):
They never returned.

Speaker 6 (06:33):
Mmm.

Speaker 2 (06:34):
So what lau should she book for?

Speaker 1 (06:35):
I believe this heard, monsieur, and.

Speaker 2 (06:37):
You naturally preferred.

Speaker 6 (06:48):
Oh sure you, mademoiselle.

Speaker 2 (06:51):
You will be careful that boy they call a gang thang.

Speaker 7 (06:55):
This isn't very stable, ah where we are it seems
to be quite a crowd to greet us.

Speaker 2 (07:02):
The usual thing. The natives here meet every boat sell
you anything from a bears to a bottle of Arabic perfumes.

Speaker 4 (07:08):
That's fragrance in the air. Now, that is not perfume.

Speaker 2 (07:12):
No, no, that's just the waterfront of Algiers. Shall we
get away from here, madmoiselle, if you please. The center
of the town is this way. If you would like
to take a carriage with me.

Speaker 7 (07:24):
I should No, I'll walk.

Speaker 2 (07:26):
I haven't far to go, but your suitcase.

Speaker 4 (07:29):
It is very light, misterieur, no trouble at all.

Speaker 2 (07:33):
Perhaps i'd better walk with you the street song that
is safe down here near the waterfront.

Speaker 4 (07:37):
I'll be quite safe. Mischief and look, they are soldiers
to protect me, a whole regiment.

Speaker 2 (07:44):
Yes, the foreign legions, mostly criminals themselves, so I've heard.
Won't you please write me?

Speaker 7 (07:52):
But I'd prefer to walk by mancill as you wish, mademoiselle.

Speaker 10 (08:07):
That listen here, fatheads, we've back home again.

Speaker 1 (08:12):
And just because you did it as a fighting I
know what you're thinking.

Speaker 11 (08:16):
You're thinking, well, here comes at the foreign niech each
man a hero, the.

Speaker 1 (08:24):
Whole town's are.

Speaker 6 (08:25):
Then we're gonna rip with wide open. Well, forget it.

Speaker 2 (08:30):
This time.

Speaker 11 (08:31):
You're gonna behave like gentlemen, even if it kills you. Yeah,
I'm talking to you, Legionaire Brown bed you know Tom Brown? Yes,
step over here, Yes, well you hear what I just said.

Speaker 3 (08:42):
Yes, but oh well you weren't listening away?

Speaker 1 (08:46):
No, sir, why not? Yes, sir? I mean yes, sir.
I want to warn you Brown. We're not back in
the States now. This is our jeers, the foreign legion.
If you go starting up any trouble among the girls
here the way you did the last time, you're gonna
find yourself in the jug. You get that.

Speaker 6 (09:03):
I go on, get back there in line.

Speaker 3 (09:04):
Yes, sir.

Speaker 11 (09:05):
And remember when I said this, guys take it easy
and that's like gentlemen, how funny?

Speaker 12 (09:17):
Hey?

Speaker 1 (09:17):
Oh oh, hello, blimey, I'm shay. He was eating the
sergeant blimy if I didn't think he was good to
buy jody. Oh, he doesn't worry me. He got away
from driving a hack. Say where are you going tonight?
I don't know after what the sergeant said about me
eating lot gentlemen, I don't know where they go. I
forget it. I know what a little Spanish girl in
this burg who's gonna cook her stak to a turn?

Speaker 3 (09:37):
What do you say?

Speaker 1 (09:38):
It's me? If we can find a steak in this
here blasted heat bakes get cooked right on the cow.
Come on, I'll find one. Say, I know this joint
from top to bottomorrow and I was hearing, Hey, hey, blimey,
wait a minute, Bippy, when you look at that? I
what a brand that girl carrying the suitcase? Oh blom me,

(09:58):
she sure is a look at Yeah, she sure is.
I wonder what she's doing in this town. I'll dance,
old girl, I say, yeah, well, maybe i'd better find out. Yeah, well,
I thought we was playing for the meal sometime, how
a little later? Blame me? This is pretty important. Why
listen tom Hello, blammy?

Speaker 13 (10:15):
All right, go ahead and dissent me, lady killer. Oh sister,
hello soldier, go on my way?

Speaker 4 (10:28):
It depends which way are you going?

Speaker 1 (10:30):
Anyway you are here? Yeah, let me carry your suitcase
for you.

Speaker 4 (10:34):
Don't bother, I'll carry it myself.

Speaker 1 (10:36):
Oh kind of independent?

Speaker 4 (10:38):
Huh?

Speaker 1 (10:39):
Do you mind if I walk along with you if
you want? Well, that's friendly enough. How about saving off
for a drink? I don't want to go play.

Speaker 4 (10:45):
I'm sorry, monsieur. I have no time now, I get it.

Speaker 1 (10:49):
Okay, sister, there isn't anything I can do for you.

Speaker 4 (10:52):
Okay, you can tell me. Where's the Cafe Marquis the.

Speaker 6 (10:55):
Cafe mar Case.

Speaker 1 (10:56):
Oh sure, just across the street. Come on, I'll show you.
Thank you, monsieur, you work there.

Speaker 4 (11:03):
I'm a singer. If you're doing nothing tonight, you might
come and hear me.

Speaker 1 (11:08):
Yeah, okay, I'll remember that. Well now you I'm it's
that door there? Anything else?

Speaker 2 (11:15):
Nothing, okay, I'll see you tonight.

Speaker 1 (11:24):
Aren't try.

Speaker 4 (11:28):
Is this because I Marcus?

Speaker 14 (11:30):
It is?

Speaker 1 (11:30):
I am rotin to the proprietor, and I'm unusually I'm
usually Oh yes, yes, I have your letter here somewhere.
You are ready to work tonight, of course. Good. Your
lashing room is at the end of the hot Go
there and wait for me.

Speaker 3 (11:42):
I uh, I want to have a talk with you
before you go on.

Speaker 4 (11:45):
Very well, come in.

Speaker 1 (12:02):
All the house has gold.

Speaker 8 (12:04):
This is a great to night for you.

Speaker 1 (12:06):
If you make a hit, you can stay here as
long as you lie. You're very kind and now, mademoiselle.
One word of advice. Pick yourself a protector. It will
give you prestise. And always choose an officer in the legion.

Speaker 2 (12:18):
The private he is nobody.

Speaker 1 (12:20):
Pick the officers. They have the money.

Speaker 4 (12:23):
You understand perfectly good. Are you ready to sing?

Speaker 1 (12:27):
Now? I will go out and make the announcement in
a moment. Good that comes from me that this is
a good table right up in front among the bay.

Speaker 6 (12:41):
Shut up, we're not supposed to be here.

Speaker 1 (12:42):
Why not about an agusant the house? Oh man Cizzar
sitting over there?

Speaker 8 (12:46):
See him?

Speaker 1 (12:46):
Um me, he ain't the old guy. Yeah, he's seen
me here. He is probably complaining the lotendo.

Speaker 6 (12:50):
But then you like at the adjutant like me, you take.

Speaker 1 (12:53):
A plan at my back and laugh doing it. The
Cafe mar Cas is.

Speaker 10 (13:02):
Honored tonight by the presence of the distin with painter
Monsieur le Besier and my old friend adjacent Czar of
the Foreign Legions. Tonight we open the program with Mademoiselle Amijually,
a newcomer who I hope you will receive with your
usual discriminating kid replied, maybe she comes tick on my life?

Speaker 1 (13:28):
Who's the wise guy?

Speaker 2 (13:30):
Come and say, ladies and jeerumen.

Speaker 10 (13:32):
I'll take the pleasure in presenting Mademoiselle Amijuoli's.

Speaker 6 (13:46):
Wait, I know he's but are you fish slop? Mademoiselle.

Speaker 1 (13:53):
I'll show you how we.

Speaker 6 (13:53):
Make love in the legion. You will like it, I say, Mademore, Ell,
you are in sad by game on, take your hands
off that girl?

Speaker 1 (14:04):
What is you heard me?

Speaker 6 (14:06):
Leave her alone? I take no orders from you.

Speaker 1 (14:08):
Can't go on to what he likes? So do I?
How do you like that? There's more where that came from. Gabon,
get up and I'll put you away from Keith nine twelve.
Please get no fighting here. Everyone back to their ships.

Speaker 6 (14:21):
Can't go on off and keep them up.

Speaker 1 (14:24):
Everyone of please.

Speaker 11 (14:25):
Back to your tap mathe Moselle and me Johnie will
sing later.

Speaker 1 (14:28):
I mean both your dressing rope, carcass, carcasta go ahead.
So so you're never gonna tell what will happen?

Speaker 15 (14:34):
Now?

Speaker 4 (14:35):
May I say thank you? Monson?

Speaker 3 (14:36):
Oh that's all right.

Speaker 1 (14:37):
I had a good time myself.

Speaker 8 (14:38):
Yeah, he's coming to.

Speaker 4 (14:39):
No a right, excuse me? Yes, take this.

Speaker 1 (14:45):
Com she threw you a fly.

Speaker 3 (14:46):
I know you think I'm blind.

Speaker 1 (14:48):
Say she's a little bit of all right?

Speaker 2 (14:50):
I like her.

Speaker 7 (14:51):
Your taste is improving, well, honest, you're littend to My
first appearance was not a success.

Speaker 1 (15:01):
Oh that is nothing come and occurrence here and ags.

Speaker 2 (15:06):
But I have a news.

Speaker 9 (15:07):
Adjudant Cizar has already asked for the honor of your company.
Adjudant Ciza, who is a very important man high and
the foreign Lesions and one of my best customers.

Speaker 4 (15:19):
Tell the agudent, I'll try to oblige you good when
I find.

Speaker 9 (15:23):
The time, and no, mademoiselle, you must go out there again,
not too Soonilar, this time.

Speaker 1 (15:29):
This time you sell apples.

Speaker 9 (15:31):
That is the most important thing.

Speaker 1 (15:33):
You go around the whole, from table to table and
sell all you can. Ten percent is yours and ninety
percent is mine.

Speaker 7 (15:40):
Oh, you will make a porch, give me the basket
and go here?

Speaker 1 (15:44):
Go now.

Speaker 4 (15:48):
An apple?

Speaker 7 (15:49):
Who will buy an apples?

Speaker 4 (15:51):
An apple?

Speaker 1 (15:51):
Sir?

Speaker 4 (15:53):
Oh, Michelle, abatire, I need one more?

Speaker 2 (15:57):
Can I also have an apple?

Speaker 4 (16:00):
But I have no change for them.

Speaker 1 (16:02):
I hardly expected you will have.

Speaker 2 (16:04):
You are again very kind, mademoiselle. May I have the
honor of your company after the performance.

Speaker 4 (16:10):
I'm sorry, I've just posed of the balance of the evening.

Speaker 2 (16:14):
Some other times, of course, you will excuse me, no plea.

Speaker 6 (16:20):
Apple?

Speaker 4 (16:21):
An apple?

Speaker 12 (16:21):
Sir?

Speaker 4 (16:23):
You wish to buy, sir?

Speaker 1 (16:25):
Later, perhaps I imaginant Caesar.

Speaker 4 (16:27):
Oh, yes, I have already spoken.

Speaker 1 (16:30):
To Latino concerning you.

Speaker 7 (16:32):
Sit down, I'm sorry, agudant, you mean you refuse to
sit with me.

Speaker 4 (16:36):
I'm very busy now some other time to what.

Speaker 1 (16:38):
Some other time? Won't do, mademoiselle. I would like your
company here and now, would you.

Speaker 4 (16:43):
It's a shame, adjudant, but I must disappoint you. Who
will buy an apple? An apple?

Speaker 1 (16:47):
Sir?

Speaker 7 (16:48):
And I sh comes home? She will an apples?

Speaker 15 (16:51):
Good evening?

Speaker 3 (16:52):
So thanks for the flower.

Speaker 4 (16:55):
Can I offer you an apple through?

Speaker 1 (16:57):
Yeah? Sure, let me twenty franks. Blemy, that makes sixty
tell me yeah, huh take.

Speaker 7 (17:01):
It out of me, delle, thank you?

Speaker 1 (17:03):
Two weeks pay. There's a lot of money for an apple.

Speaker 4 (17:05):
You can have it for nothing if you like.

Speaker 3 (17:07):
Oh no, no, nothing doing.

Speaker 1 (17:09):
I always pay for what I get.

Speaker 3 (17:10):
I'd sit down if I were you.

Speaker 4 (17:12):
Come on, you needn't pull me down, Georgian.

Speaker 3 (17:14):
I'm sorry.

Speaker 1 (17:15):
I didn't mean to hurt you.

Speaker 4 (17:16):
You're very brave, aren't you.

Speaker 3 (17:19):
Oh?

Speaker 1 (17:19):
I don't know. Why do you like brave men?

Speaker 4 (17:21):
Perhaps? Hey?

Speaker 1 (17:22):
Wait, where are you going?

Speaker 4 (17:24):
I'm busy now, but later i'd be out there on
the balcony.

Speaker 3 (17:29):
Okay, I'll see you later. You can smell it as
of to night.

Speaker 4 (17:43):
Isn't it cooler than inside?

Speaker 1 (17:45):
Expect to stay in Algiers very long.

Speaker 4 (17:47):
Who knows? They say, when a singer comes here to work,
she stays forever.

Speaker 3 (17:52):
I've seen her work out that way.

Speaker 1 (17:53):
I think i'd as didn't. Good evening, Mademoiselle, Good evening,
I didn't. I saw you're coming up this way, and
I gathered that you are no longer very busy. But
I am you.

Speaker 4 (18:04):
See, I invited this gentleman to come out here and
sit with me. Oh she.

Speaker 1 (18:10):
Mademoiselle, you are new in Alsis. Perhaps you do not
realize that this gentleman, as you call him, is a lesionnaire,
a private I choose.

Speaker 4 (18:19):
My company by their looks, not by them at all.

Speaker 1 (18:22):
I might to take it then, that you prefer his
company to mine.

Speaker 4 (18:25):
Take it as you like this.

Speaker 1 (18:26):
You thank you, But I'm still the accidant here, didn't
he Brown? You will please leave here at once. I'm
our beauty, sir. I asked you to leave, did you
hear me? Yes, sir, but the lady has asked me
to stay. May I remind you that I'm your superior officer.

Speaker 3 (18:40):
I'm sorry, sir, but I'm going to.

Speaker 6 (18:42):
Stay very well.

Speaker 1 (18:44):
Didna Brown? You will report to headquarters in the morning
report to me personally. Very good, good night, mademoiselle.

Speaker 4 (18:53):
You shouldn't have done that, I know it. You think
being here with me is worth a risk.

Speaker 3 (18:59):
Sure, if you think so, go on play some more.

Speaker 4 (19:17):
I think you'd better go now, Whoudia?

Speaker 1 (19:19):
All right, lady, you won't have any trouble getting rid
of me.

Speaker 4 (19:22):
Nothing like independence is there?

Speaker 2 (19:24):
Well?

Speaker 3 (19:25):
Maybe I am independent with women.

Speaker 4 (19:27):
You evidently don't think much of women.

Speaker 1 (19:29):
Well, i'll tell you, lady, is their fault, not Mine's
been in the legion very long, almost three years, three years,
it seems like three hundred.

Speaker 4 (19:39):
You sound tired of lying.

Speaker 1 (19:40):
Well, I don't know whether I am or not.

Speaker 3 (19:42):
I was when I joined this outfit.

Speaker 1 (19:43):
But how about you metam though been on the stage
very long, long enough?

Speaker 3 (19:46):
Tired of it?

Speaker 9 (19:47):
No?

Speaker 1 (19:48):
But what the name of ten thousand corples that you
come to a country like this for?

Speaker 3 (19:51):
Anyway?

Speaker 4 (19:51):
I understand that men are never asked why they entered
the phone legion.

Speaker 3 (19:55):
That's right.

Speaker 1 (19:55):
They never asked me. And if the head I wouldn't
have told when I crashed the legion, and I did.

Speaker 16 (19:59):
Supp there's a full legion of women too, But we
have no uniforms, no flags, and no medals when we
are braves, no wound stripes when we are hurt.

Speaker 2 (20:13):
Look here, is there anything I can do to help us?

Speaker 7 (20:16):
No, I've heard that before.

Speaker 4 (20:20):
Or did you think you can restore my faith in men?

Speaker 6 (20:22):
Oh no, no, no, not me.

Speaker 1 (20:24):
You got the wrong man for that. Anybody who has
faith in me as a sucker.

Speaker 4 (20:29):
You'd better go now. I'm beginning to like you.

Speaker 1 (20:35):
You know, I've told women about everything a man can say.
I'm going to tell you something I've never told a
woman before. I wish i'd met you ten years ago.

Speaker 4 (20:48):
Good night, good night, Thank you.

Speaker 1 (21:00):
Balls for a station identification, this is the Columbia Broadcasting
ste Malena Dietrich and Clark Gable and the Lux Radio
Theaters presentation of The Legionae and The Lady continue in
just a moment. Meanwhile, we'll give you a glimpse behind
the scenes in Hollywood as we take you on a

(21:21):
quick tour of the stream capital. First stop in Hollywood,
the main casting office of the Metro Golden Mayer Studio,
A seething mass of men and women seeking jobs. We
enter as two hopeful young extra girls are talking in
the form I heard.

Speaker 16 (21:41):
They're casting twenty five girls for John Crawford's new picture
The Gorgeous Huzzy.

Speaker 4 (21:45):
Think we stand a chance that I do? Ill makes
you so sure, because in this scene it's your face
and shoulder of the count. They're casting complexions today, it's
okay for you, But look at me. I wish my
complexion looked as nice as yours.

Speaker 16 (21:59):
Maybe there is in the way you take care of it,
that business of removing cosmetics thoroughly with locks toilet soap.

Speaker 4 (22:05):
I guess I'm just one of those cosmetic skin girls
they talk about. Oh well, don't worry. Oh wait a minute,
they're calling to me.

Speaker 1 (22:13):
What is it okay for you today?

Speaker 12 (22:15):
Oh?

Speaker 4 (22:15):
You use me in the scene at the Dutch Empathy,
Hey mess up? What about my friend? Yeah, I'm sorry.

Speaker 1 (22:31):
And now at table for two at the Fashionable Crocodio,
the supper club that is the rendezvous of the stars, you.

Speaker 2 (22:44):
Look lovely tonight, Darling, perfect Leodora.

Speaker 7 (22:48):
You're just saying that, No, honest, you've got.

Speaker 1 (22:51):
Everything that any of those movies stars dancing there have,
especially that knockout of the complexion.

Speaker 4 (22:56):
Well, Darling, maybe you should thank those stars for them,
and I take care of my complexion. The same way
they do well.

Speaker 1 (23:03):
I don't know about thanking those stars for what you
do well.

Speaker 6 (23:06):
I should thank my stars for what you are.

Speaker 1 (23:11):
Every girl needs a lovely complexion, and the movie stars
here in Hollywood have shown you how to keep skin lovely.
Don't allow dust and dirt, stale rouge and powdered to
clog the pores. Before you put on fresh makeup during
the day. Always before you go to bed at night,
use lux toilet soap. Malena Didrich as Amy Julie, and

(23:41):
Clark Gable as Legionnaire Tom Brown continue with our play
The Legionnaire and the Lady. It has been several hours
since Tom told Ame that he wished he had met
her ten years sooner at Finn Legion headquarters, his head
reeling from the heat of the tiny office in which
he sits. I didn't see he's working at his desk,

(24:02):
and orderly.

Speaker 3 (24:03):
Enters add, Yes, what is it?

Speaker 2 (24:06):
Did you?

Speaker 1 (24:08):
Oh? Is he tell him to come in way? Miser
hre Thanks, good morning, judent. You asked me to report
to you this morning. I have not forgotten stand Over.
There isn't there Brown. I think it is hardly necessary
to remind you that insubordination is a serious offense. Insubordination,

(24:29):
but I was off too off due to your und
duet to the word of a superior officer's law. You
refuse to obey. You are there for guilty of a
breach of conduct and subject to court martial. Report to
the satinant and place yourself under arrest. Yes, sir, of course,
there's nothing personal in this. I mean, you're not just

(24:49):
sore about last night? Orton you forget yourself? No, I don't.
You have no reason to court martial me except that
you wanted that girl yourself, and I took her out
from under your no, silence, silence your foot. You don't
scare me. Where the nickels or a year in prison?
Might you ought to know? But that a year in
prison that's short compared to what you were going to
serve before you escape. Are you quite sure you'll know

(25:12):
what you are talking about. I am talking about a
little matter of homicide. Murder in Berlin. The murderer's name
was his ar He got thirty years, but he escaped.

Speaker 2 (25:23):
It's a funny thing.

Speaker 3 (25:25):
He looked just like you, jident without the.

Speaker 2 (25:27):
Mistake here, naw, Brown, you.

Speaker 1 (25:30):
You're a fool.

Speaker 3 (25:31):
Sure if I.

Speaker 1 (25:32):
Wasn't, I wouldn't be in the foreign leaders the sweating
blood for a rat like you. Otah, that woman is here, resident,
the one you sent horse, send her in this way,
mean modelle, good money, good morning?

Speaker 4 (25:48):
You wish to thing?

Speaker 1 (25:50):
If you don't mind Hello, m Are you here too? Yeah?

Speaker 9 (25:54):
Sure?

Speaker 1 (25:55):
You never can know where you're running to me For
the next few days, we'll know exactly if we're to
run into you.

Speaker 3 (26:00):
Who orderly?

Speaker 1 (26:03):
Take this matter?

Speaker 4 (26:03):
The god house, the guardhouse?

Speaker 2 (26:05):
What's for?

Speaker 1 (26:05):
That's the legions business, mademoiselle and mine?

Speaker 3 (26:09):
Take him a church.

Speaker 1 (26:11):
I'm sorry I couldn't say, mademoiselle, good morning at him.

Speaker 4 (26:15):
What are you going to do with him?

Speaker 1 (26:17):
That is not the question at the moment, Mademoiselle. The
question is what are we going to do with you?

Speaker 4 (26:22):
I don't understand you, monsieur.

Speaker 2 (26:24):
No.

Speaker 1 (26:25):
It is the policy of the Legion, Mademoiselle, not to
interfere in the private affairs of any residents. But when
the private affairs of the resident intrude upon the performance
of a soldier's duty, we find it necessary to take steps,
what steps such as asking the person to leave allgiers.
In the future of mademoiselle, will you please act accordingly?

Speaker 4 (26:46):
That's all one moment last night was my fault, more
than the legionnaires. I asked you to be lenient with him.

Speaker 1 (26:55):
You were not very lenient with me.

Speaker 3 (26:57):
Mademoiselle.

Speaker 1 (26:57):
Please, there's nothing I can do.

Speaker 2 (26:59):
Good morning, Good morning.

Speaker 4 (27:14):
There's the story, Monsieur lebisieer. You said I should come
to you if I needed help. I need it now.

Speaker 2 (27:19):
I think the lisionnaire is the one who needs help.

Speaker 4 (27:22):
Monsieur lebiciere. What will they do to him?

Speaker 2 (27:24):
I don't know. Personally, I shouldn't care to have aged
in Caesar as an enemy.

Speaker 4 (27:29):
I seem to have the unhappy faculty of causing trouble
wherever I go.

Speaker 2 (27:36):
You know I carry some weight for Caesar.

Speaker 1 (27:38):
Possibly I can help you.

Speaker 4 (27:40):
Every time a man has helped me, there has been
a price. What's yours?

Speaker 2 (27:45):
My price?

Speaker 8 (27:47):
A smile?

Speaker 7 (27:50):
I can pay that, monsieur.

Speaker 2 (27:52):
Where is the lesionaire now?

Speaker 4 (27:53):
In the god house? I saw him this afternoon. I
bribe the god.

Speaker 1 (27:57):
Did you tell him you were coming to me?

Speaker 4 (27:58):
No? He says, not a word, that he'll be out
there for morning.

Speaker 2 (28:02):
Perhaps he will. You can go very pal Roger eating
that brown oh, hello, sorn.

Speaker 1 (28:16):
Nice of you to call, said, make us so comfortable.
No Wi scracks you, No Wi scrags.

Speaker 3 (28:20):
Are's your pass?

Speaker 11 (28:21):
Hey?

Speaker 1 (28:21):
You mean I'm getting all this joint? Yeah, the door
is wide open. You can do what you like at
just seven o'clock in the morning.

Speaker 4 (28:27):
What's the idea of this?

Speaker 1 (28:28):
He'll leave me for a month of past tomorrow.

Speaker 3 (28:30):
Oh no, no, not me.

Speaker 1 (28:32):
You know I have beginning to like this town.

Speaker 2 (28:33):
Tell USA's art.

Speaker 1 (28:34):
I'm not going telling yourself. He's going along this time?
Who's going along? You had what I said? Caesar is
going Oh yeah, yeah, I go on get out of here.

Speaker 3 (28:48):
Yeah, sure, sure, along side.

Speaker 1 (28:50):
And see if you can stay out of here for
once in a while through my past. Tom Hey, Tom, Hey, Bibby, Bibby,
come here now I'll be waiting for Oh yeah, it's idea. Yeah,
but don't talk now, let's get away from here. I
come on, come on, come on, keep warm on, walked up.
You're the health, ain't you?

Speaker 2 (29:05):
Yeah?

Speaker 1 (29:06):
Until seven o'clock tomorrow morning.

Speaker 8 (29:07):
It's true.

Speaker 1 (29:08):
He ain't going to give you a court muscle.

Speaker 3 (29:10):
Oh no, not mississus arm.

Speaker 1 (29:11):
He got a better idea than that. I think I'm
onto it. He's going to get me out on the desert,
face me in the right direction, and put a bullet
in my back.

Speaker 8 (29:17):
Po'ket have bullied it.

Speaker 1 (29:19):
Oh the eats gotcha?

Speaker 8 (29:20):
You think so?

Speaker 1 (29:21):
Well? What is he to want to plag you? Herd? Anyway,
my old failing blame. I talked right in his beard
and told him what was what?

Speaker 2 (29:27):
You see?

Speaker 1 (29:28):
I know something about that bird, and now he knows
I know it.

Speaker 3 (29:31):
It's true.

Speaker 1 (29:32):
But he's not going to use me for target practice.
I'm through of the army, blay, washed up. I've been
looking for the right kind of woman all my life,
and I think I found her. Now.

Speaker 3 (29:40):
Listen here.

Speaker 1 (29:41):
If you're talking about the men were selling the catag
that's who blamey.

Speaker 2 (29:44):
Well, you're crazy.

Speaker 1 (29:45):
She ain't nothing, but he keep little. Come on now,
she isn't by me. She's all right, and I'm quitting
the army and taking her out of here tonight. You
don't say if he have what the penalty is for possessions.
There's a hundred ways of dying, brother, and I'm picking
my own.

Speaker 2 (30:16):
Come in, good evening, mademoiselle monsieur voloda Claire, Come in
and how are you. How are you this feeling?

Speaker 4 (30:25):
I'm well, thank you the flowers to send her wonderful.

Speaker 2 (30:29):
Half, so wonderful as I should wish.

Speaker 4 (30:32):
Any news of him some he's.

Speaker 6 (30:34):
Not to be caught martials, but they are going to
transfer him.

Speaker 4 (30:37):
Oh well, that means he will have to leave town.

Speaker 1 (30:42):
Of course, I see.

Speaker 2 (30:45):
Do you love him?

Speaker 4 (30:47):
I don't know. I hope not.

Speaker 2 (30:52):
Look, I've brought you something, brought me something, A bracelet?
May I put it on you?

Speaker 4 (30:59):
I can't accept. Listen to you. It's worth a fortune.

Speaker 2 (31:02):
Anything of less value would be unworthy of you.

Speaker 4 (31:05):
I'm sorry, but you I cannot take it.

Speaker 2 (31:07):
Well, let me leave it here on the dressing table.
If you've changed your mind, I won't. Has anyone ever
told you that I'm a very wealthy man?

Speaker 4 (31:17):
I've heard so?

Speaker 2 (31:18):
Does it mean so little?

Speaker 1 (31:19):
Too?

Speaker 4 (31:20):
In what way? Mit you?

Speaker 2 (31:22):
I'd like to take you away from here?

Speaker 4 (31:24):
Would you exactly? What do you offer now?

Speaker 2 (31:27):
The conventional thing? My offer is highly respectable marriage.

Speaker 4 (31:32):
You're a strange man.

Speaker 2 (31:35):
You find it so strange that I should be fond
of you.

Speaker 4 (31:38):
Must to answer you now.

Speaker 2 (31:40):
I'd sleep better tonight if you did well.

Speaker 4 (31:44):
I don't think I care to take advantage of your
tempting offers.

Speaker 2 (31:49):
Then you're in love.

Speaker 4 (31:50):
No, I don't think I am.

Speaker 2 (31:54):
Supposing you'd never met a certain private in the foreign region.
What would your answer?

Speaker 4 (32:00):
It might have been the same.

Speaker 1 (32:01):
I don't know.

Speaker 4 (32:04):
Come in.

Speaker 1 (32:04):
Oh yeah, I'm sorry to bust in like this, but
I'm leaving for the Sahara in the morning, and I
just came to say.

Speaker 4 (32:11):
Goodbye tomorrow at a short notice, isn't it.

Speaker 2 (32:14):
I think you too will want to be alone. I
understand you're leaving on a raw the strenuous journey. I
wish you good luck.

Speaker 6 (32:21):
Thanks, I've done talk mautmoiselle.

Speaker 4 (32:27):
Will you be gone long? When will I see you? Again?

Speaker 3 (32:30):
Or maybe never?

Speaker 1 (32:31):
Never?

Speaker 2 (32:32):
Yeah?

Speaker 1 (32:33):
You see something tells me I'm not coming back this time.

Speaker 4 (32:36):
Then you must not go.

Speaker 1 (32:37):
You know that's funny, but that's just what I was thinking.
I could dessert and border fighter for Europe tonight. Why
don't you I would in a minute if you'd go
with me. You want me to, I really want you to.
You know You've done something to me. I don't know what,
but I've been thinking about you every minute since I
saw you.

Speaker 3 (32:54):
Will you come with me?

Speaker 4 (32:56):
Yes, I'll go with you. Who is it?

Speaker 9 (33:02):
Kid? Thought for you to curt offers?

Speaker 7 (33:04):
Where are you knocking her?

Speaker 4 (33:05):
In a moment? Wait here for me? I'd be back.

Speaker 6 (33:17):
Oh excuse me, I thought that.

Speaker 3 (33:19):
Hasn't you gone? No, no, not yet.

Speaker 1 (33:22):
I'm waiting here for Mademoiselle.

Speaker 3 (33:23):
I'm mean to come bang on.

Speaker 2 (33:24):
Of course, a wonderful girl, isn't it.

Speaker 1 (33:27):
Oh y, you notice that too, everyone has.

Speaker 2 (33:30):
I believe I have fallen a little farther than the rest.

Speaker 3 (33:33):
Oh, yes, not that.

Speaker 2 (33:34):
It's done me any good? What do you mean he's
a refuse me?

Speaker 8 (33:39):
Refuse you?

Speaker 1 (33:41):
You offered to marry it?

Speaker 2 (33:42):
Yes, about ten minutes ago here in this room.

Speaker 1 (33:46):
Oh I see she never mentioned that. Why should you?

Speaker 2 (33:51):
You're a rich guy, aren't you?

Speaker 3 (33:52):
Funny of doe?

Speaker 2 (33:53):
So my lawyer's done him to make much difference with
Mademoiselle any She wouldn't even accept the gift from me.
I embraced it there on the busings rave. I left
it in the hope that she might change her mind.
But I'm sure she won't. I'm afraid I'm fighting a
lost cause you know that's how laughs that I should

(34:14):
want to marry Oh no, no, no, I wasn't thinking
of that I was thinking of.

Speaker 1 (34:18):
Myself, lesionaired Tom Brown twenty bucks a month in Key,
trying to pull the kind uncle act with a girl
who could marry a millionaire. You know, I might have
known it was too good to be true. Suppose she's
in love with you, and suppose she's not. What difference
does it make you think I'm going to step all
over the biggest chance of her life? Oh no, not
me missing. I may be only a buck private and

(34:38):
a tin sword army, but I know when to take
a walk, and I'm taking one.

Speaker 13 (34:42):
Now.

Speaker 6 (34:43):
Are you sure you're doing the best for her?

Speaker 1 (34:45):
How is best for her?

Speaker 2 (34:48):
They do me a favor, will it?

Speaker 1 (34:49):
She'll be coming back here in a minute when she does.
Let me talk to her alone?

Speaker 2 (34:52):
Of course, what are you going to tell her?

Speaker 1 (34:55):
Well, I don't know yet, but I'll think of something.
I'll pick a fight with her. I'll make a saw
at me. When I make my exits, you'll probably be glad.

Speaker 6 (35:01):
To see me go.

Speaker 2 (35:02):
Well, who's your think?

Speaker 13 (35:03):
Best?

Speaker 6 (35:04):
Good luck?

Speaker 4 (35:12):
Was I alone?

Speaker 8 (35:13):
Yes?

Speaker 1 (35:13):
A little?

Speaker 7 (35:14):
I was just leaving, leaving, but I'm not ready yet.

Speaker 2 (35:17):
I wasn't thinking of you. I'm going along.

Speaker 4 (35:19):
Has anything happened?

Speaker 3 (35:20):
Yeah?

Speaker 1 (35:20):
Lots happened. I've changed my mind, sister. Why I'm no
sucker lady. Maybe you thought I was, but I'm not.

Speaker 4 (35:26):
Tom I don't know what you're talking about it.

Speaker 2 (35:28):
Oh, yes you do.

Speaker 1 (35:29):
I've been on the level with you, and I thought
you were with me. You shouldn't have left me here alone.
I saw too much.

Speaker 4 (35:34):
What did you see?

Speaker 1 (35:34):
That pretty little diamond bracelet over there on the dressing table?
Well a new acquisition, isn't it. Or are you going
to tell me.

Speaker 2 (35:39):
You borrowed it from a girlfriend?

Speaker 4 (35:41):
It was given to me tonight. I haven't accepted it yet.

Speaker 1 (35:43):
Oh that's a better one. Go ahead, sister, it sounds swallow.
I don't have to think. Girls like you don't wear diamonds,
and when they do, well, it doesn't go with me.
I'm heart boiled, but not enough for that stuff. A
one man woman is what I wanted. Nothing at all
this time is nothing at all? Along, sister, there goes

(36:08):
to your soldier Maplezelle.

Speaker 4 (36:09):
Yes he didn't desert after all?

Speaker 2 (36:11):
How big a pardon?

Speaker 4 (36:12):
Nothing?

Speaker 2 (36:13):
I'm sorry.

Speaker 1 (36:17):
On street they march when they go out, yes, until.

Speaker 2 (36:21):
The heat gets them. It's a bad section. They're going
to I.

Speaker 4 (36:25):
Wonder how many of them will come back?

Speaker 2 (36:28):
Are you worried about all of them or just one?

Speaker 4 (36:31):
What good is it to worry about anything? Whose women
marching behind the men? Who are they?

Speaker 2 (36:39):
The women? I would call them the rear gud?

Speaker 4 (36:43):
How can they keep pace with the men?

Speaker 2 (36:45):
We Sometimes they catch up with them, and sometimes they don't.
Very often when they do, they find their men dead.

Speaker 4 (36:52):
Those women must be mad.

Speaker 2 (36:53):
Oh I don't know. See they love their men.

Speaker 4 (36:56):
Ah, they're even madder than I thought.

Speaker 1 (37:05):
Oh you do me all right? All right, but I
don't see what good it does?

Speaker 2 (37:12):
Go on?

Speaker 1 (37:12):
You have to get up again anyhow? Those walking bed
sheets can't shoot straight? No, no, but you think different
than when you get a bullet in your chest. Will
this heats it up?

Speaker 8 (37:20):
The mill?

Speaker 1 (37:20):
The gun? Oh shut up. If you don't like this,
swallow as you quit. I was going to cyber revision.
But you see, I've turned decent. What I said, I've
turned decent. I'm in love you, that's all riot, That
is hand. I don't come hey, BlimE me, what the
dipper are you doing here? Just come up with a relief?
Really hit me into a bent? Don said passive machine
gun up there on the hills. Yessir, there comes as

(37:43):
off it by man, I'm in for somebody.

Speaker 2 (37:44):
Have you spot at that machine gun? It's up there
some place, sir.

Speaker 1 (37:47):
If you'll send out a scouts and their brown I'm
he's and their brown. Yes it take an hand with
you and bought that machine gun?

Speaker 6 (37:53):
You get toose enough, use your hand grenade.

Speaker 1 (37:55):
It must beat its card. Yes, I'll go. We didn't
hand by me? Are you crazy by it? You can
go in and if one thank you so it will
be a real flash. He fall to me.

Speaker 8 (38:02):
When you get back?

Speaker 1 (38:03):
Yeah, when and if we get back? Well I have
the right hunts, isn't they? That's too bad?

Speaker 6 (38:09):
Then?

Speaker 1 (38:10):
Yeah? Well hey wait, wait a minute, how about the
sent fresh shut up? Come on, blamey right behind you, Tom,
come on, go on, you man, Okay, blame me. We'll
crawl along this chop and sipp over the rids down
there right there making a tap for us. Hey, hell
what over there? He edudant? He's laying in beyond that tender.

Speaker 13 (38:31):
This is it.

Speaker 1 (38:31):
Blame me. Here's where I get that bullet in my back?
No you don't. If he makes a move for his gun,
I'll let him have it. Right between the eye and.

Speaker 12 (38:37):
Be a pool.

Speaker 1 (38:38):
There, he goes. Let's gun down, put it down down,
let me alone down?

Speaker 2 (38:45):
How many buddy?

Speaker 1 (38:47):
Oh fine, what is it?

Speaker 3 (38:50):
You've been hit?

Speaker 1 (38:51):
Good loney? I hope he croaks. He'll take me the trouble. Hey,
he's he's got it bad. Blame me, I hope. So
come on, let's get do it. He loves on there
lost and the thought and may they must have a spot.
Get away behind that hill by me. I'll go up
this way right into that he your man.

Speaker 6 (39:07):
I'll go ahead.

Speaker 1 (39:07):
I'll be right back. Come back here, Tom, Come back here.

Speaker 2 (39:15):
Tom?

Speaker 1 (39:17):
He benate Tom? Oh yeah, here here, blimey over here?
Did you get it?

Speaker 3 (39:27):
Come yeah?

Speaker 1 (39:29):
Yeah, I guess I did.

Speaker 3 (39:30):
Blame me?

Speaker 1 (39:31):
Where is it? Coll my boy? Where is he.

Speaker 8 (39:34):
Here?

Speaker 2 (39:35):
He's gotta be all tied up in knots?

Speaker 3 (39:38):
Come tell me, boy, it's all right now.

Speaker 1 (39:43):
You you better get back and leave you here.

Speaker 2 (39:47):
I don't think you you can help me much.

Speaker 1 (39:51):
Funny, honey, isn't.

Speaker 2 (39:52):
It you were glad Cizar got it?

Speaker 1 (39:55):
Save you the trouble? Looks like I did the same
thing or him. Tell me.

Speaker 3 (40:03):
Com lob blond.

Speaker 1 (40:21):
In just a moment, you will hear more of the
story of the Legionaire and the Lady co starring Malena
Dietrich and Clark Cable. Do you know what a casting
director is if you want to get into the movies?
He's the man you see or try to say. He
knows the names, faces, abilities and salaries of thousands of players.

(40:43):
It is a pleasure to present my friend and associate
who has been casting director at the Paramount Studio for
many years, mister fred Dating. Yes, mister Demill, a casting
director has a hard job. Directors are always asking for
things like six sets of girls who look like triplets,

(41:07):
or a cross eyed man who can keep his eyes
crossed in the same way all through the picture. Last year,
a director asked me to get two Tahitian girls who
could sing, dance and play musical instruments. I had to
send all the way to Tahiti for them, and when
they finally got here, the picture had been called off,
but the girls stayed here. Later on the same director

(41:30):
started to make a picture in Tahiti and we had
to send those girls to Tahiti for him.

Speaker 2 (41:35):
But those are the unusual things.

Speaker 1 (41:38):
Every day I'm looking for actors and actresses who not
only have talent, but who's screen well, who have lovely figures,
good features and fine complexions. And mister de mill I,
think it's fitting on your lux radio theater to emphasize complexions.
Your lux toilet soap means a lot to both the

(41:59):
stars and experts, they must have good complexions. And that's
why Luck's Toilet Soap is the official soap over on
the paramouth lot and in fact, in every other great
studio in Hollywood.

Speaker 2 (42:21):
We returned to The.

Speaker 1 (42:22):
Legionnaire and the Lady, with Marlena Dietrich as Ame Jolie
and Clark Gable as Legionnaire Tom Brown. Several weeks have
gone by and Ame has received no word from the Legionnaire.
Convinced that she will never see him again, she has
accepted Lebisier's offer of marriage. It is the night of

(42:44):
their engagement dinner in a room at the Hotel Duprey,
Ame Jolie sits by the window, staring into the street. Labassier,
receiving no answer to his knock.

Speaker 2 (42:56):
Enters, Homi, where are you here sitting in the dark?
Let me turn the life that's better. We've all been
waiting for you downstairs. Arey have you.

Speaker 4 (43:09):
I'm sorry. I didn't know.

Speaker 2 (43:11):
What have you been doing?

Speaker 4 (43:12):
Darli sitting here by the window?

Speaker 2 (43:15):
Thank you about anything in particular?

Speaker 4 (43:18):
I'm no, nothing in particular.

Speaker 2 (43:22):
You're not at all excited? This is the night of
our engagement? Or have you forgotten?

Speaker 4 (43:26):
How could I forget?

Speaker 2 (43:27):
Everybody's here? I'm dying to meet you.

Speaker 4 (43:30):
I didn't think they would come.

Speaker 2 (43:31):
On the contrary, I delighted to witness the unconditional surrender
of the most exacting backstorm in the world. Are you happy,
my dear?

Speaker 4 (43:40):
Of course? Shall we go down now?

Speaker 9 (43:42):
Oh?

Speaker 2 (43:42):
Wait, I want to speak to you.

Speaker 4 (43:44):
Anything wrong?

Speaker 2 (43:45):
Yes, I have news of your lesionnaire.

Speaker 4 (43:47):
What news?

Speaker 2 (43:48):
His company returns tonight, that is what's left with him?

Speaker 7 (43:51):
You mean?

Speaker 2 (43:52):
I mean that he's not returning with it. He's been wounded.

Speaker 1 (43:55):
He's in the hospital of the Mouth of pas Is
he barely heard?

Speaker 3 (43:58):
I don't know.

Speaker 2 (43:59):
They wouldn't tell me that.

Speaker 4 (44:00):
Then then he may be dying. He may be dead
by now I have I've got to go to him.

Speaker 2 (44:10):
Ami, Are you in love with him?

Speaker 4 (44:13):
I've got to see him, please.

Speaker 2 (44:17):
Very well?

Speaker 4 (44:18):
You don't mind, h.

Speaker 2 (44:20):
No, you see, I love you Amy. I'll do anything
to make you happy. We'll go together.

Speaker 4 (44:29):
Thank you.

Speaker 2 (44:30):
I'll wait here and I'm out of the car. Ah,
there it is. I believe the hospital. Yes, do you
want me to go in with you?

Speaker 15 (44:47):
No?

Speaker 4 (44:48):
I it will be best if I want alone.

Speaker 8 (44:53):
Very well, my dear, good morning, mademoiselle.

Speaker 1 (44:59):
Something I can do for him.

Speaker 4 (45:00):
I'm looking for legionnaire Tom Brown.

Speaker 1 (45:02):
Brown hospital case.

Speaker 5 (45:04):
Yes, let me say, I'm sorry.

Speaker 1 (45:08):
There's no one by that name on our books.

Speaker 4 (45:09):
Are you sure?

Speaker 1 (45:10):
Well? He might be under some other name? Have a lot,
Thank you?

Speaker 4 (45:13):
Hey, hey, guess for me.

Speaker 1 (45:15):
I want to see you about that guy?

Speaker 8 (45:16):
Did it real?

Speaker 1 (45:17):
Well?

Speaker 15 (45:18):
Well? You break the man him a.

Speaker 1 (45:19):
Dump in America's cafe. Hey, don't you remember me? I'm
the top sergeant for the fifth Regiment. Say, what are
you doing down here? Anyway?

Speaker 7 (45:26):
I'm looking for lesion here, Tom Brown or Brown or
you won't, Frankie.

Speaker 1 (45:31):
He he isn't dead dead, Nah, you can't feel that bird.
They told me was the gun when they brought him in.
And a couple of days later he was turning up
the bed coast because the wouldn't give him a drink
save med amount.

Speaker 4 (45:43):
A week ago, is he still in town? Sure?

Speaker 1 (45:45):
Sure he is. He's around the corner of Christine's.

Speaker 2 (45:47):
But say, are you going to see him dead?

Speaker 1 (45:50):
But then tell him not? I forget that ten francs.

Speaker 4 (45:52):
She owes me this Christine's. What kind of a place
is it?

Speaker 1 (45:55):
It's a cafe. Just poke your head in. Look around
when you see a gown with her arms around the
I shoulder. Send the one. That guy, he'll be brown.

Speaker 6 (46:08):
Come to your.

Speaker 4 (46:08):
Soldier, Wake up, say a little attention from you.

Speaker 2 (46:11):
Go a way.

Speaker 1 (46:12):
When did you catch you? See him busy busy collaging in.

Speaker 3 (46:15):
The top of the table.

Speaker 14 (46:16):
And name a M y A O L L y
any jolly that's the girl's name? Eh?

Speaker 1 (46:24):
Yep?

Speaker 7 (46:25):
Who is she?

Speaker 1 (46:26):
I wouldn't do you any good if I told you
you love her very much?

Speaker 4 (46:29):
Yep, poor boy, she's your sweet heart.

Speaker 1 (46:32):
Now shut up, by all right, you don't have to
get mad at me.

Speaker 4 (46:40):
Hello, Susan arm mind if I sit down?

Speaker 1 (46:46):
No?

Speaker 2 (46:47):
No, of course, thank you.

Speaker 3 (46:49):
You gave me a surprise.

Speaker 6 (46:51):
What are you doing in this part of the world.

Speaker 4 (46:53):
I heard you ever wounded?

Speaker 1 (46:54):
Yeah?

Speaker 8 (46:55):
Well, I heel fast.

Speaker 1 (46:56):
Never felt better in my life.

Speaker 3 (46:58):
Are you married yet?

Speaker 2 (46:59):
No?

Speaker 1 (47:00):
I heard you were going to marry that rich friend
of yours, that love as heir fellow, I am.

Speaker 4 (47:04):
Are you sure I don't change my mind?

Speaker 1 (47:07):
I guess well, I wish you all the work in
the world, mademoiselle.

Speaker 4 (47:10):
Is that all you have to say?

Speaker 8 (47:12):
Yeah, that's all.

Speaker 1 (47:19):
Well that's me. I guess we're pushing off again.

Speaker 4 (47:21):
Where to?

Speaker 1 (47:22):
I can't tell, But wherever day, wherever it is, it
will be thirsty march. I better go and get myself
a drink.

Speaker 4 (47:26):
You're not going to snigg a fi be leave it done?

Speaker 1 (47:28):
Come and see us off, will you?

Speaker 6 (47:29):
Maybe?

Speaker 1 (47:29):
I don't know what you thinks? Back Howlong Madam's house.

Speaker 4 (47:32):
So long Sojian.

Speaker 1 (47:40):
Your man?

Speaker 4 (47:41):
He's gone, Senorita, Yes, you look sad.

Speaker 14 (47:44):
Why are you gonna go with him?

Speaker 4 (47:46):
He doesn't want me.

Speaker 14 (47:48):
No, he wants no girls, only one whose name he
can't here on the table see a M Y j
O n L.

Speaker 4 (48:00):
Why immedially? Unusually he called that he thinks of her
all the time.

Speaker 2 (48:15):
Well, did you see him?

Speaker 4 (48:16):
Yes, he's well again. They're moving him on to fight.

Speaker 2 (48:20):
Shall we go back?

Speaker 4 (48:21):
Not yet? He's leaving at dawn. Are we to then?

Speaker 15 (48:29):
Do you want to sit in the car here?

Speaker 2 (48:30):
Tell me?

Speaker 8 (48:31):
Or shall we go back?

Speaker 3 (48:32):
Look for him?

Speaker 4 (48:33):
I see him now this company is not marching yet.

Speaker 1 (48:37):
You want me to call him over?

Speaker 4 (48:38):
Pee? He sees it. He's coming this way.

Speaker 2 (48:42):
What are you going to say to just?

Speaker 4 (48:44):
Goodbye?

Speaker 1 (48:45):
Hello?

Speaker 8 (48:45):
How early this morning?

Speaker 4 (48:47):
Yes, we came to see you all.

Speaker 1 (48:48):
How do you do it?

Speaker 2 (48:49):
How do you do?

Speaker 1 (48:50):
I'm sorry again? Stay long? My company is ready to mark.

Speaker 4 (48:52):
You're going to be out long and tell hey, lady
offer what do you want?

Speaker 1 (48:57):
Is the wall going on out there? Oh? Yes?

Speaker 6 (48:59):
Tell me?

Speaker 9 (48:59):
No?

Speaker 1 (48:59):
Hey, all right, all right, shut up? Well, here we go.
The bye man is out.

Speaker 2 (49:03):
Goodbye God, that least they're brown.

Speaker 6 (49:05):
Thanks.

Speaker 2 (49:11):
Well, there he goes out into the sun. You're going
to miss him, aunt.

Speaker 4 (49:19):
I love him.

Speaker 6 (49:20):
I knew you did.

Speaker 4 (49:21):
He loved me too.

Speaker 2 (49:23):
How do you know? I always knew Amy.

Speaker 4 (49:28):
The women the real God. They're beginning to follow the men.
It helps me to look at them.

Speaker 15 (49:35):
Why because I want to be one of them.

Speaker 1 (49:38):
I want to follow too.

Speaker 2 (49:40):
You love him that one?

Speaker 4 (49:41):
I love him that much. They're almost out in the desert.
Now I'm going after him.

Speaker 1 (49:47):
I'm mad.

Speaker 2 (49:47):
I won't let you go. Please.

Speaker 4 (49:49):
You have been so kind to me, but I can't
help it. Try to forgive me, Try to understand. I've
got to go to him.

Speaker 15 (49:56):
Honey, I must go to.

Speaker 8 (49:58):
Him, Jarley, I understand, hommy.

Speaker 1 (50:11):
Amy, what are you doing out here?

Speaker 4 (50:12):
I followed you. I was sleeve with your favor.

Speaker 1 (50:14):
Doc. Don't be a fool, go back, go back, report
too late.

Speaker 4 (50:17):
I'm going to stay.

Speaker 1 (50:18):
Do you know what it's like out here? Is torture,
nothing but heat and sand and sun. I'm bringing some
that'll bushy your buddy until you screek.

Speaker 4 (50:24):
I don't care. I'm one of the real dard now,
one of the women who love their men.

Speaker 1 (50:44):
And that Ladies and Gentlemen is the story of the
legion there and the lady is played by Mylenaditrich and
Clark Gable. Before I present our two stars for a
curtain call, I'm going to ask an old friend, a
pioneer in the motion picture industry, to step up on
the stage. We were once and made our first film,
The Squoreman together. It's comfortable to have him at my

(51:05):
side tonight. As I entered the field of radio, Jesse
Laski of pick Port Laski Production.

Speaker 12 (51:15):
Well, THESSIL, this great new theater in Hollywood Boulevard is
quite different from the stable well we started The squad
Man twenty three years ago.

Speaker 2 (51:24):
In the middle of an orange grove.

Speaker 1 (51:26):
In those days, Jesse, there were trees on Hollywood Boulevard
instead of neon signs.

Speaker 12 (51:30):
A lot of water has run under the bridge since then.

Speaker 1 (51:33):
Speaking of water, remember Jacob Stern. Remember we rented the
barn from him, or rather, we rented only half the
bond we worked in. Jacob kept his horse in the
other half, and every time he washed the buggy, the
water ran into our office. Yes, and we had to
put our feet in the waste basket to keep them
from getting wet. As I put my last diamond to

(51:56):
that picture of us, yes, and you put my last
diamond two.

Speaker 12 (52:01):
But it's always stimulating to me, Cecil, to see that,
in spite of the many changes in Hollywood, the men
who started in the picture business with us and now
at the top of the heap. You know who I'm
speaking of, Adolf Zooker and Samuel Goldwyn, the men who
with us fondy.

Speaker 2 (52:16):
What is now the Great Palm out Company has.

Speaker 1 (52:18):
There's one good thing, Jesse about working on the radio.
Somebody else puts up the money, and tonight, in case
you haven't heard, it's the manufacturers of Luck soap.

Speaker 8 (52:30):
You know, it's a madic with soap.

Speaker 12 (52:33):
That's one thing that even I will yes you on now, Cecil,
I want you to I want to wish you godspeed
and this there is a programs. It's a pleasure to
have been here tonight. And now I'm glad this excellent
radio show will be broadcast from Hollywood from now on.

Speaker 1 (52:55):
And now and now a word about a certain young
actor before he steps out on the stage. I want
to tell you a little story of him. When I
was casting Madame Satan six or seven years ago, I
was looking for a villain. Somebody had given my script
girl a screen test of a young man and she
kept dinging a life out of me to see it.
I asked her if he was a villain, and she

(53:15):
said she thought he could do anything. So I looked
at it and decided he was not a villain, but
that he had definite possibilities. So I showed it to
the other executives at the studio. When I asked him
about the young man a day or so later, they
said he never could succeed in pictures. I asked why not.
They said, his ears are too big. But evidently, evidently

(53:40):
those ears were no obstacle to the triumph of Clock Gable.
As you stepped out on this stage, Clock I could
hear feminine hearts something from coast to coast. Well, see mee,
I'm letting that go in one ear and out the other.

(54:01):
If your studio will loan you to my studio, Clark,
I'd like to direct you in a picture. Well, I
hear from everybody who has ever worked for you, that
is a great experience.

Speaker 3 (54:09):
If you live through it.

Speaker 1 (54:12):
Now my ears are burning, No, no, no, no, really
all it was a great show and a lot of
fun working boiled. And I want to express the gratitude
of Miss Deebrie and myself to our all star supporting cast.
Todite Crawford, Kansas La Bessier, Frank Riker as adjudancies are,
Warrick Kingsford is buy Me, Wally Maher is a sergeant,
Lou Merrill is low Tinto, and I as Seaberry as

(54:33):
a Spanish girl. And thanks also do I find audience.
I want to congratulate Lucks on their new theater and
on the way they're planning their next week. Two great stars,
mister William Powell and miss Myrna Loi and their famous
success The Thin Man, the Night, visit the mill, and
so long everybody.

Speaker 15 (54:57):
And here's she come.

Speaker 1 (54:58):
Here she comes as a desira well as she was
in her picture desire, as beautiful and glamorous, as well
as only Malena District can be. Thank you, ladies and gentlemen,
thank you we received someone in requests Marlena, that you
sing your famous song from the Blue Angel, falling in

(55:21):
Love Again?

Speaker 7 (55:22):
Will you please you very lessen?

Speaker 4 (55:27):
Mister Fredway Calendar, the composer of the song, would accompany.

Speaker 15 (55:30):
Me calling in Love Again? Never wanted.

Speaker 4 (55:47):
What am I toho do?

Speaker 15 (55:49):
Why I can't help us?

Speaker 1 (55:53):
Loved?

Speaker 15 (55:53):
Always been my game? Play it?

Speaker 4 (55:57):
How I may.

Speaker 1 (55:59):
I wasn't it's that way?

Speaker 4 (56:01):
I can't help it. Men cluss a woomy like moss
around the flame, and it's the wings birds. I know
I'm not dry.

Speaker 15 (56:16):
Falling in love again?

Speaker 4 (56:19):
Never wanted to what am I to do?

Speaker 15 (56:26):
I can't help it? Following a Lovagan.

Speaker 6 (56:32):
Never wanted to.

Speaker 14 (56:35):
What am I?

Speaker 7 (56:38):
I can't help it?

Speaker 15 (56:42):
I've always been my game played, How.

Speaker 14 (56:46):
I may.

Speaker 4 (56:48):
I was made that way?

Speaker 15 (56:50):
I can't help it.

Speaker 6 (56:53):
Men not move me.

Speaker 4 (56:55):
I must around the plane.

Speaker 7 (56:59):
And if the king I know I'm not a lame.

Speaker 15 (57:05):
Parley ell over again.

Speaker 4 (57:09):
Never wanted.

Speaker 15 (57:13):
What have I poodo?

Speaker 4 (57:17):
I can't tell fic.

Speaker 1 (57:25):
Thank you, Miss Decree. Ladies and gentlemen, this is your
announcer Melville Ruis, before mister Demill tells you more about
our play for next week on behalf of our sponsors,
the makers of Lux Toilet Soap. I want to express
appreciation and gratitude to mister Demill and to the great
Hollywood studios who cooperated in making these occasions such a
splendid success from paramount miss Deetree, who will next be

(57:46):
seen on the screen in the David ore Sells in
a Technicolor production of The Garden of Allah based on
the famous novel by Robert Hitchins. Mister Clark Gable, the
Metro Golden Mayor star, came direct to this broadcast from
the set of the Werner Cottonopolison production of Canaan. Maybe
he will soon be seen with Jeanet MacDonald in m
g m's production San Francisco. Mister Lewis Silver's represents the
twentieth century Pox And to paramount our thanks for the

(58:10):
loan of our producer. Mister Cecil B. De Mill, whom
I know you are eager to hear mister de Mill.
Next Monday, at the same time, we will present that
amusing and exciting play, The Thin Man. I am proud
to be able to announce that the two great mg
M stars who made such a hit on the screen
in this remarkable drama, William Powell and Myrna Loy, will
play the same roles in the first radio version of

(58:32):
it next Monday evening. I regret to say I will
not be in Hollywood to produce the lux Radio Theater play,
as I am attending the Paramount Convention in Chicago. In
my place, one of Hollywood's distinguished directors, mister W. S.
Van Dyke, who directed The Thin Man for Metrogolgan Mayor,
will be guest producer on this hour. But I will

(58:53):
be back the following Monday and every Monday to produce
this series of programs for the Luxe Radio theaterre on
behalf of all who contributed to this evening's performance, our cast,
mister Louis Silvers and his orchestra, our technical staff, and

(59:14):
our sponsors. I thank you and invite you to be
guests of the Dux Radio Theater again. Next Monday night,
when this program will be presented from the same station.
Miss Cecil B de Mille saying good night to you
from Hollywood. This is a Columbia broadcasting system.