 Hollywood, California, Monday, March 15th. The Lux Radio Theater, starring Marlene Dietrich with Herbert Marshall in Desire, featuring Otto Krueger and Zefi Tilbury. Bringing you Marlene Dietrich, Herbert Marshall, Otto Krueger and Zefi Tilbury. Our producer, Cecil B. DeMille. Our guests, Mr. Ernst Lubitsch, distinguished motion picture director, and Miss Kaye Reverse-Williams, hostess of Hollywood's famous specialty shop, Iron Magnet and Company. Our conductor, Louis Silver. From our theater on Hollywood Boulevard, the makers of Lux Flakes bid you a hearty welcome to the 124th performance of the Lux Radio Theater. Before we hear Marlene Dietrich and Herbert Marshall in Desire, a few words about our product, Lux Flakes. We've been interested lately in hearing how many women use Lux in the dishpan because they consider it a beauty treatment for their hands. Lux Flakes are so gentle, and they make dishwashing easier too. One woman, Mrs. Travis Johnson of New York writes, Nice hands mean a lot to me. I'm a pianist, so I can't afford to let my hands get rough and red. Using Lux for the dishes is the most inexpensive beauty care I know. My husband agrees with me too, says my hands look as nice as when we were married, and a husband's compliments mean something. As Mrs. Johnson points out, Lux Flakes for dishes are inexpensive. It costs less than one cent a day to keep your hands nice this way. And now, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Marlene Dietrich is a Hollywood rarity. Her success story is the only one of its kind I know. You've heard of our screen Cinderella, the girls who had to go on the stage to make a living, or to support a destitute family. But it was love of acting alone that brought Marlene her first to the theaters of Berlin and Vienna, and inevitably to Hollywood. It was Max Reinhart who gave Ms. Dietrich her first chance on the stage, and thereby launched one of the most glittering careers of our time. Recently, in Vienna and London, thousands jammed the squares in front of her hotels, cheering her wildly. To protect her from the crowds' enthusiasm, London's heroic Barbies worked overtime. When Ms. Dietrich left, it was remarked by a great London newspaper that, although we, her devoted slaves, regret her departure, it is said that Scotland Yard detectives are toasting it in nightclubs and looking forward to a long holiday. Police, the paper went on to say, are anticipating the threat of the coronation crowds as childs play. In our adaptation of the Paramount film Desire, she comes to us in the role she filled with such distinction on the screen. Madeleine de Bopré. Making his fourth appearance on our stage, Herbert Marshall is heard as the English automobile engineer, Tom Bradley. Since his last appearance here, Mr. Marshall has been busy preparing with Ms. Dietrich for the new Paramount film, Angel. They had planned to shoot the first scenes of Angel today, but to make this broadcast possible, graciously postponed starting until tomorrow. Otto Kruger faces our microphone in the part of Carlos, one of the most polished actors of the stage and screen. Mr. Kruger has just starred with Mary Ellis abroad in Glamorous Night, produced by British International Pictures. Zeffie Tilbury, who played the role of Aunt Olga in the film version, resumes it tonight. High in the flies of our stage, Columbia's engineer reaches for the dials of the control board, ready to release to the ends of the earth, the Lux Radio Theatre's presentation of Desire. And here come our players, Marlene Dietrich and Herbert Marshall, with Otto Kruger and Zeffie Tilbury. Our scene is the palace branch of the Bronson Automobile Factory. In the manager's elaborate office, a young man paces the floor angrily, talking to himself in loud threatening tones. He's rehearsing a speech he's going to deliver to the boss, turning suddenly he leans across the manager's desk and points a menacing finger at the empty chair. Now look here, Mr. Gibson, you're only going to stop me and no one else is going to stop me. I can go on this vacation with you like it or not. And if you want to throw me out, why don't you? How's that? Now why do you bring up arguments like that? Well, yes, I know you bought me over from Paris to London, but you didn't do it for my sake. You did it because you wanted a good engineer, Mr. Gibson, and I done my job. I've been designing Bronson motors for the last three years and I need a rest. Now? No. Well, let me tell you this, Mr. Gibson, I'm not going back to London before I've had my vacation and that's fine. All right. Good morning, Tom. Oh, good morning, Mr. Gibson. Well, Tom, it's all right. You can have your vacation. I can have? Oh, well, thank you. Oh, you don't have to thank me. You've done a fine job. Everyone in London recognizes that, but they want you back home with the 15th of the latest. The 15th? That gives me two weeks. Where are you going? Italy. Oh, yes? That's where I've always wanted to go, ever since I was old enough to know about it. Milan, Florence, Livorno, Napoli. All those places I've read about have never had a chance to see. And I'll have two weeks, two whole weeks in Italy. Fine, fine. And to show you how much we appreciate your services, we are lending you a car for your trip. That's great, but we thought we might just as well utilize you for a little publicity. You won't mind putting one of these signs in the car, will you? A sign? Well, I... Now, let's see. Which one is the best? I am delighted to drive a Bonsonate. No. I am glad to drive a Bonsonate. It's difficult to decide. Must be quite a strain, Mr. Gibson. I am delighted. I am glad. Well, which do you like? Personally, I prefer happy. Happy? Happy? I'm happy to drive a Bonsonate. Why, that's splendid. Splendid. We have our slogan now. I'm happy to drive a Bonsonate. I'm delighted to drive a Bonsonate. I'm glad to drive a Bonsonate. I'm happy to drive a Bonsonate. Whoa! It's Mr. Brutti. Look at that mud fander. It's all right, old man. No damage done. No damage done. No damage done. Look at that mud fander. It is bent in two. Well, so is mine. I'm perfectly willing to pay for it. If you do not know anything about cars, why do you drive? Sorry, I'm just the beginner. You should take lessons then. Albert, come back here. But, madam... There, you see, the lady wants to get back into your car. Albert! I'm coming, madam. Sorry, Albert. Tell the lady it was my fault. Get in, Albert. Yes, madam. Now drive on. Yes, madam. I've told you 20 times not to pick walls, Albert. You do not have to address me as your footman now. There is no one listening. All the same, the advice is good. That British here is a fool. We don't stop to argue with fools. Not when we are carrying a string of pearls worth 2 million francs. Huh? You have the pearls with you? They are in the car? Yes. Why was I not told? I thought our plan was to mail them to Italy. Our plan is to take them to Italy. Oh, but it is dangerous. We may be stopped by the police. Not if you will drive slowly and carefully. So far as the jeweler knows, these pearls were purchased on credit by Madame Poitier. By the time he discovers I was not Madame Poitier, we'll be across the border into Italy. Where do we pick up Carlos and Olga? Carlos at the hotel Milan. We meet Olga later at the villa. I do not like this. Carrying those pearls, it is too risky. Now, what is the police? Oh, there! Keep your eyes on the road. When I'm driving, you say to go slow. When you are driving, it is something different, eh, Madeline? We are safe here, and I am driving carefully. What did that last sign read? Baronecchia, five kilometers. Baronecchia, that's the Italian border. It must be almost there. Yes. But you may not be so safe when the custom officers search your handbag. It's only the luggage they are interested in. You think so? Oh, well. Be careful, that man on the road. You almost hit that man. He shouldn't stand in the middle of the road taking pictures. Madeline, I just remember. You know who he was, that man back there on the road. Who? The Britisher. The one who bumped into us in Paris. What are you laughing at? You do not see what happened. When you pass him, you drive through some mud puddle. He was covered up from head to foot with mud. That is very funny, no? We are coming into town. Please try to act like a chauffeur, Albert. Oh, yes, madame. Where do we go now? To the customs office. You'll come with me. Form a line to the right, senor. All luggage must be inspected. Ladies will open all handbags, please. A line to the right, madame. You hear, Madeline? They inspect everything today. All the women's luggage. Be quiet. What will you do with the girls? Be quiet, I say. Officer, I'm looking for the owner of that white roadster outside. Sorry, senor. I do not know him. Where is he? That's all I want to know. Where is he? Here, mister. Oh, who are you? We meet again, mademoiselle. I'm sorry I splashed you with mud. It was unintentional. It's quite all right, really. It will still give me to make a fuss about it. Well, you know how these things get you for a moment. Of course. You'll park in your luggage through the customs? Yes. Is this the line? You may go before me if you wish. Oh, thanks, but I wouldn't want it. Oh, it's nothing. I'm not quite ready yet. Well, very well. Who is the next, please? Will you come this way, senor? Right with you. Thanks again, mademoiselle. Madeline, quick. Before they search your bag, we'd better go. It'll be all right now, Albert. But the pearls? The pearl down the Englishman's pocket. What? I put them in his coat pocket when I spoke to him. Are you mad? Now how are you going to get them back again? I'll get them back. I go on alone from here, Albert. I meet him on the road. You'll get in touch with Carlos by telephone. Tell him I see him at the Hotel Milan in two days. I'm happy to drive a Bronson eight. I'm happy and glad and delighted. Delighted to drive. Whoa! Hello there. Oh, good afternoon, mister. What's the matter? Are you stuck? Yes. There's something wrong with my car. I'll have a look at it. Thank you. Let's see now. How did this happen? I bumped over a rock. Must have been an awfully big one. I'd swear that carburetor was hit with a monkey wrench. You can't fix it, mister. Not without spare parts? Well... What are you going to do? I'll just leave it here and send back for it tomorrow. Would you give me a lift? Why, of course. Delighted. Delighted, mademoiselle. I'll put your grips on my carrier. Thank you, mister. Aren't you a little cold, mister? Oh, not a bit, no. Why? Driving so long without your coat? Oh, don't worry about me. I'm all right. Where is it? What? Your coat. Oh, I put it back in my grip. Oh. Nice country, isn't it? Beautiful. You know, I'm glad you had that accident. Are you? Very glad. Do you think our luggage is safe back there on the carrier? Who cares? But I... Don't you worry. I put yours on the bottom. If you hear anything wrong, it's my suitcase. You're not going to worry about it. Oh, that's fine. You know, I'm really lucky. If I hadn't found you, I'd still be standing there on the middle of the road instead of being on my way to Milan. Is that where we're going? We? Sure. I'll drive you there. I am lucky. You're lucky. You mean I am, having you with me. Thank you. You're very charming, you know. Or did you know? Very good, difficult question to answer. You know what I wish would happen? That you would lose your suitcase. I would lose my suitcase. I'll drive the car and be stranded here for ten days without a soul around us. I can't help it. That's my idea of a real vacation. That's it. Look out there. That's Italy. The birds are singing. The sun is shining. And you are probably taking a cold. Is that really what are you? It does. Why? I'm just selfish. If you get a cold, I may get one too, being so close to you. You know it gets colder as it gets later. I'll be a little bit closer if I get chilly. I may even put my hands in your pocket. Maybe I'd better get my coat. I wish you would. All right. With you in a minute. For the tenth time, Madeleine. Where are those pearls? For the tenth time, Carlos, I don't know. You said he put the coat in his bag. He did. But when I drove away and got out to look for the grip, the grip wasn't there. He must have taken it off the carrier before I had a chance to get away. Then that man still has the pearls in his pocket. What did you do with this car? I wrecked it. Why? I couldn't drive a stolen car for Italy. I drove it into a stream and came on by train. But without the pearls. Madeleine, you aren't by any chance double crossing me. Don't be vulgar. Who was this man? An Englishman. That's a great help. What was his name? I don't know. Tom Bradley, I think. You think? Good. What did he look like? He was tall. Well, one more little clue like this and we ought to have him in our hands. Any other distinguishing traits? Well, he seemed to be a man of very good taste. He liked me. Didn't I tell you never to mix love with business? Don't be absurd, Carlos. This man interests me about as much as you do. That should satisfy you. I want to tell you something, Madeleine. I think I've always behaved as a gentleman. And I hope you continue to do so. That all depends. Hello. Yes? This is the Countess de Boperis suite. What? Well, there must be some mistake. You... Oh! Oh, I see. Well, well, yes, of course. Very well. He has asked Mr. Bradley to come up, please. Bradley? He's here at the hotel. He claims to have recognized you as the woman who stole his car. He's complained to the police. And you invite him up to complete the description? We've got to see him. Don't forget, he has the pearls. Now, let's become. All we can get is five years. No, seven. I looked it up. A slip-up now would be fatal. Our stories have got to match. Now, let's go through it again quickly. Who am I? You are my uncle Ponchalambo. How did I get the bullet hole in my ribs? In the battle on the Marm. Who was your mother? Grand Duchess Sandra, who went down with the Lucy Ting. Your father was a Grand Duke Sergei. Killed by the Bolshevik. Good luck, Countess. Good luck, Your Highness. Come in. Good morning. Good morning. So it was you, mademoiselle. What was the idea of taking my car and... Hello. May I ask what this is all about? Oh, this is my uncle Ponchalambo. Bradley is my name. Are you by chance insinuating that my niece stole your car? Yes, I am. That's not true. Uncle, it is true. What? Yes, but let me explain. I don't want any excuses. This is the last of your numberless escapades. I'm going to bring this up to the family council. Oh, you're not going to drag down the family name any longer. You realize what you did? You stole a car. I'll see that the family disowned you. Now, look here, I wouldn't go too far. I must ask you to let me handle this alone. Whose niece is she? Your niece or my niece? Whose car was it? Your car or my car? Let me tell you, my niece is more important to me than your car. And my car is more important to me than... Well, perhaps not. Thank you. Now, look, Your Highness, I'm on my vacation. I'm really more trouble than I've had already. Just give me 10,000 francs for my car and we'll forget the whole thing. And you will cancel your complaint with the police? Of course. Young man, I think your attitude is splendid. I'll write you a check at once. I want to thank you, Monsieur. Oh, never mind that. But why did you do it? You want to hear the truth? Yes. I was very late for a luncheon appointment. I see. But after all, why did you want to leave me in the middle of the road? I would have been glad to drive you. You were going slower and slower. And you know yourself why. It's silly to say, but suddenly I got in a terrible panic. We were alone there. I didn't know you. And before I knew what I was doing, I stepped on the grass. I was really afraid. Of what? Of you. There was no reason for that. I paid you a few compliments. I told you how charming, how lovely you were. And I would still repeat it. But I didn't do anything. But you intended to. I did not. And you had it in your eye. I didn't know it showed. By the way, did you make your luncheon appointment? Yes, but after I got here, I didn't keep it. Would you keep a dinner engagement? For tonight? With me? With you? It may sound very strange. But I've never had dinner with a countess. And I'm afraid you never will. We are leaving today. So am I. Are you going to Florence too? No. Never am I. We are going to our villa down on the coast. If you would care to come, it's my guest. Oh, I see. Your check, monsieur. Oh, thanks. Uncle, I've just invited Mr. Bradley to come with us to the villa. Splendid, splendid. Mr. Bradley will be delighted to have you. But I haven't much with me on the line of clothes. Oh, it'll be quite all right. Just bring the clothes you have now. The ones you had with you in the car. Oh, of course, of course. Well, it's very kind of you. Not at all. I insist, Mr. Bradley. I insist. So do I, monsieur. In a moment, we'll continue with Desire, with Marlene Dietrich, Herbert Marshall, and Otto Kruger. But now, we take you to the coconut grove. It's tea time, and the room is filled with dancers. In the middle of the dance, a handsome couple return to their table, a frown on the girl's pretty face. What is the matter? Let's listen in. You know, Tom, I'm so embarrassed dancing with this hideous run in my stocking. Poor girl. You sure have all the tough luck. Didn't you get a run in your stocking the last time I took you out? Yes. And I've about given up. I've tried all kinds of stockings, but I still have rotten luck with runs. Oh, here come Bella. Oh, Sue. Hello, Tom. All the glues. Oh, Sue's popped another run, and it started on raveler disposition. Oh, is that all? Why don't you join the cut-down-on-run club, Sue? No dues, no initiation fee? Just what? Just toss your stockings and love flake suds after every wearing. I've cut way down on runs this way. Honest? Sure thing, you know. Hmm. Maybe lux is the answer it made in prayer, too. Clever girls do cut down on runs by using lux flakes. Lux flakes are especially made to save the elasticity of the silk. It's when the stocking has lost elasticity that the threads tend to snap and runs start whenever there's a strain. So to avoid the nuisance and expense of constant runs, protect your stockings with gentle lux flakes. You'll be surprised at how much longer your hosiery will wear. Once again, Mr. DeMille. Marlene Dietrich, Herbert Marshall, and Otto Kruger continue in desire. It's evening of the following day. In the living room of a beautifully furnished villa on the coast, Madeline sits by a short-wave radio, waiting for the international news report. She seems amazingly self-contained in view of the fact that Bradley still has the pearls in the pocket of his coat. The news announcer interrupts the music. You will now hear the news of the day from the capitals of the world. Paris, France. The most sensational jewel robbery of a decade. The disappearance of a 2 million franc string of pearls from Duval and company, the famous jewelers, still goes on sale. Madeline turns the thing off. The police report from other capitals. Where are Carlos? I just came in from Bradley's room. He's dressing for dinner? What color was his coat? The one with the pearls? Dark brown. Can't found it. That's the one he's going to wear. How do you know? He has no dinner jacket with him. The brown coat was lying across the bed. You don't think he has found the jewels? I don't think so, no, but we've got to be careful. Madeline, have you any kind of a pearl necklace? Yes. The imitation I bought in Vienna. Put it on. Where is the dinner? Why? Never mind. Now, one thing more. In which pocket of the coat did you slip the necklace? Left-hand pocket. Good. After dinner, I may work a little magic. Well done. Splendid. You play beautifully, Countess. Now you do something, Mr. Bradley. Well, I can walk on my hands. No, please. It's too early after dinner. Uncle, why don't you show us some card tricks? Oh, no. Yes, yes. Why don't you? Oh, all right. By the way, what's that on your nose? Oh, there we are. Silver coin. See? Oh, good. Do you always carry money in your nose? I don't know, but I often pay through it. Do you know any more? Oh, let's see. Madeline, may I have your pearls for a moment? Of course. Here? Thank you, dear. You see these pearls? Now watch. One, two, three. Presto, they're gone. Splendid. Where are they? Would you kindly look in the left-hand pocket of your coat? Well... Well, how did they get in there? I couldn't tell you that, Mr. Bradley. Here are your pearls, Countess. Thank you so much. Well, I hope you've been entertained. Entertained. It's been a marvelous evening. You know, Mr. Bradley, you've had a very strenuous day, and I should think that you would be tired. Tired? Oh, no, no, really. I could stay up a week under these conditions. But, um, but you're looking tired, Your Highness. And it is rather late. Oh, really? Well, then, I'll do my final trick of the evening. Make myself disappear. Good night. Good night? Good night. I think I will say good night, too. Oh, no, no, not yet. It's early. Didn't you just say yourself that it's late? Late for uncles. You look very beautiful sitting there. Don't spoil the picture. All you need is a frame when you would be a masterpiece. Now, you don't even need a frame. All I need is a nice, soft bed. Tell me, why did you really invite me to come here? My uncle thought it would be a nice gesture. Oh, your uncle? He is your uncle, isn't he? What do you mean? Oh, nothing. You see, I have uncles, too, but they're different. My uncles are more like...uncles. You're getting impertinent. I didn't mean it, ma'am. I'm sorry. Please don't be. It's nothing. Thanks. You must realize I've never met anyone quite like you before. You're so new to me, so different. I wish I could make you understand. You do understand, don't you? Countess? Countess, are you asleep? I'm crazy about you. Madeline. Madeline. You don't know how I wanted to call you that. Madeline. I love you. It's hit me all of a sudden. I love you. When you wake up, I'm going to take you in my arms and kiss you. I'm going to tell you, Madeline. Oh, I'm sorry. I was asleep. Did you say something? No, no, nothing. Then you'll excuse me, please. I'm so very tired. Hello? Going for a stroll? You're still up? What are you doing out here? I couldn't sleep. Nervous. Why should you be nervous? I don't know. I didn't know I had a nerve in my body till tonight. Why don't you go to bed and get a good rest? I try to, but that moon, you see him there? Very strong, isn't he? He was shining right into my window. Why don't you draw the curtain? Oh, I see. Turn off the moon. Turn on the moon, just as you like it. Some people can do that more easily than others. I understand. Aren't you a bit hasty, Mr. Bradley? Maybe I am. I'm sorry. You see? Oh, you wouldn't understand. How could you? I've only a few more days and then... back to prison. This is the first vacation I've ever had in my life. A few days and I'll have to be back in London, and all the fun is over. Getting up at six o'clock and working way into the night. Yet I couldn't live without it. I love it, and I hate it. You know, Mr. Bradley, the moon is very becoming to you. I never saw you in this life before. You weren't even listening. Yes, I was. I heard everything you said. Got yourself, London, your work, your love it, and you hate it. Isn't that the way you feel about me? Not exactly. I never said I love you. Liar. When? Maybe I dreamed when I was asleep. Yes, I must have dreamed. Because I heard you say, Madeline, I love you. When I wake up, I'm going to take you in my arms and kiss you. You didn't keep your word. Madeline, so you weren't asleep? Not quite. Then why did you have to go through all this torture? Why didn't you tell me? I wasn't sure if I liked you enough. And now? I still don't know, but I think yes. Madeline, are you awake? Madeline. Oh, good Lord, Madeline, wake up. Yes, darling. Where? Listen, I've had a wire from Florence this morning. I have to leave immediately. I'm going to take this Bradley with me. What did you say? I said I'm going to take this Bradley into town with me. I'll get rid of him there. Oh, in the pearls. I have them. Goodbye, Madeline. Wait, Carl. Carl, I've got to wake up Bradley. Mr. Bradley. Mr. Bradley. Bradley. Wake up, Mr. Bradley. Yes, darling. Well, wake up, please. I'm leaving for Florence. Goodbye. Have a good trip. If you'd like to go with me, I'll be only too glad to have you. It's a wonderful trip. You can see Italy. I can see what? Italy. I've wanted to see Italy since I was a little boy. Well, now's your chance. But I'm not a little boy anymore. Darling, I tell you you're wrong. Darling, you're beautiful, but you're stubborn. Do you know this is the first disagreement we've had? All right. Let's find out. We'll ask the cook. Giuseppe, Giuseppe. Yes, senor? What day is today? Thursday or Friday? Saturday, senor. Saturday. But who have we gone like an hour? Seven days. Seven dreams. Adding up to one dream. Do you remember the first day here, Monday? Do I? And then came Tuesday. And what about Wednesday? What did we talk about? Did we talk? Hmm, certainly. About what? Nothing. Well, let's change the subject. Now I'm going to tell you something really interesting. All about London, all about my work. I wish you would. What didn't really mean it? I wouldn't bore you that way. I'd like to see you at work. I can picture you and overall, really working. And with dirty hands. See, there's no glamour about me. I'm not a king, nor a prince, nor a count. Just an ordinary citizen. Very ordinary. A 20 pounds a week man. That's a lot of money for me. What's the matter? Saturday. Our dream is almost over. When must you go? Monday. Must you? Yes. Don't let's talk about it. Let's hope something will happen. Something must happen. I can't leave you. I dare not see you anymore. I can't even think of it. Countess, pardon me. Yes, Trezette? Your Aunt Olga has arrived. Oh, where is she? In the house, Countess. Will you excuse me, Tom? Of course. I won't be long. Don't be pleased. Olga. Hello, Madeline. Why did you come? That's a fine way to greet a sweet old lady. Why don't you bust me in the nose? What do you want? You shouldn't talk to me that way. If your grandmother came here, what would you do? Why, you'd offer her a brandy, of course. Straight? Please. Brandy's the only thing I am straight about. Did Carla send you? Yes, and he's pretty sore at times. I don't care. Now, come on. Now, you could have answered his wires. They really need you in Florence. There's a great chance of selling the necklace. We found a sucker, a sucker of the century. He's a big umbrella manufacturer. So we thought we'd put a little sunshine in his life and introduce you to him. I'm afraid you'll have to find someone else. I'm not going. Not going? No, I'm through with you and Carlos and all the others. Really? Carlos, why didn't you stay in the car? You promised to let me handle her. I'll do it myself. Madeline, before I tell you what I plan to do with you in case you refuse, I want to compliment you. You look more beautiful than ever. Love must be a wonderful thing. It is, Carlos. It gives one strength and courage. Something to fight for. I have something to fight for, too. Now go and pack, Madeline. We're leaving. Yes, but in different directions. No, no, in the same direction. Come back here. Let me go. Oh, no. Let me go. Why don't you call for help? Why don't you call your friend? He's right outside. Why don't you bring him here? Why don't you tell him what you are? Or perhaps you'd prefer that I tell him. No. That would hurt, wouldn't it? Yes. Well, think it over, Madeline. Think it over carefully. Sit down, Madeline. Here, dear. Why can't he let me alone? Why can't he give him my chance for happiness? It's real hysterious, isn't it, between you and this Bradley fellow? For the first time in my life. Don't... He must be a nice young man. Where is he? I'd like to meet him. Don't you dare. If anyone is to tell him, I'll do it myself. Oh, no, you won't. You think you will, but you won't. I tried it once myself, and it won't do, my dear. What difference does it make? I love him, and he loves me. That's just the point, and it won't do, believe me. Please go away. Leave me alone. Some years ago, I was sick in a hospital in Vienna. There was a charming doctor. He was a fine man. We thought a great deal of each other. And I used to dream, as you are dreaming now. And then, right in my dreams, I'd feel a hand falling on my shoulder. Sooner or later, it falls. Sooner or later. And I used to hear myself saying to him, I must go downtown on important business. I'll be back soon. And then, under my breath, I'd say, soon, 10 years, 20 years, life, I dream of him now and then. I didn't spoil it. Well, what are you going to tell him? I don't know. I'll find something. Madeline. Woodham, come here. I have something to tell you. Wait until you hear what I have to tell you. Do you know what this is? It's a piece of paper. That's what you think. But it isn't. It's King Solomon's minds and Captain Kid's treasure. It's a gush of oil. That's what it is. Please listen to me. Take care. You see these two lines? These two little lines? Yes. Well, I spent years looking for them. I've told you about my new carburetor. I had ideas for it. Good ones. Everybody liked them. But there was one little thing to make it practical, and I couldn't find it. And now I've got it. These two tiny little lines make all the difference in the world to the carburetor. And maybe to me and to you. What do you say? I'm so happy you found it. Now you are a real inventor. And you will be a great man. I don't care about that. We'll be famous. I'm happy. Is it a go, darling? Will you marry me? It would be wonderful. It would be. It will. It can't be. Madeleine, what is it? I have to tell you something. Now, what is it? I don't know how to say it. I should have told you before. Tom... I'm married. Married? That's impossible. It's true, Tom. It can't be. It is. I don't know what to say. I can't believe it. A few minutes ago, you were telling me... I just talked to my aunt. She has nothing to do with us. She has, Tom. She brought me down to Earth. She made me see reality. Reality? We love each other. That's reality. No, Tom. It's a dream. And I'm afraid it'll have to remain one. You mean we have to separate? Never see each other again? Believe me, Tom. It's best for you and best for me. But let's be grateful. We had a gorgeous week together. Seven heavenly days. Seven dreams. A beautiful adventure. I see. Well, that's what I was looking for when I started out. And I got it. A beautiful adventure. Turn on the moon. Turn off the moon. All right. We'll turn it off. The cause for station identification. This is the Columbia Broadcasting System. This is KNX, the Columbia Station, Los Angeles. Marlene Dietrich, Herbert Marshall, and our all-star cast come back to us shortly in Desire. Years ago, when my friend D.W. Griffith and I were fighting it out on a Hollywood battlefront in an effort to raise motion pictures from a novelty to an art, we suddenly realized that a young man was emerging in Europe who might easily steal the prize for which we were struggling. It occurred to Adolf Zucker and Jesse Lasky that the best way to avoid the competition of Ernst Lubitsch was to get him on our side. At the time, too many things stood in the way. For today, I'm proud and thankful that Mr. Lubitsch is one of my colleagues at Paramount Studios. Starting as a comedian, character actor, and stage player, Ernst is now certainly one of the most brilliant directors in the world. Ladies and gentlemen, Mr. Lubitsch. It's not only a pleasure to be here at CB, it's also very helpful. While I produce the film version of Desire with Miss Dietrich, I never had the good fortune to direct her. But since tomorrow morning, I start directing a new picture called Angel with Miss Dietrich and Mr. Marshall. I naturally have been watching their performance very closely. I'd be very happy if I can turn out as fine a production as you are presenting tonight and as you do every Monday night at the Lux Radio Theatre. And thank you Ernst. For several years, you with Paula Negry and I with Gloria Swanson were trying to outdo each other. This time, at least, we're working with the same charming stars. I'm interested to see the result of the famous Lubitsch touch. So am I. What is it? It's the delicious humor at the inimitable touch of Lubitsch genius. It's what Phidias gave to a statue, what Rackham gives to painting, what Victor Herbert gave to his music, what Balzac gave to literature. Who can define it? It's just the Lubitsch touch. Well, I'm afraid if I ever become conscious of it, I would lose what you call the Lubitsch touch. Ernst, what's your definition of a good director? Well, you and I and few others. That's very nice, but seriously, what is a good director? A good director is a man who can execute successfully what other people have written for him. But a great director is a man who helps in the creation of the story and tells it in his own unique style, putting his own personality into the telling of that story on the screen. Tell us what procedure you follow in directing a film. Well, I understand that we both use the same methods. I never start shooting until I've worked out every detail at my desk. I believe that the story is all important and, like you, I write with the writers. This business of solving anticipated problems takes much more time than actual shooting of the picture. On the set, I try to encourage the cast at all times. The stage actor has the benefit of audience reaction. In pictures, he has only the director to look to. I have found that the more encouragement I give the players, the better they perform. Well, I know it's a rule with you never to disclose the story of a new picture. Will you make an exception tonight? Yes, to this extent. Ms. Dietrich will play the part of a modern married woman known as Angel. Whether or not this is a misnomer, you have to decide for yourselves when you see it. Mr. Marshall is a British statesman and our scene will be Paris and London. Melbourne Douglas, Edward Edward Horton, Herbert Norton and Ernest Cossack will also have prominent parts. I enjoyed producing pictures tremendously, but I'm delighted to return to directing. After all, the thrill is not alone in conceiving ideas, but in having the director's opportunity to interpret and follow them through. My thanks to you all. My thanks to you, Ernest. He gets things in a picture and nobody else can get them. Back to Marlene Dietrich with Herbert Marshall in Desire, featuring Otto Kruger. It's late the same afternoon. As the daylight fades into evening, Tom comes from the house and walks quickly toward the road. As he reaches the outer gate of the villa, Madeline comes to meet him. Tom, wait. Well? Aren't you going to say goodbye to me? Of course. Goodbye, Madeline. Is that all you have to say to me? What else can I say? You hate me, don't you? No, why should I? You remember when I first met you on the road? I took you for a ride. And now you've taken me for a ride. It's only fair. Tom, these are our last moments together and the way we'll always remember each other. You can't leave me like this. You can't. I'd die if you do. Don't worry. You'll live to make trumps out of a lot of other men. Give my regards to your husband and tell him I'm sorry for him. Wait. I can't let you go like this. Tom, I lied to you. Not a word I said is true. That's not news. Oh, you don't understand, Tom. I have no husband. I'm not married. What? What did you say? The truth, Tom. I don't know what to believe anymore. What is the truth? I love you. That's the only true thing you know about me. Who are you? What are you? I'm a thief. What? Not a countess, an imposter, a common thief. You read about the big theft in Paris. The pearl necklace. I did it. I swore I wouldn't tell you, but I'm glad now I did. I couldn't let you go away thinking I was something even worse than I am. Goodbye, Tom. Wait a minute. Madeleine. Is that your real name? Yes. Let me get this straight. You're not married. No. There's no one else, no other man. No, Tom, I told you. And you love me. I do, Tom, but there's no use. There's a wall between us. I tried to climb it, but it's too high. It won't do, Tom. Go away. Run away. You rarely love me. How can you ask? Then it's all I need. Madeleine. Tom, we mustn't. You know what I am. I'm not worthy of you. I'm a thief, Tom. Don't be again. Where are those pearls now? We're going to give them back. Leave, Tom. I beg you. Don't get into this. Where are those pearls? Madeleine. Madeleine. Where are you? Oh. Good evening, Your Highness. You know I almost left without saying goodbye. Really? Well, goodbye. Oh, but there's no need for it now. No, I'm not leaving. What? I'm invited, Mr. Bradley, to stay for dinner. Oh, indeed. But I'm afraid you'll miss your train, Mr. Bradley. Now that's the kind of hospitality I like. Mr. Bradley, the truth is, I'm sure you'll understand, we have some very serious family problems to discuss. No, that's all right. Don't think of it. Just consider me one of the family. Shall we go into the house? Uncle Carlos? Some more chicken, Uncle Carlos? No. Aunt Olga? No, thank you. Mr. Bradley. Thank you. It's delicious. You know, this is a sort of farewell dinner, and I really think we ought to have a toast. What would you suggest? Well, I want to drink first to my hostess, who first told my car, and then stole my heart. My car was insured, and my heart wasn't. Then I think we ought to drink to Aunt Olga, because I understand she's been ill. I? Yes. I heard you were very ill. About 35 years ago, in Vienna. Oh, I see. You made a mistake, Aunt Olga. You should have told that doctor. If he had really loved you, he would have helped you over that wall. Oh, why, I... How about some cranberry sauce? It goes very well with a fricassee of chicken. Uncle Carlos? No, thank you. Tell me, Your Highness, you're a man of great experience. You usually know what's coming next. Do you think there's going to be a war? Hmm. I hope not. I'm always in favor of peace, but if the situation is at the moment with nobody minding his own business, you never can tell what will happen. How about some more cranberry sauce, Aunt Olga? A little, please. You know, Your Highness, I was just thinking of some power tricks you once showed me. They were awfully good, but I think I can show you one of the tops you've ever seen. Now, you see this trick on my fork. Now, watch. One, two, three, presto. It's gone, isn't it? Where is it? In my stomach. That's what you think. But it isn't. It's in the inside pocket of your coat, and it isn't chicken anymore. It's changed into a string of pearls. That's marvelous. I can hardly believe it. Now, let me see. Yes, you're right. It's in my inside pocket, but it didn't change into pearls. It changed into a revolver. Carlos, put it down. You see, Mr. Bradley, it's a better trick than you even thought. Carlos, don't. Now, Mr. Bradley, I'm going to lock you up in a nice, cool cellar for two or three days without life and brunt and apes. In other words, I'm giving you back to the automobile business. Those are your plans, Uncle Carlos? Exactly. But suppose I should upset them? Mm-hmm. All the table. Wait! You drop that gun. Oh, drop it! Ow! Pick it up, Madeline. I haven't. Good. Sorry I had to twist your arm like that, Uncle Carlos. Now, you can do one more thing for me. That pearl necklace. Really? Please, Carlos, we must have it. Our whole happiness depends on it. You dirty double-crosser. Well, you won't get it. No. Then I'll have to do my final trick of the evening. You see this hand? Now it's a fist. The fist is still in my hand. When I count three, that fist will be on your jaw. One, two... Wait! One moment. Eh... Suppose we... talk this over. Blended. Shall we sit down? We're happy to drive a Bronson 8. We're happy to drive... Tom, this isn't a Bronson 8. What's the difference? We're happy anyway. Have you got the pearls? My pearls. What was the jeweler's name? Monsieur Duval. Monsieur Duval. Oh, Tom, do you think you'll take them back? Definitely. Yes, but... will you let me go? We're happy to drive a Bronson 8. We're delighted to drive a Bronson 8. We're glad to drive a Bronson 8. Monsieur Duval. Monsieur Duval. Yes, Anton? There's a lady here to see you and the gentleman. Show them in, then. But... the lady, she is the one who stole our pearls. What? Oui, Monsieur Duval. Quick! Show them in. Then go call the police. Oui, Monsieur. Will you... will you come this way, please? Thank you. How do you do, Monsieur Duval? How do you do? May I introduce my fiancée, Monsieur Bradley? I'm glad to meet you, Monsieur Duval. I've heard so much about you. It's just like meeting an old friend. We came to see you about the pearl necklace. Pearl necklace? Do you intend to... buy another one? On the contrary. You see, the pearl necklace which you sold mademoiselle is very beautiful, but it's too expensive for us. I'm afraid we'll have to return it. You have it with you, dear? Yes, darling. Monsieur Duval, would it upset you very much if I asked you to take it back? Well, I... If you return things, it's not my habit. But I've changed my mind. As a matter of fact, I've changed my life. I'm marrying Mr. Bradley this afternoon. That is, I hope I am. Here are your pearls, Monsieur. The pearls, you... you keep them back, too. Monsieur Duval, I know my fiancée is indebted to you and even to France. And if you could see any way to help us to release mademoiselle from her obligations, it would be very wonderful. Otherwise, we'll have to postpone our marriage for a long time, I'm afraid. Seven years, seven long years, Monsieur Duval. You are very much in love. Very much, Monsieur. Monsieur Duval, Monsieur Duval, the police, they are here. Police? One moment, please, Antoine. Monsieur? Tell the police. There has been a mistake. The pearls were not stolen. Monsieur? Tell them, Antoine. Monsieur? Oh, thanks, Monsieur Duval. It is nothing. The pearls were, shall we say, temporarily mislead. There will be no complaint. I think you may safely buy your tickets for England now. We will. And be assured, Monsieur Duval, that when I'm in England, I recommend you to all my friends. Oh, please don't! Just as you like. Goodbye, Monsieur Duval. Goodbye, Monsieur. And thank you. Goodbye and don't worry. Oh, Tom, I'm free. Darling, turn on the moon. Turn on the moon. For good, Madeline. And forever, darling. A little later, we'll hear more from tonight's stars. But now we drop the curtain on our play, hoping that every desire may be as pleasantly fulfilled. It's not news when dogs bite men. No, when actresses come to Hollywood to go on the screen. But the story is different when an actress comes here to stop acting. Formerly in the Ziegfeld Follies, musical comedy and stock companies, Miss Kaye Roberta Williamson journeyed to the film capital to become hostess of the Hollywood link of specialty shops operated by iMagnon & Company. Ladies and gentlemen, Miss Williamson. Thank you, Mr. DeMille. Whenever the stars come to Magnon's & Rose, we know that some party or social event is about to take place. Any number of evening downs, wraps and furries are purchased for the recent ball of the Los Angles Turf Club, winding up the season at the Santa Anita track. The other day, Ginger Rogers gave a big roller skating party, which ranked with We Were Busy from morning till night, sitting the stars in play suits, shorts and little jackets. When the stars come to iMagnon & Company, I know they have splendid collections to choose from. Suppose you tell us who buys what. The policy of our story doesn't permit that, Mr. DeMille. But you may be interested to know that your daughter Catherine just bought a bathing suit from us. Yes, it interests me considerably, Miss Williamson. I just received the bell. Anyone who wants to get an idea of what the stars like and close can find out right here in the Lux Radio Theatre. It's been my good fortune to see many of your broadcasts. And in doing so, I've also seen a real Hollywood fashion parade. Tonight, for instance, there's Marlon de Dietrich, proving that a tailored suit can be decidedly feminine. She is wearing a black tailored gabardine suit with a white Georgeette blouse. On her recent appearance here, Jean Hawthorne chose a crate dress as vivid hunter's green. Her bullet hat was a variation of the Cossack Tocque, while her fitted coat made of the same fabric was worn with a pair of cross foxes. Jean Harlow also wore a crate. Her short sleeve, simple black dress was primed only with rows of narrow black silk fringe. She wore a halo off the face hat, no veil and black suede opera pomp. Of course, we all can't have as extensive wardrobe as Picture Stars, nor do our needs demand them. But we'd all do well to take care of our washables the Hollywood way, which is just another way of saying, with Lux Flakes. Now my experience has been that by using Lux Flakes, I can keep clothes looking like new, just about twice as long. By that, I mean dainty, fresh-looking and appealing. Lux protects colors wonderfully, and for silk stockings, there's nothing better. There's something about Lux Flakes that preserves the elasticity of silk threads. This enables them to give under strain, instead of developing runs so often, it makes them last ever so much longer. My recommendation is based on experience, the same experience that finds the wardrobe departments of all the Leading Hollywood Studios using Lux Flakes. Holidays and birthdays bring the leading gentlemen of the screen to our store for gifts. Herbert Marshall and Otto Kruger, Gary Cooper and Mr. DeMille are favorites of both girls. Typical of Hollywood, they're very discriminating, and know exactly what they want. Thank you again, and good night. It's a pleasure to have such a charming hostess for a guest. And now, a bit of dialogue in Demitas from our celebrated players, Mr. Herbert Marshall, Mr. Otto Kruger. Many thanks, CB. Though it's a little late for a welcome home auto, I'd like to say that it's nice to see you back in America. Thanks, Bart. Great being back. When I arrived in Hollywood from England last week, I found my manager on my doorstep. Before I could take my hat off, he told me that Mr. DeMille and you and Ms. Dietrich were waiting for me here to start rehearsing our play. Of course, I came. I didn't know even what play we were doing, but I didn't have to know that. We've learned that any play in the Lux Radio Theater is bound to be a good play. It must have been something of a shock auto to find that I'd cast you as a villain. Yes. Yes, rather agreeable shock, though. In spite of the fact that this was the first of more than 300 productions in which I didn't get the girls. But it's always a pleasure to lose to Bart. You've nothing on me, auto. Mr. DeMille gave me a new role recently when he asked me to guide this broadcast while he was roaming the Louisiana Swamplands, seeking material for his new film, The Buccaneer. How did you like playing producer? I was never so terrified in my life. I would much rather have faced The Buccaneer than to have played the role of Herbert Marshall trying to be Cecil DeMille. Did you hear me, CB? Yes. I managed to reach a tiny store down there among the Bayous in one of the most isolated sections of the United States. The owner had a radio and I took possession of it immediately. Strange though, you know, every time you came on, something seemed to go wrong with the set. There was a peculiar noise like a thumping on a door. That wasn't the set, CB. That was my heart. Well, you sounded great, Bart. And I must say, I was particularly impressed when a grizzled shrimp fisherman, not knowing who I was, turned to a friend and remarked, hmm, that's DeMille. He's getting better all the time. All I can say to that is my gratitude to you out there who bore with me. My gratitude and once again, a reluctant au revoir. To which I can only add a very sincere ditto. Thank you both. And now, Marlene, a word from you. Not one, but five. Thank you. And good night. Thank you, Miss Dietrich, Mr. Marshall, and Mr. Colbert. This is your announcer, ladies and gentlemen, Mel DeRue. Word of next week's presentation comes to us shortly for Mr. DeMille. Miss Dietrich, Mr. Lubitsch, and Mr. DeMille appeared through courtesy of Paramount Studios. Mr. Marshall, RKO, and Columbia Studios, and Mr. Silver's 20th Century Fox, where he was in charge of music for the new film, Seventh Heaven. And now, Mr. DeMille. Next Monday night in the Lux Radio Theater, Good Fortune finds me host to one of Hollywood's most charming and accomplished couples, Frederick March and his lovely wife, Florence Eldridge. Our play is one whose record on the stage and in motion pictures stamps it as one of the most successful stories in modern times. We will hear Mr. March in the same role he played on the screen, Prince Circe and Miss Eldridge as Grazia in the remarkable romantic fantasy, Death Takes a Holiday. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Frederick March and Florence Eldridge in Death Takes a Holiday. This is Cecil B. DeMille saying good night to you from Hollywood. Where George is from as Albert, Ward Lane is Mr. Gibson, where Dan Amunier is Mr. Duvall, Victor Rodman and San Tuan, Leo McCabe as radio announcer, Lou Merrill as Giuseppe and Frank Nelson as customer's officer. Before saying good night, may I say we were honored this evening by a most distinguished audience including Mr. Frederick March, his celebrated wife, Florence Eldridge and Miss Kay Johnson. This is the Columbia Broadcasting System.