 Hollywood, California, Monday, November 16th. The Lux Radio Theater presents Lily Ponds and Adolf Manjou in conversation piece with Marjorie Gateson and George Saunders. Lux presents Hollywood. Our stars, Lily Ponds, Adolf Manjou, Marjorie Gateson and George Saunders. Our guests, Feg Murray and Cotton Warburton, film editor and former All-American quarterback. Our producer, Cecil B. DeMille. Our conductor, Louis Silver. On behalf of our stars, our guests and sponsors, welcome to another hour in the Lux Radio Theater. There is no better, easier way of keeping your complexion soft, smooth and clear than through the daily use of Lux Toilet soap. It's not surprising then that nine out of ten of the screen's loveliest stars protect their complexions with Lux Toilet soap. What is surprising is that a large cake of this pure white soap cost only a few cents. So little that every girl can use Hollywood's favorite beauty care every day. Remember to buy a supply tomorrow. Thank you. And now, our producer. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Of all the precepts in the Bible, I have found none more pleasant to observe than love thy neighbor. It's not as much to my credit, however, as it is to theirs. For the neighbors in my case happen to be those charming people, Lily Ponds and Mr. and Mrs. Adolph Mongeau. Last year, I rode across the country on the same train with Ms. Ponds. At that time, her dog was recovering from an operation. Ordinary dogs get nothing more aristocratic than fleas. A prima donna's dog gets appendicitis. As we stopped at each station, the daintiest singer of them all would favor me with a dazzling smile. The result was that I lifted her dog on and off the train all the way from New York to Hollywood. Presenting Adolph Mongeau as Duke Paul is particularly appropriate. For when I first met him, he was known as the Duke. Because, though he may have owed for board and lodging, his first day's pay from each production went as a down payment on another suit of clothes. A Mongeau performance today is as brilliant as a Mongeau sport jacket. And that's saying something. Tonight, Lady Julia is Marjorie Gateson, and Lord Sheer will be enacted by George Saunders. Ms. Ponds is heard as Mélanie, a cafe singer and acrobat. And now, Noel Coward's conversation piece, starring Lily Ponds and Adolph Mongeau. Our play begins in Paris during the year 1809. We're in a small, shabby cafe called Le Petit Girondin. The hour is late, but the cafe is filled with a drinking, boisterous crowd. At a tiny window, seeking relief from the tobacco-laden air, stands the perfect gentleman at the time, Duke Paul. Conspicuous in that crowd for his elegant attire and obvious refinement. He has just been joined by Mélanie. Exquisitely fresh and untouched. Mélanie, too, is quite unlike the others. Mr. Sheer, you have come too early. I cannot leave until I sing again. I am impatient to start a new life, mademoiselle. Do you have to juggle your wine bales, too? No, no more tricks. Just one song and I will be finished here for the night. Finished here for good, Mélanie? Yes, for good. You seem gloomy about it. No, but it is really true on this. Or will I just wake up? Oh, it's quite true. One more turn and you are done with cabarets, finished with tricks, wine bales and squalor. But anyone would be in a daze with all this smoke in here. The window is open. Shall we leave out together? Then we can breathe and see the stars. Well, let's breathe by all means. Oh, bright it is tonight. You have enough room? Well, it's a tight squeeze. Yes, but cozy. Come now. Back to business. You realize that when you sing your last note tonight, Mélanie of the Cabarets will be no more. Yes. And you will leave here with me as Mélanie de Tramont. Who has never been in a cabarete in her life. Exactly. Who was a sweet fair-haired little girl in an old grey chateau with a wild garden. Yes, excellent, mademoiselle. Your parents died in the revolution when she was very young. I will remember, monsieur. You will live for the time being with that nice old lady we called upon. Do you believe that you are my guardian? Yes. And that I am the doctor of your dear old friend de Marquis de Tramont? Yes, she suspects nothing. I'm so glad. It is very flattering to be taken for a Marquis' daughter. You must see that you learn to act like one. You must be very careful of your speech, your manners, your whole attitude. I will teach you and I promise to be as patient as I can. I'm sorry to be so much trouble. It is a question of business, not trouble. As you are now, almost any man would admire you extravagantly. But no rich man would believe that you were the daughter of a Marquis and marry you. And if no rich man married you, you could never pay me your rich commission. Why are you laughing? Because it takes a new life for us. And all year, a week ago, we had never seen each other. We are not stargazing. We are talking business. Oh, now, but still, the night is all blue and here I am, a singing acrobat, earn all and penniless, squeeze in a dusty window with you a great deal. Equally penniless and middle-aged? Oh, no, not middle-aged. Well, getting on then. A little bit, so nice to meet you. Look here, mademoiselle, you are talking nonsense. I'm sorry. You are not in the least sorry. Oh, monsieur. If you were, your eyes wouldn't shine like bonfires. My eyes? Put them out. Yes, monsieur. Well, that's better. And no more sentiment, please. Our new life is a sensible business partnership strictly. Yes, I know. That is agreed. You can agree. You must eat. And the revolutionaries left me nothing with those few pictures I told you about, which they somehow overlooked. So you are my only possible business asset. You always come back to business. But naturally, we will live on in Paris, as I say, on the little I have saved. I would be a very frugal. Then, when we are ready, perhaps something will turn up. Not money to take us to England and a rich and doting husband for you. I see. England is where we will catch him. Melanie, Melanie, come here. I'm sorry. They are calling me. I have to squeeze back now and sing. All right. Your last song, mademoiselle. I choose it carefully. A fitting swan song? No, not a swan song. It is a promise. Listen to it, please. Because it is about someone rather like me, who promises that she will not betray you and destroy your plans. But who will follow a sifted heart, no matter what strategies pay until she finds love. The flights are England. We have been waiting for this moment, and now we are here. Think what it means, Melanie. We have enough money left from the few pictures I sold to keep us going properly for three months. And you are changed into a perfect aristocrat. Not perfect enough to pull your fan. Who? What? Lady Julia. I think she suspects. Nonsense. Lady Julia couldn't possibly suspect. You are an aristocrat. And there is England teaming with rich men. It doesn't look it. We have only one handicap left. You're English. Don't worry. It is coming. Yes, at a snail's pace. Once in England, you will speak only English. Wait. The solicitor who engaged your little house in Brighton has also engaged a maid for you who cannot speak one word of French. Her name is Rose. Rose? I think she will be a thorn. Good morning, Rose. You're bright and early, sir. I'm sure I would be today to go over Mademoiselle's bills for the month. I have them all ready for you on Mademoiselle's desk. Thank you. And how is Mademoiselle's English this morning? I don't know, sir. But my French is improving by leaps and bounds. I see. There seems to be a lot of veal on this butcher's bills. I keep telling Mademoiselle that it's unreliable. It's not its integrity I question, but its cost. What is this bill here? Oh, that humbug, sir. They're sort of big bull's eyes. Bull's eyes? Not real ones, sir. You tuck one in your cheek and it keeps you going for hours. Mademoiselle's very partial to them. Good morning, Melanie. English, Melanie, English. Oh, I did not know you were here. That's the bill now, Rose. Thank you, sir. Melanie, what on earth's that lump on your cheek? A humbug. They're half delicious. Bull, are you mad again? You have been speaking French to Rose and eating too much veal. Please, I'm sorry. Veal is unreliable and expensive. You are eating too many sweets, and unless you learn English quickly, we shall have to go away, just as we came, without money, without position, without anything. Please, do not be angry with me this morning. It is my birthday. Again? Well, I feel like my birthday. How can I make you realize that life is serious? Look at these bills. We've been in Brighton a month. Yes, sir. And nothing has happened at all. Alors, what will you have me do? I see all composite fascist matters. English? Sit. You must. Listen, I will be sensible, even in English. I will try to be sensible, but you must not ask me to be serious. This adventure must be gained funny. That's because today you feel particularly happy without reason. Just as yesterday you felt miserable without reason. You are a creature entirely without balance. I was an acrobat one. Kindly remember that you spent your lisping carefree childhood in the walled garden of an old gray chateau feeding swans. What is lisping? Never mind. I've never even seen an acrobat, let alone been one. Not in business, Melanie. What did Lord Shear say to you last night? Not very much, but he was very adamant. He's coming here this morning. This morning? I wrote him a little note from you. I will receive him, and when I have talked to him for a little, he will propose marriage. When he does, you will accept him. When may I love somebody, please? Love has nothing to do with our agreement. I see. What's the matter? He doesn't feel like my birthday anymore. Please, Melanie, no sentiment. And what if I fell in love? Fell in love? Yes, yes. What if I fell in love? Why all this talk of love? I tell you, it has nothing to do with our agreement. But what if I could not help it in spite of your agreement? Then we could have to go away and start all over again. Now please stop talking nonsense. It is not nonsense. You are so sure that everything in life can be arranged so like arithmetic. But why not? Emotion is so very untidy. That is how you feel. Exactly. Very well. I will see our young lord here that I have no thought and my promise for. Promise? That last night at a cafe to follow my secret heart. Good morning, mademoiselle. Good morning, lord cheer. I've just been having a talk with your guardian. Oh, yes? He said I might see you. Oh. It, uh, it is very nice day. It is not? Very nice. So pretty. Everything here in England is so fresh and clean. Look out there. Out of the window. That little boat. How do you say sail, sailboat? Yes, that's a sailing boat. So graceful in the sunshine. Like a white butterfly. Yes. Melanie, I, I had no idea you had a. A guard? Yes. He said that he understands I want to marry you. Did he? Melanie, I didn't know. When I spoke to you last night I wasn't sure what I wanted. I'm not sure now, but don't you. Why don't you speak too quickly? Please do not speak so quickly. Why do you stare at me? Who are you, really? I am Melanie de Tramont, the daughter of de Marquis de Tramont. My father was killed in the revolution. My mother also, and my little brother, Edmond. And your four other brothers and four sisters. I know all that. Your guardian told me. Oh. A large family. Very large. You love them? Yes. They are very large. You love him? Yes. I see. Other father. Who are you, really? Oh, go away. Who are you? I don't know. I, oh please. I love you, Melanie. No, no. It's true. It feels strange as though I weren't quite awake. And yet at the same time more awake than I've ever been before. You see, I'm not very old. Not very experienced yet. And, well, it's the first time. Oh, this is very uneasy. Why? Didn't you expect it? No. No, like this. You wanted me to love you, didn't you? Both you and your, your guardian? No, I'm not. You see, I'm not quite so young as all that. Not quite a fool. My eyes are wide open. Well, there's a lot I don't understand. A trick. Some sort of trick. I feel it through all my instincts, but I don't care. I feel more than that. I feel that you're very lovely and very sweet. And that's enough. Will you please, please be my wife? Leave me. I beg of you. Don't hide your face in your hands. Look at me. No. Melanie. Please, please, go away. In just a moment, we will continue with Conversation Feast, starring Lily Pong and Adolf Maju. Now, let's pay a visit to a typical Hollywood home. The family is sitting down to a six o'clock dinner, but we'll go upstairs and tune in on Anne, the pretty daughter of the house. Here she is. Gee, I would get stuck on the lot just when I have a date. Now I'm terribly late. I'm so tired. I hate to go out with Bill when I feel like this. Oh, but three cheers. I've got a good idea. Luckily, Anne knows a secret she learned from movie stars. And half an hour later, listen to what she says. I'll say that Luxe Toilet Soap Beauty Bath makes a girl come too. I'm ready for a large evening now. I'm dancing on air. What a fragrance that nice soap has. I feel like a million. Bill got to think I look it. A Luxe Toilet Soap Beauty Bath is soothing, refreshing. Its active lather is so thorough that it removes from your pores, stale perspiration, every trace of dust and dirt. That's why it keeps neck and back and shoulders soft and clear. Why it protects daintiness, leaves skin sweet. That's why lovely screen stars like Loretta Young, Carol Lombard, Anita Louise use it. And why you're sure to like it. Try this luxurious, inexpensive beauty bath tomorrow. And now, Mr. DeMille. We continue with Conversation Piece, starring Lily Ponds and Adolf Mongeau with Marjorie Gateson and George Saunders. It's several days later. In the little house in Brighton, Melanie waits eagerly for Paul to pay his daily visit. At the sound of a footstep, she turns quickly. But it's only Charles the servant. Mamazelle. Yes, Charles? There's a lady and gentlemen to see you, Mamazelle. Who are they? The Duke and Duchess of Benedin. The Duke and Duchess? Lord Cheers, parrot. Yes, Mamazelle. Where are they, Charles? In the sitting room, Mamazelle. Thank you. I will go and see them. Afternoon. Good afternoon. You are Mademoiselle de Tremont. Oui. I am the Duchess of Benedin, and my husband, the Duke. Monsieur. How do you do? Please forgive us for calling on you so, so unexpectedly. But I believe you are acquainted with my son, Lord Char. One moment, my love. Don't rush, Mademoiselle. If you please, Frederick. Yes, my love. Won't you sit down to chance-high? Thank you. I said before I believe you are acquainted with my son. You have come to ask a service? Yes, Mademoiselle. We have. Then I do not understand the chess that your mother is so impolite. Oh, well, my wife is upset, naturally upset. Why? Well, Edward is our only son. Is that not more your fault than mine? You know you're spending words, Frederick, wasting time. Well, my son is infatuated with you. But he's young, and that infatuation will not last. It must not last. My husband and I are fully prepared to compensate you within reasons. Compensate? What is that compensate? Money. Money? You will pay me money? Yes, if you will give us your word that you will never see my son again. If I love him, what then? That is beside the point. I think you will perhaps go now. 500 pounds. Very charming, your son, and his eyes are very clear and blue. I think he will be angry. 1000 pounds. I'm tired, madame. I cannot sit down until you go. Excuse me if I read my mail. I would rather like to make one thing clear to you. Georgiana. Quiet! If my son marries without his parents' consent, he will not have a penny. Not a penny. Do you understand that? Georgiana, please. You rang Mademoiselle? Yes, because you can do chess at our living. Come, Georgiana. Come, my dear. My maid will show you out. This will not be necessary. Good afternoon. Goodness, have faith when she went out. My goodness, her faith. There's a lady to see you. What? Another one? Lady Julia Chartres. She said she met you on the boat coming over. I do not wish to see her. Tell her I'm far, far away. Yes, mademoiselle. Good afternoon. Oh, please forgive me, but it was so drowsy in the hall. That will be all, Charles. Yes, mademoiselle. Will you sit down? Thank you. I fear that Mr. Dodicki's not here. Yes, I know. It was you I wished to see. I've recently come to Brighton, and I've been so wanting to see you again. I'm very happy, madame. I have so much to talk to you about. Your guardian and I spent a great deal of our childhood together in France. That is very nice. It was such a pleasant surprise to see him again on the boat. I had thought he was dead. No, he's alive. Yes. I knew your father many years ago, the Marquis de Trameau. Yes. Oh, a most witty and delightful man. Yes, he was very nice. I don't remember that he had any children. Oh, yes, too. One boy and one girl. I was the girl. Oh. Well, where did you live when you were a child? A great wild chateau near Bordeaux. It's all very distant in my mind. The chateau de Trameau, no doubt. Yes, there was a small water and swan. I spent all my early years listening there. Oh. Well, you haven't got a list now. No, I lost it in the revolution. You remember very little about your early life. It is so far away. So very far away from the truth. Madame. Oh, my dear child, don't be absurd. The whole story is idiotic. You've been very badly rehearsed. Paul should be ashamed of himself. I do not understand what you speak, madame. Oh, nuns me. And I do not understand why you come here. I came to find out what you were like. To see what sort of placing Paul had picked out for himself. Placing? I am not placing. Oh, come, come. You can hardly expect me to believe that. How dare you speak those words to me? Oh, there's no necessity for you to lose your temper, my dear. How dare you live here at once? At once, do you hear? What in the world? Oh, Julia, I didn't know you were coming. Tell her to go away at once. Tell her, Paul. Melanie, be careful. No, enough of being careful. Enough of these English, busy bodies. Oh, I congratulate you, Paul. She's a fine parrot. My dear Julia, what has happened? I have insulted. Insulted? Yes. First, by the very charming mother of Lord Sheer. And now, by the snooping camel. Melanie, Lady Julia is a very old friend. But she has no right to come here and call me you placing. What? Yes, you placing to my face. I will not stand for you taking that tone. You want me to marry Lord Sheer, do you? Very well. But after, you will have no penny, not one. And I shall be forced to take tricks again. Melanie, do you want more in the cavalry? That will be charming. And a lot of good, it will do you. This is idiotic. It is, it is. And I will not stand anymore. Not for you, not for the love of heaven. I'm going back to France tomorrow. If I have swim there. Paul, it was unkind of you to come here and bully the child. I didn't bully her. I merely wanted to find out who she was. I see. Well, it's an odd story, Julia. Quite fantastic, in fact. May I hear it? If you wish. First, I should like to speak to Melanie for a moment. Do you mind? Not at all. I'll be here when you come back. Thanks. I won't be long. Melanie. Melanie. Yes. Come here. I want to speak to you. Yes. Melanie, why did you speak like that in front of Lady Julia? I had to. That's quite beside the point. Don't you realize that if you persist in treating people as you do, that our plans, the work of two years will be for nothing. I say I was going back to France. Yes, but you don't mean that. I do. Oh, Paul, let me go. I will never be happy here. Let me go. And you come with me. I? Well, no, Melanie. My life is here. And yours, too, if you would only realize it. You do not care about whether I am happy? You can be just as happy here as in France alone. But when I married, when you have found me a rich man, I will be alone here, too. You will have your husband. I will have his money. It's a good compensation. Is that all that love means to you? Is there nothing else? I've told you, business and sentiment don't mix. Now dry your eyes, Melanie, and try to be cheerful. I'll speak to you later. Where are we going? I'm going to call a carriage and take Ada Julia home. I'll have a good deal to explain on the way. Must you go? I'm afraid I must. Goodbye, Melanie. There you have it, Julia. You see, Melanie is nothing to me. She is my plan, my trick to be played upon the world, my livelihood. Paul, have you gone mad? No. I have merely transformed myself from an aphete aristocrat into an unscrupulous adventurer. That sounds faintly theatrical. The murder of my wife and child was theatrical enough. The deaths of my whole family on the guillotine were equally theatrical. My life, from then onwards, as a fugitive, was an endless succession of serial comic stage effects. I was a baker's assistant, a lawyer's clerk, a tutor. Two years ago, I found Melanie singing in a café. She seemed to me to be better material than my slimling pupils. And five months ago, I managed to sell two pictures from the old house. With that money, I brought her here. Why? She's to make a rich marriage. And you take the commission? Yes. Well... Well, I think it's a good joke in very bad taste. Taste is too expensive a social luxury for a poor man. I suppose the poor little thing is in love with you. In love with me what? Nonsense. This whole plan has been understood completely between us from the first as a business arrangement. How wise. Will you help me? Well, I'll try. I knew you would. Bring her to my house. When? This evening. This evening? If she'll come. I think she might have I ask her to... Don't you sit down, Melanie. Thank you. Melanie, I have brought you here for a very good purpose. But first, I wish you would apologize to Lady Julian. No, no. It's for me to say I'm sorry. I was over inquisitive and I jumped at conclusions too hastily. Mademoiselle, I ask your forgiveness. Thank you, madame. I have told Lady Julian everything. She has promised to help us. It's a very interesting story, Mademoiselle. And I should like the help to bring it to a happy ending. You can talk quite freely in front of Lady Julian. That is very nice. Oh, well, come now. To business. Business? Oh, yes. In the first place... Who do you know? Not the one of importance. Melanie, Lord Sheer is our only definite before and so far. Do you like it, mademoiselle? Melanie, will you kindly concentrate? I do see how difficult it must be for one so young and so charming to banish sentiment entirely. You are sympathetic, madame. But sentiment is very silly. There is no sentiment in the whole world really enough to waste the time upon. Paul has spoken that very often. Let us now then make business. I have a number with which to begin. A number? Yes, I make the progress. First, there is the Prince Regent. But you will not marry me. Melanie. You'll be shocked, Paul. That is true. And we are speaking truth. Admirable. Then, there is Lord Sheer. He loves me. Excellent. But if we marry, there is not money at all. Oh, that can soon be remedied if your social position is improved. You must first of all be presented, more or less informally, here at the pavilion. But how? Who will present us? I shall. But before that, you must give a little supper party. Now I'll arrange it and invite the guests. I can never begin to express my gratitude, Julia. Oh, not at all. Old friends must be kept from starving. Now, let me see. Lord St. Mary's must come and the Duke and Duchess of Benedict, Lord Sheer, Lady of Moscrock and, of course, the Earl and Countess of Haringford. Oh, they're very useful. Are they rich? Melanie. Well, you must have cards and good wine. Ah, perhaps some music. Some model might sing a little. She has such a charming voice, but I should suggest songs more allied to the classics than the cabaret. They're very perfect and suggestive. It is not false. Be very sure, madam, that we'll choose my songs with care, and I will be so careful to leave up to them to cheat and lie and pretend perfectly. Ah, yes. I will be so very careful, Paul, to follow madam's suggestions. And my secret heart. Your secret heart? Yes, madam. No matter what crisis fate, what stars may fade above, I'll follow my secret heart. This is the station identification. This is the Columbia Broadcasting System. Conversation piece, starring Lily Ponds as Melanie and Adolf Mongeau as Duke Paul continue shortly from the Lux Radio Theater. When the 1933 All-American Football Team was selected, practically every sports writer in the country picked Cotton. Cotton Warburton, the diminutive quarterback of the University of Southern California. Since graduation, he's been at Metro-Goldman Mayor Studios, where he's now a film editor. I've asked him here tonight to tell us something about editing films and scoring touchdowns. All right, Cotton, kick off. Thank you, Mr. DeMille. First, I'd better explain what a film editor does. It's very seldom, ladies and gentlemen, that a picture is filmed in the same continuity as you see it on the screen. The middle part may be taken first. The first part may go before the camera lasts. All this must be joined in its proper sequence and music and sound effects injected. Cutting is a major problem. In the good earth, for example, 2.5 million feet of film were shot. Enough for 200 pictures. It's our job to cut the good earth to 12,000 feet. You know, Mr. DeMille, I thought I was through with football when I went in the picture business, but I'm still calling signals. Take this, for example. 25-D-F-3-8-7-6-2. Scene 2-2-8-A. Take three. Date 10-6. Now, let's call time out while you explain that to the audience. We use signals in referring to a certain piece of film. That particular number refers to the third version of a scene from the good earth, showing palm uni eating a bowl of rice. Those numbers also reveal what sequence the scene is in and on what date it was filmed. But, unfortunately, I can't use the same method of keeping my signals straight as I did in college. How did you do it that? I had them neatly written down on my pants. One time the manager sent my regular pants to the cleaner, and I almost lost the next game. Have you played any football cotton since you received your diploma? No. Though I coached a professional team owned by Victor McLaughlin, but since I married and became a papa, I get all the exercise I need walking the floor. Does the baby look like all American material? Not unless football teams are going to include girls, but she's a hundred percent Lux Baby, Mr. DeMille. And then at least she'll have an all American complexion. Right. I don't know how... I don't know much about the care or feeding of babies, but I figured if Lux Soap is pure and gentle enough for the stars, it must be about the best on the market. When the doctor backed me up on that, I felt pretty proud of myself. If you were picking the all American team for this season, cotton, whom would you select? From performances to date, my choice would be Forans, King Minnesota and Kelly Yale. For Tackles, Widseth Minnesota and Franco Fordham. For Guards, Pierce Fordham, and Morrell Navy. For Senator Hurwig, California. For Halfbacks, Heap Northwestern and Urum, Minnesota. For Quarterbacks, Smith of Alabama. And for Fullback, Patrick Pittsburgh. And before I have time to change my mind, thank you and so long. We return to our story, a conversation piece starring Lily Pond and Adolf Mongeau with Marjorie Gateson and George Saunders. It's the evening of Melanie's official presentation. In a room fairly glittering with social celebrities, the young girl appears nervous and excited. She's been asked to sing, and as our scene opens, she's just finishing her song. She doesn't seem to fit in if you know what I mean. Yes, her background is a bit too. Well, shady, don't you think, Lady Harrington? I wish we could find out more about her. Well, I'm going to ask. You can't be too careful these days about the people you meet. Since Lady Julia was the one who presented her, perhaps she will give us a little information. Melanie, you were wonderful. Thank you, Lady Julia. Come with me now. I want you to meet Lady Worth, the Lady Harrington. Please, no more. I have met so many people. I have all confused. Confused? They'll ask me questions. All of them ask me questions. I'm so tired then. If anyone asks me another question, I shall scream. Melanie, control yourself. I can't. Melanie, Melanie, what's the matter? She can't meet any more guests. What she must? Then you tell her. I have other things to do. I'm tired, Paul. Let me go. Let me meet. Some other time. Some time will happen if you don't. But nonsense, everyone is captivated by you. You're a success. On the surface, yes. But underneath, they suspect me and they hate me. I can't feel it. Be quiet. Oh, Paul, may we have the pleasure of meeting your very charming ward? But of course. Lady Harrington and Lady Worth, my ward, Melanie de Tramon. Sure. So please, my dear. Thank you. De Tremont, the marquee, I presume. Yes. He was my garden's friend. Yes. Of course, of course. He's so stupid of me, Paul. Not at all. You sing beautifully, my dear. Wherever did you study? Why? In France. And of what teacher? Why, I don't. A private teacher, Lady Worth, unknown, but very efficient. He must have been. Oh, Paul, may I see you? Certainly. Excuse me, please. Of course. I'll be back directly. Perhaps I have best to go to... Oh, no, no, no. Please. We have so much to ask you, mademoiselle. About the revolution. Yes. I... I would rather not talk about it if you don't mind. Then we shall talk about something else. Please. I would rather not talk about anything. My dear, are you ill? Yes, I'm very... Strange. Lady Bromley said you were ill just before, when she asked you something about your life. What do you mean by that? We mean, my dear, that you seem to be particularly averse to discussing your part. Lady Harrington, it's true. Yes, it is true. All of you have been snooping so hard to find out something about me. You wish to tell all your friends and make jokes. Well, I will explain to you. Listen, I am the daughter of Amanda in China. He was my first father. My second father was a church in Prague. He lived in Spain. I live in Italy. My mother was a slave. My brothers and sisters were slaves. No, there were little pigs trying with their big noses to find out things like you, madame. And you. Oh, I never heard it. I am Gerta Snipe. I am the daughter of a witch who was burnt at the stake. Take these tales to your friend. But take these quickly. Because if you don't now go away and leave me alone, I will smash your painted face and pull you. Oh, I think we have heard enough. I'm only sorry. The rest of the company didn't hear it also. They will soon enough. Tell them. Tell them all. And then get out. All of you get out. Lie quietly, Melanie. Oh, what happened, Paul? You're fainted. You'll be all right now. Oh, yes, I remember. All the people. They're gone. Thanks to you. Yes. Oh, Paul. I... I'm sorry. Why did you do it? I don't know. I asked you to let me go. You did it deliberately, didn't you? No, Paul. I swear. You wanted it to happen. All along, you wanted it. Yes, I did. You've ruined everything. I hope you realize that. Yes, but... But I don't care. Let them go. Let them leave us. I want one to marry. I don't want. I can't. It's you I love, Paul. What? It's you. I love you, Paul. That is why I have been so nappy. Melanie, this is a farce. Is it farce to be loved to me? Well, there can be no love between us. It's not only a farce. It's madness. Oh, no. It is only a very simple truth. You have broken your word. You have lied. And you have made me ridiculous, a fool. That is the simple truth. And you, in all your clever plans, did you once think of me? Never. All that was understood between us from the beginning. You knew everything. And you agreed to everything. I could not answer for my heart. Your heart? I love you. Do you understand? Call me mad. Say it is all stupid or romantic if that will quiet your conscience. My conscience is not troubled. But it's true. And I love you deep. In all my life, no other things have been so deep in me. You were finished with love when your wife was killed. How often you have spoken to me of that? Melanie, I beg of you. And because there was a revolution, you think to skim over all life. Secure. You think to fit everyone to your plans like puppets. But life is real, Paul. It is important. And life is too strong in me to be just a puppet. I was a fool to trust you. I love you. I love you. And you too. Deep down in my heart. You love me. Yes, Paul. Everything shouted to me. You think now because you stand here so bitter with the door open to go that you will prove me wrong that you are secure in your shell. I know that too. But you must not go, Paul. Please. Oh, Paul. Come back, Paul. Come back. It is my pleasure to announce to you the return to Le Petit Gérardin of Mademoiselle Melanie. Mademoiselle Melanie returns with her bewitching voice for your delight and her acrobatic cricks on her elusive wine barrels for your amazement. Tonight, she will first delight you with a little sore. She will amaze you later. I present Mademoiselle Melanie. Thank God you're all right. To be with you, I came, that's all. Come with me, quick. Oh, Melanie. Here. Here is a little window in the shadow. This one. It will squeeze us to look out, but it will be less conspicuous. All right. Where to find you, Lord, cheer? I asked Lady Julian Rose for everything they knew. I had to find you if only to see that you were all right. They told you everything? Yes, between them. I made them. So you. Do you understand now? Yes. I understand. Then, where are you here? I love you. But. I know. But I had to tell you, Melanie. There is only room for one to look in my heart, my secret heart. I understand. I see you. The stars are thick tonight. You're not looking at them? I see them in your eyes. They are flooded with stars. I'm sorry. No. Do not be ashamed of this, dear. They are fine and mainly thick. I keep that. Oh, thank you, my dear, for being so sweet to you. Melanie, you don't know how I've longed to kiss you. I hope I'm not intruding. Yes, I was worrying about you. This is an unexpected pleasure, Lord Sheer. And how to do? Worrying? I see now there was no need. But when I went back to your house and found you gone. You went back? The day after. I did not know Lord Sheer was with you, and naturally I felt a responsibility. However, it was plain when I interrupted you just now that you have returned to reason. Yes, Pa. Lord Sheer, I congratulate you. Oh, but... Yes, Pa. It's so pretty to see youth in love. Please. People are looking. I have a brand at the table. If you'll excuse me, I'll wait there. Shall we lean out of the window, Pa? With pleasure. It's still dusty, I see. Yes, Pa. You are going to marry? Yes, Pa. I'm very glad. Yes, Pa. You're in love? So am I. Yes, Pa. What is the matter with you? Can you say nothing else but yes, Pa? There is nothing else to say. When are you going to be married? Soon, very soon. What about money? That will no matter. Never does. Have you anything to reproach me with? No. Well then, there is really nothing else. Except this. What is... One other thing. What is this? Oombugs, your favorite candies. Oh, Pa, please open them. And other things. It's all true what you said, Melanie. I do love you. There, they're opened. And if you want an oombug now... Yes, please. I love you desperately, with all my heart. And I know now that I can never prove you wrong. Ouch! What is it? My mouth. They are not used to acrobatic. So, Melanie, you are going to marry Lord Sheer after all. Certainly not. I'm going to marry you, my darling. Melanie. Wait. Business now. I must go this moment. And I must quickly tell you some tricks. Quick! Another oombug. Never mind. Business can wait. What was that in your song? No matter what price is paid. What stars may fade above. I'm singing the lovely melody. I follow my secret heart. The curtain descends on conversation piece. But we shall hear further from Miss Ponds and Adolf Margeau a little later. Before introducing our next guest, we make a statement furnished by Mr. Melvin Purvis, our guest on last week's program. Quote, After stating figures on crime, it was discovered that the number of murders committed in Memphis in 1935 was 103 instead of the figure given. I desire to express my genuine and sincere regret for this inadvertence. Quote, I join Mr. Purvis in offering my regrets for this mistake. As the Ripley of Hollywood, Peg Murray is an encyclopedia of strange truths concerning your favorite stars. In returning to our microphone, he bears the distinction of being the first guest to be called back since the Lux Radio Theatre has come to you from Hollywood, proving that you like to listen to his odd facts as much as you like to read his cartoons in the daily paper under the caption, See in Stars. I've asked him to begin with what he knows about Lily Ponds and Adolf Margeau. Ladies and gentlemen, Mr. Peg Murray. Thanks, Mr. DeMille. Starting from the ground up, Lily Ponds wears the smallest shoes of any star in Hollywood, size one and a half B. A village in Maryland has been named after her, and she originally took up singing as a means of improving her health. Adolf Margeau was a captain in the United States Army Ambulance Service in Italy during the World War. Hollywood told him he was through when the talkies came along, so he made pictures in French, Italian and Spanish, and was so successful that Hollywood did nip-ups trying to get him back. His parrot likewise speaks French, Italian and English. And now, Mr. DeMille, I understand you have an item for me concerning the Plainsman. Yes, since I began making the Plainsman, 39 different people have written me each claiming to own Lucretia Borgia, Buffalo Bill's famous rifle. And now what can you tell us about football and Hollywood? Well, Paul Robeson and Jim Thorpe, the Indian, were both All-American players. Barton McClain once ran back a kickoff 105 yards to score a touchdown for Wesleyan. Johnny McBrown of Alabama caught the 58-yard pass that beat Washington 10 years ago in the Rose Bowl. Gene Raymond blushes when you mention football. Once in a prep school game, Gene ran the length of the field for a touchdown only to discover he had galloped in the wrong direction. Dolores Del Rio should also be mentioned here. She's never seen a football game. Dolores, who is Gary Cooper's aunt by marriage, doesn't know what she's missed. Just like those girls who may never have used Luc's toilet soap. I think the strangest fact I could find in Hollywood would be a movie star who doesn't use Luc's soap. And here's another fact people may not know. That wonderful aroma in Luc's soap comes from 34 different ingredients gathered from the far corners of the earth. Now, suppose I turn you loose with whatever fact you care to give us. Well, in Lloyds of London, Freddie Betholomew eats roast beef that costs $1,502.10. They must have ordered it from a nightclub. The meat itself costs only $2.10. The $1,500 was the cost of time lost in getting that roast beef to steam properly for the cameras. Shirley Temple has a life insurance policy which is void if she takes up arms in defense of her country or meets death by accident while intoxicated. Lionel Stander, who appeared in 28 Broadway flops in eight years, has one green eye and one brown eye. And speaking of variety, there's a tree on at least the Landy's estate which bears oranges, lemons, grapefruit and kumquats, all from the same root. Fred Astaire has spent more than 200 hours dancing on air. In each dance, he's in the air one second out of every five. And there's a card on file in the Hollywood studio which turned Fred down with the following notation at the bottom. Astaire also dances. Any more inside information? Just one more fact, and this is strictly from the inside. Warner Baxter's appendix is on his left side instead of his right. Good night. Good night. If the statement of Dr. Samuel Johnson is true that a Frenchman must always be talking, tonight's stars must have felt at home in a play whose title is Conversation Piece. Miss Ponds was born in southern France while Mr. Mongeau, a native of Pittsburgh, is the son of a Frenchman. They now resume the conversation. I'm Mr. Ponds, Mr. Mongeau. Don't forget that you're partly French yourself, Mr. De Mel. Yeah, but I'm not the boulevardier. You are, Mr. Mongeau. Thank you. Why don't you foreigners talking dish like me? I know. I've only a little accent. I wasn't always such a fine speaker of English. It's very hard to learn so many words. You spell them almost like, but you pronounce them so much different. I once made up a poem about it. You like to me to recite, Mr. De Mel? We'd be delighted, Miss Ponds. Very well. I recite. The L-A-U-G-H spells la and B-O-U-G-H spells go. Surely, the A-U-G-H is ka and the O-U-G-H is ka. If bread is made of substance known as dough, what's the steak I have for dinner, turf or toe? I still am quite unable, as I got up from the table, to be sure if I was threat or through or through. Beautiful. Beautiful. If your dog gets thick again, I suggest you see Mr. Mongeau. He knows all about dogs. So? Yes, I raised them, Miss Ponds, just as a hobby. Cairns and ciliums. Where do you learn about growing dogs? Well, I used to work on a farm. I learned quite a bit about livestock before I got into pictures. Excellent training. A foreman told me the other day that the cows have gone so high hat they refused to be washed down unless the farmhands use lox toilet soap. Who can blame them? All beautiful ladies use lox soap. But why did you want to be a farmer? Well, I wanted some nice secluded place in the country with plenty of sunshine and fresh air where I could cultivate a mustache and get into pictures. But now, Miss Ponds, before the people are sure Dr. Johnson was right about the French, let us say good night. Good night, everyone. I hope you like our play. Good night, Miss Ponds. Miss Ponds, Mr. Mongeau, our thanks. Ladies and gentlemen, this is your announcer, Melville Rui. Mr. DeMille returns shortly with news of next week's show. Mr. Mongeau's next picture is titled One in a Million. Miss Ponds appeared through courtesy of RKO Studios where she just completed That Girl from Paris. Mr. DeMille through courtesy of Paramount, Mr. Warburton, Metro Golden Mayor and Mr. Lewis Silver's 20th Century Fox where he was in charge of music for the new picture, Lloyds of London. And here's Mr. DeMille. The story of Louis Pasteur recently provided the screen with one of the finest and most dramatic films ever made. Its success, however, was largely due to the magnificent performance of Paul Mune in the title role. Next week in the Lux Radio Theatre, Paul Mune recreates the character of the great French chemist and humanitarian once again. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Paul Mune in the story of Louis Pasteur assisted by an all-star cast. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.