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