 Lux presents Hollywood. TheoTheory brings you Ingrid Bergman and Joseph Cotton in Intermezzo. Ladies and gentlemen, your guest producer, Mr. Hal Wallace. Greetings from Hollywood, ladies and gentlemen. The theater is always sentimental about its landmarks, and certainly one of the milestones of the screen was Ingrid Bergman's first American appearance in the picture Intermezzo. Her performance gave us a foretaste of the charm and talent that won this year's Academy Award and established her as one of the outstanding actresses of modern times. Ms. Bergman's on our stage tonight in the same exciting role that launched her Hollywood career. I had the privilege of producing two of Ms. Bergman's pictures, and I've also had the privilege of working with her co-star in tonight's cast and watching his meteoric rise to stardom, Joseph Cotton. Earlier in this 10th anniversary season of our theater, we asked you to pick the plays and personalities you wanted most to hear. I'm divulging no surprises when I say that Mr. Cotton and Ms. Bergman were strong favorites on your list. Our play, from David O. Selznick's Intermezzo, is, of course, a love story, but of a provocative and different pattern, a story of genius bound by two loyalties, divided by two loves. Incidentally, the Lux Radio Theater introduced Ingrid Bergman to the American radio audience when she first returned from Sweden several years ago. Since then, both she and Joseph Cotton have been good friends of our theater just as you have. We're grateful for that friendship. Grateful, too, for your loyalty to Lux soap. Through your continued purchases of this fine product, you've become the real sponsor of this theater. And I think Lux Toilet Soap has its own way of saying thank you in the excellent complexion care it offers. Now our players are in the wings. The curtain rises on act one of Intermezzo, starring Joseph Cotton as Holger Brandt and Ingrid Bergman as Anita. In New York City's famous Carnegie Hall, a violin recital nears its close. It's the second encore. The thrilled and excited audience crowds into the aisles and as close to the stage as possible, where Holger Brandt is playing for the first time his own composition, Intermezzo. From his magic bow, the music soars to the high dome of the hall, whispers along the walls, and then all too soon, the concert ends. Ladies and gentlemen, first let me say how much I appreciate the reception you have given us here on our last concert in New York. My accompanist, Thomas Stenberg, and I leave America for our home in Sweden. With the deepest gratitude for the warmth of your response to our performances. And now I'd like to say a few words about something that for me, saddens us happy evening, as I'm afraid it will you. Mr. Stenberg, will you come out here, please? Thomas, Thomas, come out. What are you thinking about? Don't be a fool. It's time you took some of the bowels. Ladies and gentlemen, Mr. Stenberg is more than my accompanist. He is my old friend. He is my collaborator, from whom I've learned much of whatever I know of music. It's with the deepest regret that I must announce that after many years of travel and adventure together, I must henceforth go my way alone. Mr. Stenberg is leaving me to settle down to a well-earned retirement. Will you join me in paying tribute to one of the finest musicians and, more important, one of the finest men that has ever been my privilege to know? Thank you, thank you. I told you you shouldn't have done this. This is true, Thomas, every word. Thank you, thank you. I'll meet you in the wings. And now, if you'll permit us, we must run. You see, like so many of you, we are family men, and tonight are boat sails that will take us back to Stockholm, a boat that will take us home. Yes, Thomas, this is a decision of yours. It's really final, you. Really, that means to leave me and retire? Yes, the time has come, Holger. Won't you miss it all? The work, the crowds, the applause, all the world as we've had it? Perhaps a little. But there's a great difference between us, Holger. You're indispensable to the world and the world to you. Ah, Holger, let's have a drink. Your flame leaves, Holger, at every breath of life. Some of us blow a while and aren't too regretful when the spark dies down and allows us to rest. Well, that's one thing we always have in common, Thomas. Memories, good memories. And the same old friends, Bach and Beethoven. Old Thomas, sitting by the fire with his slippers and his pipe. And my wife. Yes, of course, your wife. I should be glad to see Margaret again, too, and the children. It seems years since I left them. You know, Thomas, you're right. The crowds, the applause, they're like a drug, like a habit that gets a strangled hold on your life and you can't break it except by total abstinence. Stay home away from it all and you'll find peace. I wish I could believe that with the same conviction I say it. Well, anyway, Thomas, for 20 years of comradeship in the art we both love and for your flawless friendship, thank you. Thank you, Holger. Oh, Mr. Bram. Thank you, Emma. You've taken good care of everybody, actually. It's so good to have you back, sir. Look, Daddy, look who's here. Well, who's that? His name's Angus, Daddy. He's my dog. Ah, it's the family's grown since I've been away. How are you, Angus? Very happy to meet you, I'm sure. Well, he doesn't thank very much of me. Do you know, Margaret, there's better air to breathe in this very room than anywhere else on earth. I'd hardly believe I've been away. Nothing's changed. If anybody ever moved anything in here, even an inch, Mother always moved it right back again where you like them. Oh, you add your own room to upset Eric. Eric's building a railroad upstairs. Oh, there's not a railroad, Mother. A rope hall. We're carrying Magnus like from the mines to the factory. Oh, I'd like to have a look at that. Well, it's not finished yet, Dad. Maybe I could help. No, I don't think so. Well, Eric, I don't blame you. Daddy, I played the piano, Daddy. I took lessons. Do you? Do you want to hear me? A little later, darling. Daddy has so much to do. Will you play your violin with me, Daddy? I should say I will. Oh, darling. Take Angus upstairs, please. All right. But I'm selling for a dance. Well, Margaret. Welcome home, Holden. Darling, if you know how, often I thought of this moment home. Young lady, what do you think of that? You played some wrong notes. I did nothing of a kind. Oh, yes, you did. It made me dizzy. Oh, you mean this? Those are called dissonant cards, darling. You'll learn to play them, too. No, I don't want to. And you'll just be a very old-fashioned musician. That's what I want to be. Good morning, Anne-Marie. Miss Hoffman. Oh, I hope I haven't interrupted anything. Not at all. Daddy, this is Miss Hoffman. She's my music teacher. How do you do? How do you do? I've been hearing a great deal about you, Miss Hoffman. There's one thing I know for certain. Yes? You've been teaching your pupil plenty of self-confidence. She's been correcting me. She says I played false. Oh, Anne-Marie. I wouldn't take that criticism too hard, Mr. Brent. Anne-Marie is very talented, but she may have been mistaken. Let's hope so, anyway. How long have you been teaching it? A little under a year. I hope it's been satisfactory. I'm hardly more than a pupil myself. Oh, with whom? Oh, with several teachers. But now that Mr. Stenberg has returned, I'm hoping he'll take it. Stenberg? Well, you couldn't find anyone better. I'll see that it does take you. You will? Oh, thank you, Mr. Brent. Not a bit now. Run along, Anne-Marie. It must be time for your lesson. Yes, it is. Come, Anne-Marie. What are you thinking of? Oh, nothing except... Margaret, it strikes me. I'm something of a stranger here. How can you say such a thing? Well, little things. The children make me realize it. I'm not sure it should be that way. You've been away from it so much. And this last time so long. Yes, I know. Margaret, I'm going to do what Thomas has done. Settle down. Oh, darling. When you're ready for that, you won't say it so desperately with a determined look in your eyes. I suppose you're right. But, Margaret, you're coming away with me. Darling. We'll go away together again. Everything will be just as it was in the beginning. We'll have a wonderful time. Oh, how wonderful it was. Missing trains and boats. Losing all our belongings and never caring. You remember the first time we went away like that? It was winter here when we left. We crossed the Alps and suddenly it was spring. You said that the locusts, blooms and capry was what made everybody sing there, you remember? Yes. It's as if you were telling me a fairy tale. Once upon a time. Oh, but things are different now, Holder. Why, why are they different? Well, we have a hold. We won't run away and we'll come back to it and appreciate it all the more. With the children. Oh, they can get along without you for a while. It's good for children to learn to take care of themselves. Now, it's really, Holder. Anne-Marie's only six. Oh, please, darling. Don't think I wouldn't love to go, but you don't realize that these things are my responsibility. It's just a... Well, just as concerts and practice are yours. Yes, I suppose you're right. Anne-Marie, you mustn't. Mommy, I've just thought of something. Anne-Marie. Something important, Mommy. Yes, what is it, dear? I invite Miss Hoffman to my birthday party. Tell Miss Hoffman that she's very welcome to your birthday party. Miss Hoffman, you are very welcome to my birthday party. We're going to have ice cream and cake. Well, I didn't really mean to. Anne-Marie will be very disappointed if you don't come and so will we. Very well, thank you. That settles. Now we can go on with the lessons. Come on, Miss Hoffman. You'll like the ice cream and cake, Miss Hoffman. Oh, I'm sure I will. See, Holder, all these world-shaking problems that keep me here. Well, I'm content this day. To make this the place you will want to come back to, always. And that spring you spoke of. Well, that sort of thing comes only once in a lifetime. Let it be what it is. A memory. Who knows? We might perhaps have another spring. How many candles? Seven. No, eight. One to grow on. Ladies and gentlemen, we are very privileged people. Our hostess was told that she could invite whom she liked for her birthday and she asked for an entirely grown-up party. Her father and mother, whom I think she felt she couldn't very well leave out. Her brother, the rising young engineer, her godfather, Uncle Thomas, her other godfather, Uncle Charles Mueller, my worthy business manager. And the new friend and teacher, Miss Anita Hoffman, whom we are happy to welcome in the family circle. Ladies and gentlemen, I give you the health of our hostess with 70 times seven, Miss Anne Marie Brandt. Happy birthday, darling. With you. Charles. All good. Thomas is determined not to travel again. I told you that. So I've been very busy. I've been searching endlessly for a new accompanist. And I believe I've found one. Good. I want you to come to a piano recital with me next week. He's marvelous. Very well. This man is exactly the one you need. I heard him. No, listen. Well, go ahead. Can that be Miss Hoffman? I imagine so. She's good. I didn't realize she could play. Hold her. She's only a pupil. Wait till you hear this man. Yes, yes. He's giving her a recital Wednesday night. You'll come. Charles, no, no. Quiet, please. She'll come. Yes, yes. Quiet. Now listen. Great accompanist. She won't do. Well, hold her. There is to it. Oh, well. I'll keep looking. I'm sorry. Oh, Miss Hoffman. Mr. Brand, good evening. Mr. Miller. Good evening. How are you this evening, Miss Hoffman? Very well. Thank you. Isn't Mrs. Brand with you? No, we had social obligations. I'm a fugitive from a dull dinner party. Well, what'll we do now? What would you say to a glass of wine somewhere? Well, I was just going home. So was I. What about you, Charles? No, no. Leave me out. I'm ready for bed after all that high-brow music. Good night. Good night, Miss Hoffman. Come on. Let him go. Music wears him out. Must be a cafe nearby. Yes, yes. There is a funny stuff a little place down the street. Always crowded. They have to put out the lights to get rid of the customers. Oh, you've been there. Not in a long, long time. Just what we want. Come along. I adore the recital. You did like it, didn't you? Yes. You know that look in your eye of someone who's made a feast of music. How I envy that pianist. You'd like to do that, wouldn't you? The only concert stage. Oh, yes. Tell you something. I'd rather it had been you up there playing. Oh, you're not serious. I certainly am. Good heavens, I'm stupid. What? Why don't you accompany me? But accompany you? Yes, yes. On tour. Take Thomas' place. No, no, you don't mean it. I do. Why didn't I think of it the moment I heard you play? What are you thinking? What do you say? No, no, I couldn't do it even if you, even if you meant it. Why couldn't you? No, Mr. Stenberg would never forgive me if I gave up my studies. Thomas would approve completely. He knows how desperately I'm needing accompanist. And he'd be delighted that you'd take me to the place. No, but please try to understand. Don't you think it's best for me to stay and work as hard as I can for a scholarship? A scholarship? In the Royal Academy, there is a chance. Oh, I didn't know. Yes, of course, you should stay and continue your studies. That you would even consider me... Yes, yes, you're profoundly honored and very grateful. Oh, I am. Really? I understand. Let's end them all. Our place is like this. The haven of the rising musicians. The look one sees in all those faces. Yet it seems scarce at any time at all since I said it. But just such boys and girls remaking the whole world by ourselves just as they're doing now. I'd like to have known you then. Probably wouldn't have. I was poor and awkward, much too earnest and worked too hard. All in all, not a very fetching fellow. I don't believe it. Everyone here, each one of these boys and girls expects to set the world on fire. Perhaps one or two may do it. Perhaps it'll be you. Oh. Please don't laugh at what I'm going to say. Why should I? Oh, well, since I first began to care about music, it does seem so strange. Tell me what? I had only one idea. For years I'd say to every penny I could to be able to buy some kind of a seat in the concert hall whenever you played. It's nice of you to tell me that. Nice of you. Think of my being able to tell it to you. That's what I can't get over here. I am talking to you as if... Well, as if you were an old friend. I am a friend. But just a little while ago, I looked at you from such a great distance. You don't know how fantastic it seems to me to be here at this moment. Wait, no, no. Don't drink that just ordinary wine. Waiter, a bottle of your very best vintage champagne. Yes, sir. Champagne? For that state of mind described as being in awe of someone, there's no quicker corrective than a good champagne. Two glasses and in 20 minutes strangers have shared a rich and happy past. Each year when one senses that winter is suddenly over. Yes, spring has come. How I look forward to it through the dreary months. Look, look down at the river. The ice. There's the winter, all broken, rushing out to see your wonderful final journey. Spring comes and makes you a present of all the world, tells you that there's nothing you couldn't do or be. You ever feel that way? Tonight I think I could bear anything. That's only the champagne. You know what you remind me of? No, tell me. A Viennese wall smiling with melancholy. A melody of the days when Vienna was a happy city. Oh, what a poet you are. A twilight in the spring. Music poured through the cafe doors. Youth, melodies of youth. It was there that I saw you for the first time. Phantom of Viennese walls. No, no, I'm wrong. It wasn't there. It wasn't there at all that I met you. It was in Budapest on a summer night. They were playing the rustle of spring. That was you. I'm listening. There's something coming. I don't know what. Spring. Spring. Yes, perhaps. The spring storm. I... I must go home. Good night. Two of Intermezzo. Now, here's Mrs. White. You saved enough gas to drive us up to the hospital today. Aren't you wonderful. Saving us nurses aids a little footwork. I'll take full advantage of the lift, Maj. Do you mind dropping me at the butchers a minute? I want to take these two cans of fat in. Oh, are you still saving fat even with a war in Europe over? Oh, Maj, dear, aren't you? With a war in the Pacific at its height? Why, is it really so necessary now? My dear, I heard a government speaker say the other day that our supply of fats and oils are at their lowest since 1940. Think of that. And then he told us military and government requirements are at their highest right now. But, Anne, you know how little fat we have left over these days with practically no meat. Maj, dear, you just have to save all the harder. They say the government depends on us housewise alone to turn in 100 million more pounds of used fats than in 1944. You know, the Pacific area used to be our cheap source of fats and oils. Well, Anne, tell me where to get the fat and I'll save all right. Maj, do you render every scrap of solid fat from what meat you do have? It's easy to melt it down in the oven. And then there's a skimming from soup or stews. And the black burnt fat from the roasting pan. Even two tablespoons a day adds up. And you can surely use those two red points you get for every pound you turn in. Yes, with less fats in the market and the need's still greater, it's up to all of us to save every teaspoon full. Here are a few of the essential things that you need the fats you're needed for. To help make battlefront medicines, synthetic rubber, coatings for military tanks and fabrics, civilian and military soaps and paints. Remember, even though the war in Europe has ceased, our boys in the Pacific can't let down for a minute. They need your help. And here's one important way you can give it. Keep a tin can on the back of the stove. Each day, save every drop of used fats from your kitchen. Rush the can to your butcher when it's full. He'll give you two red ration points four cents for every pound you turn in. Your government tells you the need is still desperate. So won't you remember, your help is very necessary indeed. We now return you to the Hal Wallace. Act two of Intermezzo, starring Ingrid Bergman as Anita and Joseph Cotton as Holger Brandt. Pass, and the friendship of Anita and Holger has turned into something far deeper. Now the spring has really come at last. In Thomas Stenborg's home, Anita sits at the piano. All the hopelessness of her love is expressed in the only way she knows, through music. Stenborg comes quietly into the room and stands behind her, a trace of worry on his face. I'm giving it too much importance. You were going at it as if it were the climax of a tremendous symphony. I wasn't conscious of it. Mr. Stenborg, I'm seeing you're going away. Are you really? For long? I've been invited to visit relatives in Denmark. I can stay as long as I wish. I see. They won't divert you too much. You'll be able to study. If I like. Don't talk as if that weren't important. You've applied for that scholarship, you know. Yes, yes, of course. I'll try to study by myself. Little Anne-Marie will have to find someone else to teach her. Yes. And so, you are running away from it all, from him. I thought you must have known. Yes. Well, perhaps it's best that way. Life sometimes moves in strange ways to give us experience. And often this experience is gained only through our greatest mistakes. I thought I was going straight to my goal, thinking of nothing but my work. And now, I can't explain it to you. Don't try. Nothing is altogether dependable. Not the weather, destiny, or ourselves. Will this be our last lesson? Yes. If you'll excuse me, I think I ought to go and see Mr. Spratt. Certainly. Do that. Anita, you're waiting for me to say something very wise and helpful. But I'll say to you only what I say to myself when things seem too difficult. Courage, my friend. Courage. Mr. Moment, please. I'm coming. Oh, Miss Hoffman. Hello, Emma. Well, you're very early, Miss Hoffman. Anne-Marie is out playing. I'll call her. No, no, please don't. May I see Mrs. Brant? Well, I think she's upstairs. I'll go and see her. Thank you. I'll be right back. Emma said that you were... Oh, I'm sorry that I started you. I didn't tell you to come in. I was... I was admiring Mr. Brant's filing. You show it far more reverence than he does, my dear. Please sit down. Thank you. Emma said you wanted to see me. I wanted to tell you that I can't go on giving lessons to Anne-Marie. Oh, I'm not. I have been called to Denmark. I have relatives there and they've asked me... But just... That is Miss Hoffman. You work with Mr. Stenbould. It seems such a shame not to be able to continue. No, I'm not happy about it, but... We were all very impressed the night you played for us here with my husband. I'm afraid I had no choice, Mrs. Brant. I'm sorry, little Anne-Marie has come to mean very much to me. And you to her. I'm afraid she'll be very upset. Will you tell her for me, please? Of course, I'll explain. Well, goodbye, Mrs. Brant. Goodbye, Miss Hoffman. I'm sure you're doing what's right. And I hope that all goes well with you. You've been very kind. Either here or I thought you were never coming. You see, you've spoiled me by always being on time. There was someone I had to see. Well, that sounds very serious. Someone I had to see. Is there anything wrong, Anita? Nothing. May I have a glass of wine? Something has gone wrong. Tell me. Please, please. Now you're frightening me. But I am frightened. You must wear that or I feel it can't go on like this. It simply can't go on. Don't you see that? Now why have you upset yourself now? Oh, always meeting you like this and out of the way places, little dark corners sneaking about in fear of being seen. Oh, it's not the way I'd like it to be. How else could we go on seeing each other? I'm ashamed and I hate being ashamed. We've had a few hours of happiness, of friendship. They've been beautiful. Nothing, nothing to be ashamed of. Are you looking in the mirror there on the wall? How do we look to you? Don't be so dramatic. Well, you don't like it any more than I do. We look what we feel. Two guilty people. Is it a crime for me to love you, Anita? We really wish we hadn't. Yes, it's now I do. I haven't any right to be happy. The way I am. Anita. No, no. No, I can't listen. You'll go unjustifying me. I know. I am fighting to be sensible. Sensible. It's a word seldom used in love. Love isn't sensible. Harga, there are some things I can't bring myself to see. I know, I know. I have a home. I have children. I'm a respected, responsible man. But as I sit here looking at you, I know only one thing. I do, too. We must end it. We can't stop seeing each other. Can we? We must. We can't go on lying to ourselves and to people who trust us. It's impossible. And bear with us. We just say goodbye and stop seeing each other. That's very simple, isn't it? But we've got to find the strength for it. You're right. No, not here. Not sitting like this. No. Let's get out. Let's walk. These are so long now, aren't they? Yes. You know, you know that there used to be a shop near here. I always stopped to look in all kinds of funny lost things in the window. Here. Here it is. What a strange collection of things. Look at that curious clock. I'm going, Arva. I'm going now, of course, if it didn't matter. Goodbye, Holger. Goodbye, Anita. Holger? Brandy or coffee? Oh, no, thank you. Is everything all right? Yes, of course. I had a rather difficult time with Ann Marie today. She's very upset about Miss Hoffman leaving. Leaving? Didn't you know she was here today to tell us? She's going to Denmark. She won't be back for a long time. I see. Have you found an accompanist yet? No, no, it's sold, um, not definite yet. But you're leaving on another tour soon. Yes, I'll be leaving soon. Will you be away long? I don't know why I can't say. Holger, I want to go along this time. Go along? Oh, yes, yes, I can arrange everything here. I want to be with you on the tour as you asked me before. We will go back. If some of those wonderful, irresponsible days be together in strange places as we used to be, I still want something of life. I don't want to be left behind. And does that sound vain and frivolous coming from me? Oh, Holger, can't we do it? Wouldn't you like it? I see. You're answering me. You might just as well be saying it. I know what it is. Margaret, I must talk to you. No, no, never mind. Forget what I say. Margaret, we must talk now. I'll listen to you. Hello, Dad. Hello, Mother. Oh, uh, come in, Mary. Could you ask him for me, Mother? Uh, no, I, I forgot. Uh, Eric wants to go and see a picture this evening, Holger. I've done all my lessons. Is it all right, Dad? It's a good movie. You said me. You could, could you let me have some money? Here. Thanks. Margaret, I am, I'm sorry more than that. Mother, something's wrong with Dad. Yes. What is it, Mother? You were talking when I came in. What's the matter? Eric, go upstairs, darling. There's nothing we can do. Nothing. Anita, wait. You can't. How could you do that? I can't face it. I can't face being without you. Could we promise each other? Is it so easy as that? Can you just get on a train and ride away from me? It's not to me. What you leave would haunt you, haunt both of us the rest of our lives. Oh, you're not being fair. It's no easier for me. This very moment, it's being decided. I need our life with you, or a life alone. You are not alone, Holger. It's I who am alone. We're both alone. I've broken with my past with everything. I have no home any longer. You couldn't have. What did you say to her, to your wife? I couldn't have gone the lies any more than I could. I know her in any way. She already knew the truth. She told me first, really. How could you hurt her like that? What will happen now? May the third, Holger Brandt violinist, accompanist, Anita Hoffman. Concert, Holland, Vienna. Holger Brandt, accompanist, pro-line, Anita Hoffman. Conservatoire de Paris. Holger Brandt. Mademoiselle Anita Hoffman. You played better than I've ever heard you play before. I wonder why. And you, you surpassed yourself to it. That's what they heard tonight when I played. I hope it's true that I've helped you a little. But it's not only that. Only what? Oh, what am I? Your shadow. Oh. I don't exist without you. Oh, you're not a shadow, my darling. Don't talk nonsense. It's enough. It's enough. Yes, let me be with you like this. That's all I ask. Will that be enough always? Our last concert. We can rest a while now. It's been the greatest happiness I've ever known. The greatest I'll ever know, I'm sure. How can you be sure of that? Oh, such happiness couldn't come more than once in one's life. I know it couldn't. Could it, Holger? Anita, let's not speculate on happiness. Here we are. And work is over for a while. Oh, I was forgetting we must go home now. Home? Without a holiday? I thought a few weeks on the Riviera away from the crowds. Oh, Anita, the place I know on a hill overlooking the sea. No, no. Well, listen to me. Listen to me. Listen to me. You asked only to be with me, to be near me. Well, that's all I asked, too. To know that I can see you. That I can call your name and you'll be near. That's all. My... This is CBS, the Columbia Broadcasting System. In just a moment, Ingrid Bergman and Joseph Cotton will return in act three of Intermezzo. Meanwhile, a boy, his girl, and the summer shower. Gosh, here it comes. Let's make a dash of that big tree over there. Here goes. Oh, my. Is it raining? Well, it's dry right here, anyway. Goodness, I must be a scythe. Look at my hair. I can wring the water out of it. Even my face is soffing. Oh, where's my handkerchief? Looks like a half-drowned wooden handkerchief. Honest you do. Here, let me help you dry out with a man-sized handkerchief. Mmm. Would you get that wonderful complexion, Sue? It's smooth, all right. Save mine if I steal one little kiss. It's romance and no wonder. A close-up of a lovely luxe complexion always does the trick. Skin that's soft, smooth, when admiring eyes come close, skin that's really lovely is always irresistible. Famous screen stars know this. Here's what glamorous Lauren Bacall says. There's no charm more compelling than lovely, smooth skin. I never take chances with complexion beauty. I wouldn't dream of neglecting my daily active-latter facials with luxe soap. Active-latter facials with gentle luxe toilet soap. That's the care nine out of ten screen stars depend on because they've proved it works. Such a simple care, too. Here's all I do. I cover my face generously with the extra creamy lather and work it well in. I rinse with warm water, splash on cold, and pat my face dry with a soft towel. That wonderful luxe soap lather is right for delicate skin. Yes, daily beauty facials with the screen stars complexion soap really do make skin softer, smoother. Recent tests showed actually three out of four complexions improved in a short time with regular luxe toilet soap care. Why not prove it for yourself? Get some of Hollywood's own beauty soap, luxe toilet soap tomorrow. Here's Hal Wallace and our stars. We continue with act three of Intermezzo, starring Joseph Cotton as Holger Brandt and Ingrid Bergman as Anita. A tiny town on the shore of the Mediterranean, a rustic inn overlooks the sea. In this place of enchantment, Holger and Anita are happier than they've ever been in all their lives. As they walk now, they pause at the ruins of an old chateau and the tumbled wall that once stood around it. Plays in a dream, Holger. You know why we walked here? Why? To look at this wall. An old stone wall, rumbling weighing covered with ivy? I was here once before. The ivy wasn't so thick then. Underneath, look, cut into the rock is a carving. Oh. See? The carving of a broken shield. Yes, yes, that is. In French, mon amour dure près d'amour. My love endures after death. That was written for us, Anita. For anyone on Earth, you will ever feel as we do now. Let's go back to the beginning. This letter, it was at the village. Thank you. I looked also for a piano. Yes. Alas, there is only a pipe organ with five pipes upset. Oh, good, good. I didn't want to play anyway. World Academy of Music has awarded you the genuine scholarship for 1939. This is a great achievement. I hope you will not let anything interfere with the fulfillment of the bright future now within your reach. Faithfully, Thomas Denbark. Oh, the excitement. Look, look. Well, what is it? If it's an invitation, don't think I'll let you out of my sight not for a single minute. Well? Oh. Aren't you going to tell me? No. Not now. Anyway, it's nothing to get excited about. I'm starving. Dinner is ready, isn't it? Anita, is the letter important? No. Oh. You'd rather be mysterious? Well, I don't want to make you jealous. It's from Thomas. Oh, from Thomas and filled with recriminations, I suppose. What do you have to say? Oh, he was just writing to me. Not about the weather. No. Oh, okay. It's only that I was awarded a scholarship. Only? Were you going to hide that from me? Why? I don't want the scholarship now. I'm not taking it. I see. And what does Thomas advise? Oh, please, Holger. Let's forget it. It's so pleasant out here. What's that fragrance, Mimosa? Anita. Yes. Where is the letter? Let me read it. No, no, no, Holger. Let's pretend it never came. Look. Now, Anita, don't. Don't. There. Don. That's how I feel about the letter. About any word or thought that could come between us. Anita. Mr. Brandt. Mr. Brandt. Yes. There's a gentleman here to see you. Where? Who is it? It is I, Holger. Thomas, where did you come from? I took the chance of finding you. Oh, it's good to see you, Thomas. I thought of writing, and I decided I'd better come. Is something wrong? Wrong? Holger, I'll be here only for a little while. Overnight. I have to go back, really. Oh, don't be ridiculous. We can talk about it tomorrow. We plan some mountain climbing. A picnic. You must join us, Thomas. Holger, you're enjoying it here? Oh, yes. It's perfect. Cut off from the world. A kind of life I never thought I'd have. What news of my family come? That's what I'd come about. They're all well. Quite well. I have a message for you from Anne Marie. She'd like you to bring her a camera when you come home. Yes, I will. Holger, I have some papers with me. Papers? Divorced papers. Oh, yes. Yes, of course. I asked Margaret to let me bring them. I thought I might prevail on you to sign them. Certainly, I'll sign them later. Why not do it now, Holger, and get it over with? Thomas, you're my best friend. You don't have to use velvet gloves with me. Speak your mind. You think I've acted pretty badly, don't you? It's easy to criticize. I don't pretend I can account for someone else's feeling. Won't you sign these now? I think it's as easy as all that, Thomas, to cut off the best part of your life, tear out the last roots. I thought you had done that long ago. Yes, I do. I've missed the stem ball. Hello, Anita. But this is wonderful. When did you get here? Have you seen Holger? Yes. How well you look. How are you, my dear? Happy? Oh, but of course. I'm divinely happy. Oh, this country is very beautiful. Yes, you must come with us tomorrow and see the sunrise. Holger and I... and perhaps we'll bring Marianne. Yes. Yes, she's a little girl here, the innkeeper's daughter. Holger has gone very fond of her. You see, he misses Anne-Marie. Did you think he wouldn't? I tried not to think of it at all. I've tried to pretend there was no past. And no future? Oh, it seems a very long time since I heard Holger play. By the way, let me congratulate you on your scholarship. You must be very happy about it. I don't want it. It means nothing to me now. But it meant everything to you once. Anita, my dear, you have great talent. It saddens me to think it would be wasted. If I can only be with Holger, nothing else matters. And Holger, does he feel the same way? Do you think he's unhappy with me? Do you think he can't forget the past? A man's past is never past. His roots are deep in the things that have made him what he is. What he loves me, I know we can be happy. Do you? I wonder if anyone has ever built happiness on the unhappiness of others. What shall I do? What shall I do? That's not for me to say. You must make your own decision. Whatever it may be, I know it will be the right decision. Forgotten the picnic? Anita? In a moment, Holger. Mr. Stenberg, are you going on the picnic? Yes, I thought perhaps I'd better stay another day. No, you must help me. Of course, if I can. There's a crane leading here in an hour. When you and Holger come back, I shall be gone. You're sure it's best that way. You're not doing it only because of what I said. We both know where Holger belongs. I am... I've been an internment so in his life. Anita. You gave me a good word once. Courage. Anita, come along. Aren't you ready yet? Holger, I'm not coming. Not coming when I... No, I didn't sleep. I think I have a cold coming. I'll wait for you outside, Holger. Anita, shall we postpone that? No, no, no. Don't do that. You go without me, please. You're sure you're all right? Of course, quite sure. Really, go along. Well, I'll miss you, Anita. All of my dear. Goodbye, Holger. You don't like my French? Holger, wait! What did you got? Your hat. You know, you never wear that one proper. You fix it. Oh, yes. Now, am I perfect? Mm-hmm. Yes. Pretending that what we had was splendid and good. Hoping that we could make it so. But we know in our hearts that love like ours is wrong. That it drags itself down with remorse and fear, and the unhappiness of others. And so I'm going away, and God bless you, Holger, and take you someday. Save me. You did this, Thomas. She's gone. Are you satisfied now? Oh, I'm good. Why didn't you? Why didn't you tell me? It was she who decided. She alone. Gone. You're not going after her, are you? No, no. Perhaps she was right when she said it. Only in Intermezzo in my life, it's over. Then you'll come home with me? Home. Do you think I could crawl back to Margit now just because I'm alone with nothing? Nobody? I haven't a home. My wife, children. I have many right to them after what I've done to them. I punish my Thomas, and I can't escape. You've been away so long, my friend, and Marie keeps asking for you. I have said to her, when spring comes, he will surely return. Holger, come home. Your friend, Thomas. I knew you'd come. I knew it. Come along. I'll get a cab. You must stay with me, of course. Thomas, wait. Please don't be offended. You see, I haven't come home to stay. I just wanted to see Ann Marie. I brought the camera she wanted, and... Please, Thomas, let me go alone. If you wish it, Holger. Thank you. Goodbye. Thomas. Caps. Oh, yes, there's a school on the Voxham Road. Take me there, please. There, driver. Just wait here for me, please. Wait there, darling. I'll be right over. Daddy! Don't cross the street there. Daddy! Daddy! Daddy! Ann Marie, be careful. Look out for the car. Look out, Ann Marie! Ann Marie, Ann Marie. Send a doctor to my house. I'm her father. Hurry! Oh, is she what is the doctor say? She doesn't know. She's very badly hurt. She tried to run to me. I called, but... Margaret, I... know I had no right to come here. But may I stay for a while, just till... just till we know. Yes. Well, there are so many things I must do. Ann Marie. Ann Marie, oh, God. Please. Please. We shall soon know, Eric. Eric, look at me. Talk to me. I've been away so long. You left mother in us. And I want you to know that I'll never forgive you. Even if everybody else does. Eric. You don't know what it's been like here all this time. You haven't seen mother crying every night and hiding it. Well, now we've learned to do without you. Why did you come back at all? We don't need you anymore. Eric, listen to me, please. You know, when... when we're young, we expect the people would love to behave like gods. Most of all, our fathers, I suppose. And then, as we grow older, we learned that none of us are gods. But we're all human. Tragically human. And that we, all of us, make mistakes right up to the very end of our lives. You'll learn that one day. And when you do, you'll also know that what it is to forgive. Perhaps even your father. It's the Eric Hetzai who need you now. Father. There, there, son. There, my boy. Mr. Brandt? Well, doctor, doctor, tell me. Your little girl. She lived, Mr. Brandt. She'll be all right. Oh, say it again, please. She will be well again in time. Thank you. Thank you. You'd better rest. The nurse will do everything. I'll be back at noon. She'll live, Eric. We'll have your sister again. Goodbye, my son. Wait. Yes. Don't go. Please. Margaret. Anne-Marie is asking for you. She wants you to stay. And so do I. You want me to stay? Life renews itself, Hogan. Things die and are born again in the spring. Our love can live again if we want it to. Oh, will you let me try? Will you let me try? Welcome home, Hogan. Oh, welcome home, my darling. Margaret, home. And here are tonight's stars as they are in real life. Ingrid Bergman and Joseph Cotton. Well, you ought to take about two, Hal, a producer whose pictures have won 27 Academy Awards. Plus being a two-time winner of the Irving Thalway Award. That's something. Well, thank you both. But I've been in the business a long time. Out of the 400 or so pictures that you've made, Hal, which would be your favorite? Well, it's hard to say, Joe. Right now, I'm interested in you came along. My latest production for Paramount. I have a movie to share that interest, Hal. I hear it's great. Tell me, Joe, how did Hal treat you when you were working for him? Well, pretty good, Ingrid. But we're from the same fraternity. Fraternity? Yes, he was a salesman once, like I was. That's right, Ingrid. Before I came to Hollywood, I used to sell electrical equipment. How does that help you to become a producer? It prepares you for the shocks. Do you ever sell anything, Ingrid? No. With that complexion, she's a walking salesman for Lux Toilets, though. Oh, thank you, Hal. Well, she gives it some good material to work on. Well, what's scheduled for next week? Next Monday night, we bring you a favorite star in a new exciting role, hailed by critics as his finest. Dick Powell and RKO's crime thriller, Murder My Sweet. He's co-starred with Claire Trevor in the role she played so ably on the screen. With them, we have June Dupre and Mike Mazurki. As the relentless sleuth who uncovers the most exciting mystery in many moons, Dick Powell, I guarantee, will keep you rooted to your seats. Sounds like a thrilling evening, Hal. Good night. Good night. Good night. And many thanks for Intermezzo. Lux Toilets Ope joined me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Dick Powell, Claire Trevor, June Dupre and Mike Mazurki in Murder My Sweet. This is Hal Wallace saying good night from Hollywood. It was presented through the courtesy of David O. Selznick, of the Technicolor Western Duel in the Sun. Ingrid Bergman can soon be seen in the Selznick picture Spellbound. Joseph Coppin is currently appearing in David O. Selznick's I'll Be Seeing You. Paired in tonight's play were Paula Winslow, Norman Field, Regina Wallace, Norman Nielsen, Bill Roy, Boyd Davis, Earl Keen, Eric Snowden, Charles Seal and George Sorrell. Our music was directed by Louis Silvers. This program is broadcast to our fighting forces overseas through cooperation with the American Armed Forces Radio Service. And this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Murder My Sweet with Dick Powell, Claire Trevor, June Dupre and Mike Mazurki. With sugar short and prices high, don't guess about results. Try spry. Yes, the spry way is the sure way to success in baking, frying in all your cooking. For light, rich-flavored cakes, tender, flaky pastry, golden, digestible fried foods, vegetable shortening at its creamy best. That's spry. SPRY. Be sure to listen in next Monday night to the Lux Radio Theatre presentation of Murder My Sweet with Dick Powell, Claire Trevor, June Dupre and Mike Mazurki. This is CBS, the Columbia Broadcasting System.