 Hollywood, California. Monday, June 1st, 1936. Ladies and gentlemen, we have grand news for you tonight. For the Lux Radio Theater has moved to Hollywood. And here we are in a theater of our very own. The Lux Radio Theater, Hollywood Boulevard, in the motion picture capital of the world. The curtain rises. Lux presents Hollywood. Tonight, the makers of Lux Toilet soap bring you Marlene Dietrich, Clark Gable, Cecil B. DeMille, Jesse Lasky, and other great personalities. Miss Dietrich, Mr. Gable, and an all-star cast will present the romantic melodrama The Legionnaire and the Lady. Our music is under the leadership of Mr. Louis Silvers, who is director of music for the great 20th Century Fox Studios, and winner of the Motion Picture Academy Award for Music. Mr. Silvers, and more good news. We give you, as our Hollywood producer, a man who will not only bring you the greatest plays and players, but the very spirit of Hollywood itself, that outstanding figure of the motion picture world, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. There are two theaters in this town, almost as famous as Hollywood itself. They are Grumman's Chinese and the Carty Circle. Perhaps it's a coincidence that the production of mine opened both of these theaters. The King of Kings raised the curtain that the Chinese, the Valga Boatman, was the first theater ever shown at the Carty Circle, first picture. And tonight, it is my privilege to open the new Hollywood theater, whose audience is greater than any four walls could encompass. The largest theater in the world, the Lux Radio Theater. The stars of our production tonight are Marlene Dietrich and Clark Gable, and the play The Legionnaire and the Lady. Is it possible that the manufacturers of Lux soap asked me to produce this series of programs because of all the deluxe bathtubs that have been seen in my pictures? They should have a soft spot in their hearts for me. But I think the real reason goes back far beyond the recollection of any of us. When William the Conqueror with the Saxons at the Battle of Hastings in 1066, the Blunt de Mil family crest was born. The motto on that crest is, Thy light, my life, which is, of course, in Latin, and reads, Lux to our vita mia. So you see, Lux has been a household word in the de Mil family for 870 years. But producing a program like this is a privilege and an adventure. But truthfully, I'm a little awed at the responsibility. Sitting before me in the Lux Radio Theatre is the most distinguished and perhaps the most critical audience ever assembled in Hollywood. I see a lot of familiar faces. There's Joan Blondel. Gary Cooper. He stars in my next picture, The Plainsman. Stuart Irwin and his lovely wife, June Collier. Al Jolson. Ruby Keeler. There's Franco Tone. And there's our Mayor, Frank L. Shaw of Los Angeles. And I think I see very much. I fed him to the lions the last time I directed him. And now, we ring up the curtain on the play of the evening, the Legionnaire and the Lady, starring Marlene Dietrich and Clark Gable. Al Giers, the land of sun and sand and yellow dunes that slope down to the sea in the harbor of Fort Neha, a French steamship rides at anchor. Near the rail, gazing at the sunlight minarets of the tiny town, stands Amie Jolie, an entertainer from the shabby music halls of Europe. Suddenly, she turns from the rail and speaks to the ship, Stuart. Oh, Stuart. Oui, mademoiselle. Are we going to land soon? In a moment, mademoiselle. There is no pier in Al Giers. The passengers must take a motor launch to the shore. Oh, thank you, Stuart. May I take care of your suitcase, mademoiselle? No, I'll carry it myself. Stuart, may I see you for a moment? Oh, monsieur La Bessière, of course. What can I do for you, monsieur? My valid is a mistake of my luggage. You go in, please, and make arrangements to have it set at the hotel. Of course, monsieur. I will see to what it wants. Mademoiselle, your suitcase. It is very stupid of me. It is the second time I've dropped it. Here, let me help you pick up your things. Oh, please, don't bother. There's no bother at all. There you are. Merci, monsieur. You're very kind. Why not? Is this your first visit to Al Giers? Yes. I make the trip quite often. Perhaps I can be of some service. I think not, monsieur. I'd be happy to help you. I won't need any help. Well, if you do, you can always reach me at the hotel to pray. I am monsieur La Bessière. Merci, monsieur. But now, will you excuse me? Of course, mademoiselle. Monsieur La Bessière, I have text to you. Stuart, come here. That woman who was standing here. Do you know who she is? Well, I know, monsieur. A voteable actress, probably. A voteable actress? Well, just how do you know that? We carried the memory trip, monsieur. They come to sing and dance in the cafes here. We call them suicide passengers. One-way tickets. They never return. Well, what launch is she booked for? I believe the third, monsieur, and you? Naturally, the third. May I assist you, mademoiselle? Thank you. Well, be careful. That board they call a gang plant isn't very stable. Ah, there we are. There seems to be quite a crowd to greet us. Yes, the usual thing. The natives here meet every boat. Sell you anything from a fez to a bottle of Arabic perfume. That fragrance in the air now. That is not perfume. No, no, that's just the waterfront of Algiers. Shall we get away from here, mademoiselle? If you please. The centre of the town is this way. Would you like to take a carriage with me? No, I'll walk. I haven't far to go. But your suitcase. It is very light, monsieur. No trouble at all. Perhaps I'd better walk with you. The streets aren't very safe down here near the waterfront. I'll be quite safe, monsieur. And look, there are soldiers to protect me. A whole regiment. Yes, the foreign legion. Mostly criminals themselves, so I've heard. Won't you please ride with me? Thank you, monsieur. But I prefer to walk by myself. As you wish, mademoiselle. Here, fatheads. We are back home again. And just because you did a little fighting, I know what you're thinking. You're thinking, well, here comes us. The foreign legion. Each man a hero. All towns ours and we're going to rip it wide open. Well, forget it. This time you're going to behave like gentlemen even if it kills you. Yeah, I'm talking to you, legionaire Brown. Legionaire Tom Brown. Step forward here. Well, have you heard what I just said? Yes, sir. What? Well... You weren't listening, were you? No, sir. Why not? Yes, sir. I mean... Shut up! Yes, sir. The foreign legion. If you go starting up any trouble among the girls here the way you did the last time, you're going to find yourself in the jug. You get that? Now, go on, get back there in line. Yes, sir. And remember what I said, you guys. Take it easy and act like gentlemen. Company dismissed. Hey, Tom. Oh, hello, Blimey. Oh, say, what's he eating, the sergeant? Blimey, if I didn't think he was going to bite your head off. Oh, he doesn't worry me. He got away from driving a hack. Say, where are you going tonight? I don't know. After what the sergeant said about behaving like gentlemen, I don't know where to go. Ah, forget it. I know a little Spanish girl in this burden who didn't cook a steak to a turn. What do you say? It suits me if we can find a steak. And this here blasted-eat steak gets cooked right on the cow. Come on, I'll find one. Say, I know this joint from top to bottom. I was here and... Hey, Blimey, wait a minute. Will you look at that? I? What, where? That girl carrying the suitcase. Oh, Blimey. She sure is a looker. Yes, she sure is. I wonder what she's doing in this town. Oh, dance, old girl, I suppose? Yes. Well, maybe I better find out. Yeah, why? I thought we was going for a meal someplace. A little later, Blimey. This is pretty important. Why? Listen, Tom. Come on, Blimey. All right, go ahead and desert me. Lady killer. Oh, is this her? Hello, soldier. You going my way? It depends. Which way are you going? Any way you are. Here, let me carry your suitcase for you. Don't bother. I'll carry it myself. Oh, kind of independent, huh? You mind if I walk along with you? If you want. Well, that's friendly enough. How about stopping off for a drink? I know a little place. I'm sorry, monsieur. I have no time now. Oh, I get it. Okay, sister. There isn't anything I can do for you. There is. You can tell me where's the café Marrakech. The café Marrakech? Oh, sure. It's just across the street. Come on, I'll show you. Thank you, monsieur. You work there? I'm a singer. If you're doing nothing tonight, you might come and hear me. Yeah. Okay. I'll remember that. Well, there you are. It's that door there. Anything else? Nothing. Okay. I'll see you tonight. Is this the café Marrakech? It is. I am Lothin to the proprietor. And I'm Amidjali. Amidjali? Oh, yes. Yes, I have your letter here somewhere. You are ready to work tonight? Of course. Good. Your dressing room is at the end of the hall. Go there and wait for me. I want to have a talk with you before you go on. Very well, monsieur. Come in. Tell her how she is back. This is a great night for you. If you make a hit, you can stay here as long as you like. You're very kind, monsieur Lothin to the proprietor. Now, mademoiselle, one word of advice. Pick yourself a protector. It will give you prestige. And always choose an officer in the leisure. The private, here's nobody. Pick the officers. They have the money. You understand? Perfectly. Good. Are you ready to sing now? I will go out to make the announcement. In a moment. Good. They're coming soon enough. This is a good table. Right up in front, among the best. Shut up. We're not supposed to be here. Why not? Not with an adjutant in the house. All men scissor sitting over there. See him? Blame if he ain't the old ghost. If he's seen me here, he's probably complained to Lothin to. Oh, don't he like you, the adjutant? Like me. He'd stick a band at my back and laugh doing it. By the presence of the distinguished painter, Mr. Labessiere and my old friend, Adjutant Cesar of the Foreign Leisure. Tonight, we open the program with Mademoiselle Amizoli, a newcomer whom I hope you will receive with your usually discriminating kind. We treat her very kind. Maybe she comes to my lab. Who's the wise guy? Ladies and gentlemen, I take a pleasure in presenting Mademoiselle Amizoli. He's hitting for a sock. Now he's going to get it. Wait, Tom, Tom, come back here. I'll show you how we make love in the Legion. You will like it. Stop it, I say. Stop it. Hey, Gabon, take your hands off that girl. You heard me. Leave her alone. I take no orders from you. Gabon, do what you like. That's all right. How do you like that? There's more where that came from, Gabon. Get up and I'll put you away for keeps. Nice work, Tom. And please, gentlemen, no fighting here. Everyone back to their tables. Francois, throw that Gabon out and keep him out. Everyone, please, back to your tables. Mademoiselle Amizoli will sing later. Ami, go to your dressing room. Orchestra. Orchestra, please. Go ahead, sister. You never can tell what will happen now. May I say thank you, monsieur. Oh, that's all right. I had a good time myself. Yeti, come into me all right. Come along. Excuse me, monsieur. Here, take this. Oh, she threw you a flower. I know it. You think I'm blind? Hey, she's a little bit of all right. I like her. Your taste is improving. Well, monsieur Latino, my first appearance was not a success. Oh, that is a nothing. A common occurrence here in Algiers. But they have a news. Adjutant Cisar has already asked for the honor of your company. Adjutant Cisar? Who is he? Oh, a very important man high in the foreign legion. And one of my best customers. Tell the adjutant I'll try to oblige him. Good. I'll find the time. Oh. And now, mademoiselle, you must go out there again. And not to sing at this time. This time you sell apples. That is the most important thing. You go around the hall from table to table and sell all you can. 10% is yours and 90% is mine. Oh, you will make a fortune. Give me the basket, monsieur. Good. Here, go now. Would buy an apple? An apple, sir? An apple, sir. Oh, monsieur Labassiere. We meet once more, monsieur. Can I also have an apple? But I have no change for that. I hardly expect that you would have it. You are again very kind. Mademoiselle, may I have the honor of your company after the performance? I'm sorry. I have disposed of the balance of the evening. Some other time, perhaps? Of course. You will excuse me now, please. Apple? An apple, sir? Here, mademoiselle. You wish to buy, sir? Later, perhaps. I am Adjutant Caesar. Oh, yes? I have already spoken to Lotinto concerning you. Sit down. I'm sorry, Adjutant. You mean you refuse to sit with me? I'm very busy now. Some other time, monsieur. But some other time won't do, mademoiselle. I would like your company here and now. Would you? It is a shame, Adjutant, but I must disappoint you. Who will buy an apple? An apple, sir. Yes, she comes down. She's selling apples. Good evening, soldier. Good evening, mademoiselle. Thanks for the flower. Can I offer you an apple, too? Yes, sure. Let me 20 francs, Blimey. Does that make 60, oh, me? Here you are. Take it, mademoiselle. Thank you. Two weeks' pay is a lot of money for an apple. You can have it for nothing, if you like. Oh, no, no, nothing doing. I always pay for what I get. I'd sit down if I were you. Come on. You needn't pull me down, soldier. I'm sorry. I didn't mean to hurt you. You're very brave, aren't you? Oh, I don't know. Why, do you like brave men? Perhaps. Hey, wait, where are you going? I'm busy now, but later. I'll be out there on the balcony. Okay. I'll see you later. You can smell the desert tonight. Hot, isn't it? Cooler than inside. Expect to stay in Algiers very long? Who knows? They say when a singer comes here to work, she stays forever. I've seen her to work out that way. I beg your pardon. As it is. Good evening, mademoiselle. Good evening, Adilan Cesar. I saw you come out this way, and I gathered that you were no longer very busy. But I am. You see, I invited this gentleman to come out here and sit with me. Oh, I see. Mademoiselle, you are new in Algiers. Perhaps you do not realize that this gentleman, as you call him, is a legionnaire, a private. I choose my company by their looks, not by their medals. Am I to take it then that you prefer his company to mine? Take it as you like, Mr. Thank you. But I'm still the adjacent here. Legionnaire Brown, you will please leave here at once. I'm off duty, sir. I asked you to leave. Did you hear me? Yes, sir. But the lady has asked me to stay. May I remind you that I'm your superior officer? I'm sorry, sir, but I'm going to stay. Very well. Legionnaire Brown, you will report to headquarters in the morning. Report to me. Personally. Very good, sir. Good night, mademoiselle. You shouldn't have done that. I know it. You think being here with me is worth the risk? Sure. If you think so, play some more. I think you'd better go now, soldier. All right, lady. You won't have any trouble getting rid of me. Nothing like independence is there. Well, maybe I am independent with women. You evidently don't think much of women. Well, I'll tell you, lady, it's their fault, not mine. Been in the Legion very long? Almost three years. Three years. It seems like 300. You sound tired of life. Well, I don't know whether I am or not. I was when I joined this outfit. Well, how about you, mademoiselle? Been on the stage very long? Long enough. Tired of it? No. But what in the name of 10,000 corpors did you come to a country like this for anyway? I understand that men are never asked why they enter the foreign legion. That's right. They never asked me. If they had, I wouldn't have told. When I crashed the legion, I did surpassed. There's a foreign legion of women, too. But we have no uniforms, no flags, and no medals when we are brave. No wound stripes when we are hurt. Well, look here. Is there anything I can do to help you? No. I've heard that before. Or do you think you can restore my faith in men? Oh, no, no, no, not me. You got the wrong man for that. Anybody who has faith in me is a sucker. You better go now. I'm beginning to like you. You know, I've told women about everything a man can say. But I'm going to tell you something I've never told a woman before. I wish I'd met you 10 years ago. Good night, and thank you. We pause for station identification. This is the Columbia Broadcasting System. Marlene Dietrich and Clark Gabel in the Lux Radio Theater's presentation of the legionnaire and the lady continue in just a moment. Meanwhile, we'll give you a glimpse behind the scenes in Hollywood as we take you on a quick tour of the screen capital. First stop in Hollywood, the main casting office of the Metropolitan Mayor's Studio, a seething mass of men and women seeking jobs. We enter as two hopeful young extra girls are talking in the corner. I heard they're casting 25 girls for Joan Crawford's new picture, the gorgeous Huzzy. Think we stand a chance? You bet I do. Well, make sure so sure. Because in this scene, it's your face and shoulders that count. They're casting complexions today. No, it's okay for you, but look at me. I wish my complexion looked as nice as yours. Maybe there is something in the way you take care of it. That business of removing cosmetics thoroughly with Lux Toilet soap. I guess I'm just one of those cosmetic skin girls they talk about. Oh, well, don't worry. Hey, Joan. Oh, wait a minute. They're calling to me. What is it? Okay for you today. Oh, he'll use me in the scene at the Dutch Embassy. Hey, mister, what about my friend? I can't feel good. She got us. I'm sorry. And now a table for two at the fashionable Trocadero. The supper club that is the rendezvous of the stars. You look lovely tonight, darling. Perfectly adorable. Oh, darling. You're just saying that. No, honest. You've got everything that any of those movie stars dancing there have. Especially that knockout of a complexion. Well, darling, maybe you should thank those stars for that. Because I take care of my complexion the same way they do. Well, I don't know about thanking those stars for what you do. But I sure thank my stars for what you are. Every girl needs a lovely complexion. And the movie stars here in Hollywood have shown you how to keep skin lovely. Don't allow dust and dirt, stale rouge and powder to clog the pores. Before you put on fresh makeup during the day, always before you go to bed at night, use lux toilet soap. Marlene Dietrich has Amé Jolie and Clark Gable as legionnaire Tom Brown continue with our play The Legionnaire and the Lady. It has been several hours since Tom told Amé that he wished he had met her 10 years sooner. At foreign legion headquarters, his head reeling from the heat of the tiny office in which he sits, Adjutant Caesar is working at his desk and orderly enters. Adjutant. Yes, what is it? Legionnaire Brown's here. Oh, is he? Tell him to come in. Hey, Mr. Montray. Thanks. Good morning, Adjutant. You asked me to report to you this morning. I have not forgotten. Stand over there. Legionnaire Brown, I think it is hardly necessary to remind you that insubordination is a serious offense. Insubordination? But I was off duty. Off duty or on duty, the word of a superior officer is law. You refuse to obey. You are therefore guilty of a breach of conduct and subject to court martial. Report to the sergeant and place yourself under arrest. Yes, sir. Of course, there's nothing personal in this. I mean, you're not just sore about last night or anything. Oh, you forget yourself. No, I don't. You have no reason to court martial me except that you wanted that girl to yourself. And I took her out for money or no. Silence. Silence your foot. You don't scare me with a nickel. Well, a year in prison, mate. You ought to know. What's that? A year in prison. That's short compared to what you were going to serve before you escaped. Are you quite sure you know what you're talking about? I'm talking about a little matter of homicide, murder in Berlin. The murderer's name was César. He got 30 years, but he escaped. It's a funny thing. He looked just like you, Adjutant, without the moustache. He didn't help around you. You're a fool. Sure, if I wasn't, I wouldn't be in the foreign legion sweating blood for a rat like you. Aren't they? That woman here, Adjutant, the one you sent for. Send her in. This way, mademoiselle. Good morning. Good morning. You wish to see me? If you don't mind. Hello. Oh, are you here too? Yes, sure. You never could tell where you're running to me. For the next few days, we'll know exactly where to run into you. Orderly. Yes, Adjutant? Take this man to the guard house. The guard house? What for? That's the legion's business, mademoiselle. And mine. Take him. All right. Sure, sure. I'm sorry I couldn't stay, mademoiselle. Good morning, Adjutant. What are you going to do with him? That is not the question at the moment, mademoiselle. The question is what are we going to do with you? I don't understand you, Monsieur. No. It is the policy of the legion, mademoiselle, not to interfere in the private affairs of any resident. But when the private affairs of the resident intrude upon the performance of a soldier's duty, we find it necessary to take steps. What steps? Such as asking the person to leave out a jeers. In the future, mademoiselle, will you please act accordingly? That's all. One moment. Last night was my fault. More than the legionnaires. I ask you, too, to be lenient with him. You were not very lenient with me, mademoiselle. Please. There is nothing I can do. Good morning. Good morning. There's the story, Monsieur Labassiere. You said I should come to you if I need it help. I need it now. I think the legionnaire is the one who needs help. Monsieur Labassiere, what will they do to him? I don't know. Personally, I shouldn't care to have Adjutant Caesar as an enemy. I seem to have the unhappy faculty of causing trouble. Where have I go? Oh, nonsense. You know, I carry some weight with Caesar. Possibly I can help you. Every time a man has helped me, there has been a price. What's yours? My price? A smile. I can pay that this year. Where is the legionnaire now? In the guardhouse. I saw him this afternoon. I bribed the guard. Did you tell him you were coming to me? No. He says not to worry. But he'll be out before morning. Perhaps he will. Very well, Sergeant. Legionnaire Brown. Oh, hello, Sergeant. Nice of you to call. Sit down, make yourself comfortable. No ice cracks, you. No ice cracks. There's your pass. You mean I'm getting out of this joint? Yeah, the door's wide open. You can do as you like until seven o'clock in the morning. What's the idea of this? You're leaving for a mouthful pass tomorrow. Oh, no, no, not me. You know I'm beginning to like this town. Tell César I'm not going. Tell him yourself, he's going along this time. Who's going along? You heard what I said. César's going. Oh. Yeah? Yeah. Now go on. Get out of here. Yeah, sure. Sure. So long, Sergeant. And see if you can stay out of here for once in a while. I'll do my best. Tom. Hey, Tom. Hey, Blimey. Blimey, come here. No, I'll be waiting for you outside here. Yeah? Well, don't talk now. Let's get away from here. I? Come on, come on, keep walking. Oh, what's up? You're out, ain't you? It's the truth. He ain't going to give you a court martial. Oh, no, not Mr. César. He got a better idea than that. I think I'm on to it. He's going to get me out on the desert, face me in the right direction, and put a bullet in my back. Put a bullet in? Oh, the eat's gotcha. You think so? Well, what a Caesar want to plug you for anyway. My old failing, Blimey. I talked right in his beard and told him what was what. You see, I know something about that bird. And now he knows I know it. It's the truth. But he's not going to use me for target practice. I'm through with the army, Blimey. Washed up. I've been looking for the right kind of woman all my life. And I think I've found her. Now, listen here. If you're talking about the mad Rossell of the cafe... That's who, Blimey. Well, you're crazy. She ain't nothing but a cheap little gold. Oh, no, she isn't, Blimey. She's all right. And I'm quitting the army and taking her out of here tonight. You don't say. You ever hear what the penalty is for desertion? There's a hundred ways of dying, brother. And I'm picking my own. Come in. Good evening, mad Rossell. Mr. Beloved, here. Come in. And how are you this evening? I'm well. Thank you. The flowers he sent are wonderful. Not half so wonderful as I should wish. Any news of him? Some. He's not to be caught marshalled, but they are going to transfer him. Oh. Oh, that means he... he will have to leave town. Of course. I see. Do you love him? I don't know. I hope not. Look, I've brought you something. A bracelet. May I put it on you? I can't accept this, Monsieur. It's worth a fortune. Anything of less value would be unworthy of you. I'm sorry, Monsieur, I cannot take it. Well, let me leave it here on the dressing table. If you change your mind. I won't. Has anyone ever told you that I'm a very wealthy man? I've heard so. Does it mean so little to you? In what way, Monsieur? I'd like to take you away from here. Would you? Exactly what do you offer now? The conventional thing? My offer is highly respectable. Marriage. You're a strange man. You find it so strange that I should be fond of you. Must I answer you now? I'd sleep better tonight if you did. Well? I don't think I care to take advantage of your tempting offer. Then you're in love. No. I don't think I am. Supposing you'd never met a certain private in the foreign region. What would your answer have been? It might have been the same. I don't know. Come in. Hello. Yes, I'm sorry to bust in like this, but I'm leaving for the Sahara in the morning, and I just came to say goodbye. Tomorrow? That a short notice, isn't it? I think you two will want to be alone. I understand you're leaving on a rather strenuous journey. I wish you good luck. Thanks. See you later, mademoiselle. See you later. Will you be gone long? When will I see you again? Well, maybe never. Never? Yeah. You see, something tells me I'm not coming back this time. Then you must not go. You know, that's funny, but that's just what I was thinking. I could desert and board a freighter for Europe tonight. Why don't you? I would in a minute if you'd go with me. You really want me to? I really want you to. You know, you've done something to me. I don't know what, but I've been thinking about you every minute since I saw you. Will you come with me? Yes. I'll go with you. Who is it? The girl, Lucinto. It's time for you to shut up. Why are you not outside? In a moment. Wait here for me. I'll be back. Oh, excuse me. I thought I had spent you gone. No, no, not yet. I'm waiting here for mademoiselle. I'll need to come back. Of course. A wonderful girl, isn't she? Oh, you've noticed that, too. Everyone has. But I believe I've fallen a little farther than the rest. Oh, yes? Not that it's done me any good. What do you mean? Refuse you. You offered to marry her? Yes, about ten minutes ago. Here in this room. Oh, I see. She never mentioned that. Why should she? You're a rich guy, aren't you? Funny of Doe. So my lawyers don't even make much difference with mademoisellani. She wouldn't even accept a gift from me. They've braced it there on the dressing table. I left it in the hope that she might change her mind, but I'm sure she won't. I'm afraid I'm fighting a lost cause. You know, that's a laugh, isn't it? I should want to marry her? Oh, no, no, no. I wasn't thinking of that. I was thinking of myself. Legendary Tom Brown. Twenty bucks a month in key. Trying to pull the kind Uncle Act with a girl who could marry a millionaire. You know, I might have known it was too good to be true. Suppose she's in love with you. And suppose she's not. What difference does it make? Do you think I'm going to step all over the biggest chance of her life? Oh, no, not me, Mr. I may be only a buck private in a tin sword army, but I know when to take a walk, and I'm taking one now. Are you sure you're doing the best for her? Hell, it's best for her. Now do me a favor, will you? She'll be coming back here in a minute. When she does, let me talk to her alone. Of course. What are you going to tell her? Well, I don't know yet, but I'll think of something. I'll pick a fight with her. I'll make her so happy. When I make my exit, she'll probably be glad to see me go. Well, do as you think best. Good luck. Was I long? Yes, a little. I was just leaving. Leaving, but I'm not ready yet. I wasn't thinking of you. I'm going alone. Has anything happened? Yeah, lots happened. I've changed my mind, sister. Why? I'm no sucker, lady. Maybe you thought I was, but I'm not. Tom, I don't know what you're talking about. Oh, yes, you do. I've been on the level with you and you were with me. But you shouldn't have left me here alone. I saw too much. What did you see? That pretty little diamond bracelet over there on the dressing table. Well... A new acquisition, isn't it? Or are you going to tell me you borrowed it from a girl for it? It was given to me tonight. I haven't accepted it yet. Oh, that's a better one. Go ahead, sister. It sounds swell. You think that I... I don't have to think. Girls like you don't wear diamonds. And when they do, well, that doesn't go with me. I'm hard-boiled, but not enough for that stuff. A one-man woman is what I want or nothing at all. This time, it's nothing at all. So long, sister. There goes your soldier, mademoiselle. Yes, he didn't desert after all. I beg your pardon? Nothing. Oh, sorry. How straight they march when they go out. Yes, until the heat gets them. It's a bad section they're going to. I wonder how many of them will come back. Are you worried about all of them or just one? What good is it to worry about anything? It was women marching behind the men. Who are they? The women? I would call them the rear guard. How can they keep pace with the men? Well, sometimes they catch up with them and sometimes they don't. Very often when they do, they find their men dead. Those women must be mad. Oh, I don't know. You see, they love their men. Oh, they're even madder than I thought. I don't see what good it does. We only have to get up again. Anyhow, those walking bedsheets can't shoot straight. Oh, no! Well, you'll think different when you get a bullet in your chest. Well, this heats it up to melancholy. Oh, shut up. If you don't like this, why won't you quit? I was going to, sorry. But you see, I've turned decent. What? I said I've turned decent. I'm in love. You? That's all right. That is. Hello, Tom. Hey, blimey. What the devil are you doing here? Just come up with a relief. Nearly had me into all that, Tom. It's that blasted machine gun up there on the hill. Sergeant. Sergeant! Yes, sir. Here comes the adjutant, by me. I'm in for something. Have you spotted that machine gun? It's up there someplace, sir. Agent Air Brown. I know that. Agent Air Brown. Yes, sir. Take a man with you and spot that machine gun. If you get close enough, use your hand grenades. It must be destroyed. Yes, sir. I'll go with him, sir. Blimey, are you crazy? Quiet. You can go with him if you want. Thank you, sir. It'll be a real pleasure. Report to me when you get back. Yeah. When and if we get back. Well, I had the right hunch, didn't I? That's too bad, Brown. Yeah. Well? Hey, wait a minute, you. How about there's 10 francs you owe me? Oh, shut up. Come on, blimey. Right behind you, Tom. OK, blimey. We'll crawl along this trough and slip over the ridge down there. Right. Well, I'm here to dare making it tough for us. Hey. Look. What? Over there. The Agent. He's laying in beyond that sand dome. This is it, blimey. Here's where I get that bullet in my back. No, you don't. If he makes a move for his gun, I'll let him have it right between the eyes. Don't be a fool. There he goes. Put the gun down. Put it down. Put it down. Let me alone. Come on. Come on. Come on. What is it? The Agent. He's been hit. Good. Blimey, I hope he croaks. It'll save me the trouble. He's got it bad, blimey. I hope so. Come on. Come on. Let's get going. Keep low, Tom. They're blasting this hot and heavy. They must have a spotter. Get over there behind that hill, blimey. I'll go up this way. Right into their faces. You're mad. Go ahead. I'll be right back. Come back here, Tom. Come back here. Come back here. Tom. Oh, yeah. Here, blimey. Over here. Oh, did you get it, Tom? Yeah. Yeah, I guess I did, blimey. Where is it, Tommy boy? Where is it? In here. It's got to be all tied up in knots. Tom. Tommy boy. It's all right, blimey. You better get back and leave you here. I don't think you can help me much. Funny. Funny, isn't it? You were glad Czar got it. Saved you the trouble. Looks like I did the same thing for him. Tommy. Tom. Lob blimey. Just a moment, you will hear more of the story of the legionnaire and the lady, co-starring Marlene Dietrich and Clark Gable. Do you know what a casting director is? If you want to get into the movies, he's the man you see. Try to see. He knows the names, faces, abilities and salaries of thousands of players. It is a pleasure to present my friend and associate who has been casting director at the Paramount studio for many years, Mr. Fred Dating. Yes, Mr. DeMille. A casting director has a hard job. Directors are always asking for things like six sets of girls who look like triplets or a cross-eyed man who can keep his eyes crossed in the same way all through the picture. Last year, a director asked me to get two Tahitian girls who could sing, dance and play musical instruments. I had to send all the way to Tahiti for them. And when they finally got here, the picture had been called off, but the girls stayed here. Later on, the same directors started to make a picture in Tahiti, and we had to send those girls to Tahiti for him. But those are the unusual things. Every day, I'm looking for actors and actresses who not only have talent, but who screen well, who have lovely figures, good features and fine complexions. And Mr. DeMille, I think it's fitting on your Lux Radio Theater to emphasize complexions. Your Lux toilet soap means a lot to both the stars and the extras. They must have good complexions. And that's why Lux's toilet soap is the official soap over on the Paramount lot and, in fact, in every other great studio in Hollywood. We return to the Legionnaire and the Lady with Marlena Dietrich as Amé Jolie and Clark Gable as Legionnaire Tom Brown. Several weeks have gone by, and Amé has received no word from the Legionnaire. Convinced that she will never see him again, she has accepted Labessier's offer of marriage. It is the night of their engagement dinner in a room at the Hotel du Pré. Amé Jolie sits by the window, staring into the street. Labessier, receiving no answer to his knock, enters. Amé. Here. Sitting in the dark, let me turn the light. That's better. We've all been waiting for you downstairs, Amé. Have you? I'm sorry. I didn't know. What have you been doing, darling? Sitting here by the window, thinking. About anything in particular, Amé? No. Nothing in particular. You're not at all excited. This is the night of our engagement dinner, or have you forgotten? How could I forget? Everybody's here. I'd dying to meet you. I didn't think they would come. On the contrary. I'm delighted to witness the unconditional surrender of the most exacting bachelor in the world. Are you happy, my dear? Of course. Shall we go down now? Oh, wait. I want to speak to you. Anything wrong? Yes. I have news of your legionnaire. What news? His company returns tonight. That is, what's left of it. You mean... I mean that he's not returning with it. He's been wounded. He's in the hospital at the mouth of Paz. Is he barely hurt? I don't know. They wouldn't tell me that. Then... Then he may be dying. He may be dead by now. Perhaps. I've got to go to him. Amir. Are you in love with him? I've got to see him. Please. Very well. You don't mind? No. You see... I love you, Amir. I'll do anything to make you happy. We'll go together. Thank you. Now, wait here. And I'll order the car. There it is, I believe. The hospital? Yes. You want me to go in with you? No. It will be best if I went alone. Very well, my dear. Good morning, mademoiselle. Something I can do for you? I'm looking for a lady named Tom Brown. Brown? A hospital case? Yes. Let me see. I'm sorry. There's no one by that name on our books. Are you sure? Well, he might be under some other name. Have a look. Thank you. Hey, that's good. I want to see you about that guy that... Well, well, well. You break the mademoiselle from the America's Cafe. Hey, don't you remember me? I'm the top sergeant from the Fifth Regiment. Say, what are you doing down here anyway? I'm looking for Lesionale Tom Brown. Oh, Brown. Oh, you won't find him here. He... he isn't dead. Dead? No, you can't kill that bird. They thought he was a goner when they brought him in, and a couple of days later he would turn up the bed post and they wouldn't give him a drink. They let him out a week ago. Is he still in town? Sure, sure he is. He's around the corner at Christine's. But say, are you going to see him? Yes. I'm not to forget that 10 francs he owes me. Miss Christine, what kind of a place is it? It's a cafe. Just poke your head in and look around. And when you see a guy with their arms around a guy's shoulder, 10 to 1, that guy will be Brown. Come see your soldier. Wake up. Pay a little attention to me. Oh, go away. Well, you can't just see him busy. Busy. Ah. Carving in the top of the table a name. A-M-Y-J-O-L-L-Y. Amy Jolly. That's the girl's name, eh? Yep. Who is she? I wouldn't do you any good if I told you. You love her very much? Yep. Poor boy. She's your sweetheart, no? Oh, shut up. Will you go on and beat it? See, all right. You don't have to get mad at me. Hello, soldier. Oh, ma'am. Mind if I sit down? No. No, of course not. Thank you. You gave me a surprise. What are you doing in this part of the world? I heard you were wounded. Yeah? Well, I heal fast. I never felt better in my life. Are, um, are you married yet? No. I heard you were going to marry that rich friend of yours, that lovey-cee air fellow. I am. Are you sure? I don't change my mind. I got it. Well, I wish you all the luck of the world, mademoiselle. Is that all you have to say? Yeah, that's all. Well, that's me. I guess we're pushing off again. Where to? I can't tell, but wherever it is, it will be thirsty March. I better go and get myself a drink. You're not going to say goodbye. We leave it dawn. Come and see us off, will ya? Maybe. This is bad. Come on, mademoiselle. So long, soldier. He's gone, senorita? Yes. You look sad. Why you don't go with him? He doesn't want me. No. He wants no girl. Only one whose name he carved here on the table. See? A-M-Y-J-O-L-L-Y. Imi Jolie. Imi Jolie? He carved that? He thinks so hard all the time. Did you see him? Yes, he's well again. They're moving him on to fight. Shall we go back? Not yet. He's leaving at dawn. I'll wait till then. You want to sit in the car here, Imi, or shall we go back and look for him? I see him now. The company's not marching yet. You want me to call him over? Please. He sees us. He's coming this way. What are you going to say to him? Just goodbye. Hello. How early this morning, mademoiselle? Yes, we came to see you all. How do you do, sir? How do you do? I'm sorry, I can't stay long. My company's ready to march. You're going to be out long? Can't tell. Hey, lady killer! Offer! What do you want? There's a war going on out there. Oh, you're coming or... All right, all right. Shut up. Well, here we go. Goodbye, mademoiselle. Goodbye. Goodbye, sir. Good luck, Lisa Nair Brown. Thanks. Well, there he goes. Out into the sun. You're going to miss him, aren't you? I love him. I knew you did. He loves me, too. How do you know? I always knew. Army. The women, the rearguard, they're beginning to follow the men. It hurts me to look at them. Why? Because I want to be one of them. I want to follow, too. You love him that much? I love him that much. They're almost out in the desert now. I'm going after him. You're mad. I won't let you go. You've been so kind to me, but I can't help it. Try to forgive me. Try to understand. I've got to go to him. Army. I must go to him. Darling. I understand. Army. Army, what are you doing out here? I followed you. I will stay with you forever. Doc, don't be a fool. Go back. Go back before it's too late. No, I'm going to stay. But you know what it's like out here? It's torture. Nothing but heat and sand and sun. A burning sun that will brush to your body until you scream. I don't care. I'm one of the real art now. One of the women who love their men. And that, ladies and gentlemen, is the story of the legionnaire and the lady as played by Marlena Dietrich and Clark Gable. Before I present our two stars for the curtain call, I'm going to ask an old friend, a pioneer in the motion picture industry to step up on the stage. We were once partners and made our first film, The Squaw Man, together. It's comfortable to have him at my side tonight as I enter the field of radio. Jesse Lasky of Pickford Lasky Productions. Well, Cecil, this great new theater in the Hollywood Boulevard is quite different from the stable where we started The Squaw Man 23 years ago. In the middle of an orange grove. In those days, Jesse, there were trees on Hollywood Boulevard instead of neon signs. A lot of water has run under the bridge since then. Speaking of water, do you remember Jacob Stern? Do you remember we rented the barn from him? Or rather, we rented only half the barn we worked in. Jacob kept his horse in the other half. And every time he washed the buggy, the water ran into our office. Yes. And we had to put our feet in the wastebasket to keep them from getting wet. Yes, I put my last diamond to that picture of ours. Yes, and you put my last diamond too. But it's always stimulating to me, Cecil, to see that in spite of the many changes in Hollywood, the men who started in the picture business with us are now at the top of the heap. You know who I'm thinking of? Adolf Zucker and Samuel Goldwin. The men who were first founded what is now the Great Paramount Company. Yes, there's one good thing, Jesse, about working on the radio. Somebody else puts up the money. And tonight, in case you haven't heard, it's the manufacturer of luck soap. You know, it's a matter of soap. That's one thing that even I will yes you on. Now, Cecil, I want to wish you Godspeed. On this series of programs. It's a pleasure to have been here tonight. And I'm glad this excellent radio show will be broadcast from Hollywood from now on. And now a word about a certain young actor before he steps out on the stage. I want to tell you a little story of him. When I was casting Madame Satan six or seven years ago, I was looking for a villain. Somebody had given my script girl a screen test of a young man, and she kept dinging her life out of me to see it. I asked her if he was a villain. And she said she thought he could do anything. So I looked at it and decided he was not a villain, but that he had definite possibilities. So I showed it to the other executives of the studio. When I asked him about the young man a day or so later, they said he never could succeed in pictures. I asked, why not? They said, his ears are too big. But evidently, evidently those ears were no obstacle to the triumph of Clark Gable. As you stepped out on this stage, Clark, I could hear feminine hearts, something from coast to coast. Well, Stevie, I'm letting that go in one ear and out the other. If your studio will loan you to my studio, Clark, I'd like to direct you in a picture. Well, I hear from everybody who has ever worked for you that it's a great experience if you live through it. Now, my ears are burning. No, no, no. Really, though. It was a great show and a lot of fun where he boiled. And I want to express the gratitude of Miss Diedrich and myself to our all-star-supporting cast tonight, Crawford Kent as La Bessière, Frank Riker as Adjutant Cesar, Walter Kingsford as Blimey, Wally Mer as a Sergeant, Lou Merrill as Low Tinto, and Ines Seabury as a Spanish girl. And thanks also to our fine audience. I want to congratulate Lux on their new theater and on the way they're planning their next week. Two great stars, Mr. William Powell and Miss Myrna Loy, and their famous success, The Thin Man. Good night, Mr. DeBell, and so long, everybody. And here she comes, here she comes as desirable as she was in her picture desire, as beautiful and glamorous as well as only Marlene Dietrich can be. Thank you, ladies and gentlemen. Thank you, Mr. DeMille. We received so many requests, Marlene, that you sing your famous song from the Blue Angel, Falling in Love Again. Will you please? I'd be very glad to. Mr. Frederick Hollander, the composer of the song, will accompany me. Love again, never wanted to What am I to do? I can't help it Love's always been my game Play it how I may I was made that way I can't help it Men cluster to me Like moths around the flame And if their wings burn I'm not to blame Falling never wanted to What am I to do? Love again, never wanted to What am I to do? In my game I was made that way I can't help it Men cluster to me Like moths around the flame And if their wings burn I know I'm not to blame Love again, never wanted to What am I to do? Thank you, Mr. DePille. Ladies and gentlemen, this is your announcer, Melville Rowe. Before Mr. DeMille tells you more about our play for next week, on behalf of our sponsors, the makers of Lux Toilet Soap, I want to express appreciation and gratitude to Mr. DeMille and to the great Hollywood studios who cooperated in making this occasion such a splendid success. From Paramount, Miss Dietrich, who will next be seen on the screen in the David O. Selznick Technicolor production of The Garden of Allah, based on the famous novel by Robert Hitchens. Mr. Clark Gable, the Metro Golden Mayor star, came direct to this broadcast from the set of the Warner Cosmopolitan production of Kane and Mabel. He will soon be seen with Jeanette McDonald in MGM's production San Francisco. Mr. Lewis Silvers represents the 20th Century Fox. And to Paramount, our thanks for the loan of our producer Mr. Cecil B. DeMille, whom I know you are eager to hear. Mr. DeMille. Next Monday at the same time, we will present that amusing and exciting play, The Thin Man. I am proud to be able to announce that the two great MGM stars who made such a hit on the screen in this remarkable drama, William Powell and Myrna Loy will play the same roles in the first radio version of it. Next Monday evening, I regret to say I will not be in Hollywood to produce the Lux Radio Theatre play, because I am attending the Paramount Convention in Chicago. In my place, one of Hollywood's distinguished directors, Mr. W. S. Van Dyke, who directed The Thin Man for Metro Golden Mayor, will be guest producer on this hour. But I'll be back the following Monday and every Monday to produce this series of programs for the Lux Radio Theatre. On behalf of all who contributed to this evening's performance, our cast, Mr. Lewis Silvers and his orchestra, our technical staff and our sponsors, I thank you and invite you to be guests of the Lux Radio Theatre again next Monday night, when this program will be presented from the same station. This is Cecil B. DeMille saying good night to you from Hollywood.