 Hollywood, California, Monday, January 25th. The Lutz Radio Theater presents Jeanette McDonald and Melvin Douglas in Tonight or Never with Louis Albertini. And Hollywood are stars Jeanette McDonald, Melvin Douglas and Louis Albertini. Our guests, Mary Garten, world-famous operatic star and Marcela Knapp, casting director. Our producer, Cecil B. DeMille. Our conductor, Louis Silvers. This program comes to you with the good wishes of the makers of Lux Toilet soap. On whose behalf, I welcome you all to Hollywood and the Lux Radio Theater. Oh, a word to the ladies. Sometimes housework leaves you not only pretty tired, but feeling sort of oh, what's the use? You don't feel attractive and you scarcely expect to look at. Just try this, will you? Relax for a few moments in a hot Lux Toilet soap bath. You'll find it peps you up amazingly. Leave skin smooth and delicately fragrant. A wonderful way to protect daintyness. Keep skin really sweet. A luxurious, refreshing duty bath at a very moderate cost. You'll love it. And now, the producer of the Lux Radio Theater, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. David Bellasco's play and Jeanette McDonald's first film appeared simultaneously on Broadway Tonight, the play and the star appear simultaneously on the air as the Lux Radio Theater presents Miss McDonald in Tonight or Never. Jeanette comes from Philadelphia, but her voice has nothing in common with the Liberty Bell. She can hold a high sea for 55 seconds without cracking. She's further distinguished because she has one of the smallest and daintiest pairs of feet in the film colony. Red hair and blue eyes, like practical jokes, own six dogs and once refused to sing with the Metropolitan Opera Company. In the case of Jeanette McDonald, this was complete irony. For years, her greatest ambition had been to sing Grand Opera. Then, when the gentlemen who ruled the Metropolitan finally invited her to sing Lobbo-Aim, she found that her picture contract would not allow it. However, it's not unlikely that we shall hear her at the Metropolitan soon. Meanwhile, she will appear on the screen in Metro-Goldman Mayor's Maytime, in which she's again starred with Nelton Eddy, and tonight on our stage as Nella Vargo. Melvin Douglas will be the young man who likes to give violets. It was he who created the role in the Bellasco production. One-time piano and dry goods salesman, gas meter inspector and elevator operator, Mr. Douglas has been a dramatic teacher and star of many Broadway successes, several of which he directed himself. He's been highly praised for his performance in Theodore Argo's Wild, and his next picture is Metro-Goldman Mayor's Captain's Courageous. Louis Albert, whom you've seen many times on the screen in similar roles, will be heard as Rudig, the music teacher. Ladies and gentlemen, the Lux Radio Theatre now presents Jeanette McDonald and Melvin Douglas in Tonight or Never with Louis Albert. The opera house and the curtain has fallen on the last act. And the applause of an appreciative audience is echoing through the old theater. At the stage entrance, a well-dressed young American pushes his way through the crowd of opera-goers. He's trying to reach the wing backstage, but the doorman blocks his way. Yeah, here you can go in there, Monsieur. No one is allowed backstage after the performance. I'd like to see Miss Vargo, please. She's expecting you, Monsieur? No, but... What name, please? Well, my name's... What doesn't make any difference? You see, she doesn't know me. Oh, then you cannot go in. Miss Vargo never sees anyone. She doesn't have to see me. I just want to see her as she comes off the stage. I'm sorry. You want to see her? You buy a ticket for the opera. I did. I just saw the performance. But I'd like to see Miss Vargo up close. You know it. Up close? Yes. Well, next time, buy a better seat. I'm sorry, Monsieur. Oh, Madame Vargo, you were wonderful tonight. Was I? Yes, Madame. Take this show, please. Yes, Madame. Any flowers, Emma? A dozen bouquets. A dozen? That or? Last time I sang this opera, it was two dozen. Oh, well. It doesn't matter. Yes? Good evening. Oh, come in, Rudy. Thank you. Well, how was I? All right. All right. A little weak on the high notes, but fair. Well, if I'm weak on the high notes, why don't you do something about it? You're supposed to be my teacher, aren't you? We will, my dear. We will. We will practice all day tomorrow. You are not singing tomorrow night, no? No. You sing again this week? Tosca, Thursday. Ah, you sang very badly in Tosca last week. No life, no tone. Well, I put everything into the performance I could. When I got home, I was so tired I sat for an hour before I could even think about taking off my hat. Ha, ha. You mean you died after I was tired from breathing. But is your heart ever tired when you finish a performance? No, because there is no heart in it. You haven't got a heart. Why haven't I a heart? I feel everything I sing. Ah, you have no feeling in your entire body. Men fall in love with me. You can't deny that. No. But do you fall in love with them? Also no. Have you seen your Albert lately? No, not for a week. Why? Oh, no reason. He's been away. Yes, I heard. How long have you been engaged now, Nella? Three years? Oh, does it make any difference? Well, it is a long time, Nella. A very long time, especially for such a young lady. Oh, Madame. Madame. Yes, Emma. Madame. The young man was here tonight. You mean? Yes. Again. Again, Madame. The doorman told me that he tried to come back to see you right after the performance. You see, Rudy. There's a young man who really appreciates me. He's been at every one of my performances for the last two weeks. Who is he? I don't know. He comes and sits in the third row, second seat off the aisle. That's all I know about him. Thrilling and away. Three nights ago, he said Madame was some violinist. Violet? Very simple taste, he has. I wouldn't expect you to understand, Rudy. The young man is an opera lover. Perhaps violets are all he can afford. Yeah, violets and third row seats in the orchestra. They don't match somehow. Go get out, please. Very well. I will see you tomorrow, Nella. Yes, come to the house at four. Better make it at three, my dear. We have a good deal of practicing to do. All right, three. But come on time. I have to wait a minute for you. I won't practice at all. You understand? I understand, my dear. Goodbye, my dear. That's all, Rudy. Just a little. You aren't very enthusiastic. How can I be? Astatowska. And last night. Oh, I'm very sorry. You were very, not very good, Nella. Oh, really? With a critic speak of my voice, as an organ of the purest... So? Oh, I'm not conceited. I'm simply quoting as an organ of the... Well, that's just the trouble. It is nothing but an organ. It is as cold and passionless as a nice box. But it is a voice. And someday, when you have learned to... to leave and suffer a little, then you'll sing. Suffer. Now you want me to suffer. Now listen to me. You were off-pitched twice a Tuesday. And they were a very, too, very sour note. You never heard me sing a sour note in my life. My pitch is as clear as... Oh, you made me perfectly wretched this afternoon. You're malicious. Too sour notes. Madame! Madame! Yes, what is it, Emma? Madame, Madame, he's working past the house again. Oh, let me see. Quick! Pull the curtain open, Emma. Oh, be careful. Don't let him see you. Oh, he's good-looking, isn't he? Let me have a look at him. He's panned. I like that. Oh, good figure, hasn't he? Oh, so that who he is, eh? He works so slow. He just hates to pass the house. Eh, schoolboy exhibition! I wonder why he doesn't turn card wheels to attract your attention. Oh, I think it's delightful. It's romantic. I wonder who he is. I know who he is. You would. Emma, watch from the dining room window. See if he comes back and let me know. Yes, madame. Uh, Rudy, tell me about the young man. All right, but you won't like it. I sat next to him at the Hotel Royale Café yesterday. He was with, uh... I know with a woman. Well, that's not a crime. Uh, was she pretty? Ah, she was awful. Bull! A sight! Well, his mother, of course. But you can't give up your mother because she's old and a sight, can you? Wait until you hear. Do you remember that ancient ruin we saw in Calv's bar last year? Yes. The old castle? No. The old woman. A very notorious one. Once a prima donna. The Marquesa... Oh, no. What are the devil's western names? The Marquesa San Giovanni? That's the one, enormously wealthy. Well, what about her? They're engaged. She and your young man. What? Why, she's twice his age. Who told you such a thing? I didn't have to be told. They called each other darling, sweetheart, every other word. I don't believe it. Why, he'd be no better than a gigolo. I said you would like it. Well, I don't believe it. Oh, well... I'm sure you're mistaken, Rudy. But I tell you... Don't be quiet. I don't really hear any more of your nasty scandal. We'll go on with our work. What? I don't want to sing that. Well, what would you like to sing? Nothing. For heaven's sake, Nela, what is the matter with you? First, you want to sing. Then, you don't want to sing. Then, you want to sing again. Oh, let me alone. Nela, what is wrong? What has happened to you? That's just this. Nothing ever happened. I get up, breakfast, practice with you, have lunch, practice again. Oh, I'm so tired of it, Rudy. I'm so bored. But you have your career. You should leave in the roles you sing. Come, come now. Tosca, let's begin with La Luna Piana. And put your soul into it. Your soul. I can't. I can't. Nela. Do you know what that thing means? It means that my lover will be waiting for me. For me. It means that if we're going with Villa, we too, all alone. The moon's out. The whole night smells of flowers. The sky's starry. We're thrilled to our very soul. Yes, yes. It's an exquisite vision of love. Yes, yes. But no one ever carries me off with Villa. No one makes love to me by moonlight when the whole world smells of flowers. I'm never in love with anybody. I don't know anything about love. How can I sing of it? Oh, nothing ever happens to me. I'm the only woman on the stage nothing ever happens to. I might as well be dead as alive. Well, well, you have his excellencies to console you. Oh, well. If you think Albert von Groneck is a consolation, I don't. What does he know of love? Nothing. I've hardly ever seen him anyhow. And I know why. Wait here, girl. No, you needn't pretend. He's been running around with that matey Linden again. That croaking Nipso Soprano. Well, let him. You think I care? Madame. Madame. Young man is back again. What? He's just passing the house. Oh, dear. Oh, quick, Emma. Will you be still? Nella, please. We must work. Oh, very well. Emma, we pay no attention to him. Yes, Madame. I will sing. Please something, Rudy. Something gay. Something light. Yes. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. Yes, ma'am. And you never guessed. The vase, it fell off the table. Madame, look, flowers. Young man throws flowers into the window. Oh, let me see. He ought to be more careful of his aim. He'll be breaking everything in the place. Violets again. They're probably crippled on the car. Of all the imprisons. Listen, listen. The song was exquisite. I hope it was meant for me. Oh, how charming of him. Hmm. How sweet. Especially coming from a Giga law. Oh, Rudy. Get out of here before I scratch off your eyes. No, I was just leaving, my dear. And don't come back. That's all right, I was just leaving. Thanks. Hello. Quite a while since I've seen you, Albert. Yes, well, business, you know. Now, I passed Rudy out my way in. He was sitting in the hall. Rudy? I sent him away an hour ago. Delicious. Boof. Darling, you seem upset. I am. Where have you been, Albert? Oh, here and there. Are you taking me out tonight? Well, no. Why not? Now, darling, don't be upset. It's business. Yes, yes, go on. There's a man in Paris, Monsieur Corrier. He's a scout for the Metropolitan in New York. And I mean to make a point of meeting him. Will that take all evening? Perhaps. You see, he travels in Cognito. It ducks in and out of the opera here, signing up singers. I want him to hear Tosca and Samson and Delilah. Oh, how nice. That means he'd hear me and Tosca and Maddie Linden and Samson and Delilah. My dear girl. Albert, I've had enough. Are you or are you not in love with Maddie Linden? Well, look here. Let's talk sensibly. I'm not going to lie to you. That would only place me in an undignified position. Now, my dear, I will admit that my acquaintance with Linden has not been entirely official. There. Now, you see how frank I am? It's true, then. It is Linden. Now, my, don't, you don't in. You don't tend to break with her, then, I suppose. No. And you, with your common sense, your good common sense would understand. Of course. Must I explain to an artist like you that a little flirtation of this sort means nothing? Absolutely nothing? Well, can't you see that my position is unbearable at the opera house? They call me the eternal fiancee. Opera house gossip. Who can stop it? You can. If you mean our marriage, my dear, I'd ask no greater honor. But I'm not free to consider my feelings. Certain members of my family are narrow-minded, prejudice. I must give them time to accustom themselves to the thought of an opera singer. Haven't they grown accustomed to the thought in three years? Patience, dear Nella, a little more patience. Patience. Patience. What would you say if I had a little flirtation? You couldn't do it. Why couldn't I? Because you're a monogamous little angel. And that's why I adore you. Now, if you adore me so much, then break with Linden. What again? You must. If you don't, I shall also consider myself to be free to, to, to do a little flirting myself now. What do you think of that? Please don't cry. I never could stand to hear. I'm not crying. Do you intend to give up Linden? No, I don't. Very well, then. Get out. Get out. Nothing could hold me here. What I do is my business. Not yours. Goodbye. Oh, Nella, Nella, what is wrong? Oh, be quiet. Can't I smash one of my own bars as if I feel like it? I'll smash whatever I like. Nella, please. Don't think I love him. I don't. I hate him. Oh, Mamma Mia. He's humiliated, but I won't be humiliated. I won't. Put down that lamb. Very well. Oh, Nella, Nella. Do you know what's happened? It's Albert. He won't give her up. And I am to wait until he grows tired of her. But I won't. I'll have a little flirtation myself. Rudy, where does this young man live? No. The one who sends me violets. He must be in love with me. And his handsome footed he live at the Hotel Royal? I think so, but Nella, Nella. Nella, Emma, lay off my new skull and the fight one. Yes, madame. And all my jewels. No. Yes, madame. And my latest perfume. What are the calls? Oh, yes, tonight or never. I'll use that. Rudy, call the florist. Order gardenia. There doesn't. No, two dozen. Emma, come here. Yes, madame. Order a taxi to be here in ten minutes. Please, please. But what about the villa, madame? Who feed it to the cat? Who doesn't intercede? Tonight my heart's hungry. How much are gardenias, please? Order a lock. I want the fragrance of the flowers to be overpowering. Adventure is just around the corner. Romance, magic. Oh, oh, how I've dreamed of it long for it. Live for it. Nella, gardenias are terribly expensive. Allure the six. Six? Here I am starting for paradise. And you expect me to economize on the trip. I'm Jeanette McDonald and Melvin Douglas. Meanwhile, let's go over to the RKO lot just a few blocks away. In a small darkened room there, we can see some rushes. Scenes from the new movie being run off to see if they're OK. Two girls are sitting a few rows from the back. Let's listen. There I am. That's me on the black bike. How can you tell? I can't even see you. You'll see me all right. Wait till the close up. Oh, there you are. You look well. Doesn't the close up make your face look big? Gee, it's lucky your skin is so nice. If you had any blemishes, they'd look a mile wide. Yes, even tiny blemishes would show up big in movie close ups. No wonder screen stars guard so carefully against cosmetic skin. Dumbness, tiny blemishes, and large pores. No girl wants to risk them. Use rouge and powder all you like. But to remove them thoroughly so they won't choke your pores, use luck toilet soap. This is the soap with active lather. The soap that nine out of 10 screen stars use keepskin lovely. It's popular in Hollywood with thousands of girls everywhere because it brings results. Be sure you use it. And once again, Mr. DeMille. Tonight or never, starring Jeanette McDonald and Melvin Douglas with Lillie Albani. Determined to find romance, Nella is growing indiscreet. We discover her now in the lobby of the Hotel Royal, where she has gone to find the mysterious young stranger. As she approaches the desk, the clerk leans forward for lifeline. Is there something I can do, Madame? Yes. Is there a young man stopping here about so tall? Very good looking. Why, Madame, what is the name? Well, I don't know. Then I'm afraid I can't help you. Wait, the marquee is San Giovanni. Is she here? Yes. Well, does a young man with her? Oh, yes, yes, yes. They have a joining suite. That's the young man I mean. I see. What is the number, please? 4881 and 82. Shall I have a boy take you up? Oh, no, no. No, I just wanted to know. I'm not going up. Thank you very much. Thank you. Strange. Hello. Collect me with Suite 480, please. Yes, Suite 480. Yes? Yes? Are you sure it is? Oh, I see. Yes. Thank you. Who was that? The clerk. He says a young lady just asked about me. Oh, a young lady. Am I to be jealous? No, not a bit, Aunt Maria. Please, darling, I asked you not to call me aunt. Sorry, sweetheart. I'm the marquee, sir, that's all. What do people think if they knew I had a nephew as old as you? What do they think now? I don't care. Whatever they think would be flattering to an old lady like me. Oh, you aren't old, darling. No, no. Just experienced. Who was the young lady, anyway? Yeah, that's the funny part of it. It was Nella Vago. Nella Vago, the one you've been bombarding with, Violet. So she looked you up. So she's appreciative, anyhow. Oh, now I know why you didn't want to go to the opera tonight. She is not singing. Well, is nobody else worth listening to in this opera house? Well, I don't agree with you. If she were a real artist, she'd sing with more than her voice. She'd sing with her heart and her soul and her body. She leaves me absolutely unmoved. Yes, still, if she'd only wake up, if something or someone would wake her up, shake her. And you would like to be the alarm clock, wouldn't you? Well, it wouldn't be a marvelous experience. I wonder why she's come here. Good heavens. You don't suppose she'll come upstairs? I don't know. The clerk said she asked what room I was in. Well, and I think I'd better go. Oh, don't be silly. I'm already at sit-down. Oh, no, no. I'm not going to spoil your chances. What would you think if she saw me here? That I was a gigolo, probably. Exactly. Good night, dear. Good night, Aunt. I mean, Marquise. That's better. How do you do? How do you do? Is Mrs. Jackson in? Mrs. Jackson? They live here. Oh, is Madam looking for the American consul's wife? Yes, in their apartment, isn't it? No, the Jacksons are on the floor above. Oh, oh, I'm so sorry. Pardon me. The elevator boy let me off, and I never looked. I just rushed in here, so stupid of him. Yes, Madam. But of course, if he had a great deal of intelligence, he wouldn't be an elevator boy, would he? No, Madam. And in a hotel, all the floors look the same. They do, don't they? Yes, Madam. Yes. Well, well then, I hope you'll pardon my intrusion. I suppose I shall have to go on up to the next floor. I'm on my way to see the Jacksons. They're very good friends, you know. Oh, really? Well, I'm surprised Madam doesn't know that the Jacksons have gone away. Yes, they've been in Dove Hill for a week. Oh, no, not really. Yes. Oh, dear. This is most embarrassing, isn't it? I really ought to explain. You see, yes. That's quite all right. I understand. Oh, do you? Yes, of course. Dear, well, well, then, I beg your pardon, and good night. Good night. We, uh, good night. Good night. I'm so sorry. Good night. Good night. Hello. Oh, hello. I'm back again. Yeah. Yes, so I see. It's raining terribly. Rainy where? Out in the hall? No. I could see the window at the end of the corridor. It's simply pouring. Oh. Well, in that case, perhaps you'd better wait. Thank you. Shall I close the door? If you like. Oh, I never thought. Are you sure I want to stir at someone? Oh, yes, quite sure. You're here alone, I suppose. Well, I, uh, I'm alone tonight. Do you mind? I only ask because I noticed such a strange odor of perfume when I came in. Yes, it's quite a new perfume. Perhaps you've heard of it. It's called Tonight or Never. I know. I never noticed names of perfumes. Well, that's odd because you're wearing it yourself. Oh, am I? Yes. It's a most fascinating scent. Excuse me, may I offer you a liquor? If you don't mind, a little shot, please. It's such a pretty green. Yes, I know you like green. You wore a delightful green gown at the Casals concert in Berlin. It was charming. I didn't care so much for the black velvet gown I don't show you up in recital. It's too matronly for you. The pink dress at the Second Symphony concert suited you much better. Oh, but the... I thought that was the loveliest dress I'd ever seen you in. Until tonight. You must be very musical to know all my dresses. Well, I, uh, I'm certain reasons for avoiding society, so music is my only diversion. Do you only know my dresses or, uh, of course, you know who's in them. Of course. Why didn't you tell me you knew who I was? I was waiting for you to admit it. Of course. But I don't know your name. Well, my friends call me Jim. Jim, a charming name. Now we know each other. Delighted. I am honored. You know, I'm... I'm greatly flattered. You haven't missed one of my performances lately. Then your walks past my house and the flowers. I felt that I have, uh, an unknown friend. Yes, I'm a most sincere admirer of your art. I like you best in Tosca. I'm glad you do. It's my favorite opera. Yes, so I've noticed. I especially like the way you do the tonight-time singing scene. Meet me at the stage door and we'll run off to the villa. The moon is out. The night is perfumed with flowers. You sing it with great sincerity. And if I may say so, with a sort of, uh, a sort of longing. An unusual conception. Now isn't that odd? Um, we were talking about only today. Mm-hmm. Isn't that odd? You know, uh, I'd like to rewrite Tosca. Kick out that whining painter, Kevlar Dossy, and make Brutal Scapia happy. Oh, you like the Brutal Scapia best, too. Of course. He was a man. Yes. Yes. Yes, how many times in that second act I thought, what if I sank into Scapia's arms instead of killing him? But I couldn't very well do that, being engaged to the other man, could I? Oh, why not? Why couldn't you? Well, because my allegiance is to the man I'm engaged to. Oh. And does allegiance mean so much to you? Oh, yes, of course. Oh. That's because you've never been swayed by some stronger feeling. A tremendous impulse, something that sweeps you off your feet. And the man who teaches you will not be a whining painter like Kevlar Dossy. You know, quite another sort of fellow, I should say. What sort of fellow? A Scapia. Cruel, violent, who doesn't ask permission, but carries you off and stops your screams and protests with these kisses. I-I think I'd better go. Oh. Has it cleared up so quickly? Why, why, uh... Or perhaps it wasn't raining at all. Oh, really? I'm leaving at once. Oh, please, doll. I must. Very well, then let me go with you. What do you mean? Well, you're dressed for an occasion. It'll be a shame to waste all those gardenias. Well, uh, where should we go? There's a little cafe just down the street. It's quiet, and they play soft music. And there's a balcony overlooking the river. It would suit you perfectly. Like it? Lovely. Look at those stars. You never think it was pouring an hour ago. Oh. If you're laughing at me... I am. I'm laughing at you, at myself, at chance, at life, at everything tonight. It's the most extraordinary night of my life. Well, let me tell you that no one has ever lasted me. I've always been treated with the greatest respect. Yes, that's just your trouble. There you. You've forgotten to make the other remark. I thought you were a gentleman. No, I didn't think you were. Oh, you didn't? Do you happen to know who I am? I'm wondering. No, and I don't want to know. Well, whether you want to know or not, I'll explain to you something about myself and my profession. Don't, please. Don't explain anything. It isn't necessary, and I couldn't stand it, and you wouldn't tell the truth anyway. Why wouldn't I? You wouldn't, and I hate lies. Well, will you kindly tell me what you think I am? I'll ask you something. You can answer it in one word, but I want the truth. You shall have it. Is it true that you are living at the hotel as a guest of the Marquesas? Oh, yes, quite true. Well, then, there's nothing more to be said. Oh, I see. Well, why did you come to see me? It was an accident. Liar. What? You knew the Jackson's route of town, didn't you? Well, uh, oh, what difference does it make? Quite a lot, I should say. Listen. Do you hear what they're playing? Oh, yes. This is one of my encore numbers. I've heard you sing that song in Berlin, in Brussels, in Milan. The audience loved you. I wish you'd sing it now, or me, Nella. For you? Will you? Well, I... Please. How could you know that? I asked you to sing. You flatter yourself. Then why did you come to me tonight? There must be some reason. Oh, when I look into those lovely eyes of yours, I know there is. You know very well that I've been going where I could see you. Concerts, the opera, your street. You knew I was in love with you, didn't you? Oh, love. There isn't such a thing for a man. Only you. I couldn't wait to get into my seat at the opera. I couldn't bear to leave it. When you came tonight, I hoped for a moment that perhaps... Perhaps you had caught something from me that you had felt the spark. And could many other men can't take their eyes off me in their seats at the opera? That doesn't mean anything. Oh, they don't count. You're a public favorite. It's their vanity, not love. Women come after me in droves, but I don't flatter myself. It's because I... Oh, they come after you in droves. Yes, women come after me in droves. Oh, women come after you in droves. Yes, they do. And if you let me tell you why... Well, I think you're shameless. Absolutely brazen. Oh, just a minute. I'll tell you. Oh, no. I'll put my fingers in my ears if you tell me any more. But... Don't, now. Don't. Tell me about yourself. Not other women. Tell me... While I was wondering how to meet you, you came in tonight and spoiled it all. Oh, I'm sorry, I... I meant our first meeting to be wonderful. A wonderful, a breathless moment. You've turned my romance into a common intrigue. You've spoiled the longing for something I'd never found before. And now I'll never find again about why. Why did you come here? It's because I was lonely and something happened today. And I made up my mind that I wanted to live. Really live. I wanted to meet someone who... So I thought of you. Oh. So you came for no better reason than curiosity. That's not true. That's not true. Well... You... You must believe me. Love means... It means everything to me. I want it. Why shouldn't I be honest and say it? I do want it. I want what my Costco wanted and got. Someone who could carry her away from the stage door, carry her in his arms, but... But no, it isn't you. I can see that. I'm afraid of you. Why not? Because... Because you're different. Strange. When you see you love me, I... I almost believe you. I do love you. And you love me. Let me go. No. Stop, stop. Yeah, you see. Oh, you're very possessive, aren't you? Barry and I adore you. You don't. Shall I show you again? No. One is enough. You hate me? I... I don't know. You love me? I... I don't know. All right. I'll give you two minutes to decide. What? You see that clock way up over there? When that clock strikes ten, I want your answer. What? If you're still here after two minutes, you love me and I'll never let you go. Well, I won't be here. You call me a taxi at once. And I never want to see you again. Then... Then this is the end of your little adventure? The very end. Oh, you'll be sorry, Nella. You'll never forgive yourself. You'll never know what you've lost. What you've been robbed of. Robbed? Yes, robbed. Robbed of something that makes your heart sing in the morning and beat at night. Robbed of the only thing that makes life worth living. Uh, you've still got a minute. Shall I order the taxi? No. No, for that minute. Keep on. Keep on telling you what I'm losing. Oh, Nella, you're losing the world because it doesn't mean anything without love. You're losing everything you've wanted for years, everything you've longed for. You know you have. You're losing the great adventure. That's what it is, Nella, to be loved by one man. To love one man only. Oh, Nella, don't lose it. Only 30 seconds left. Please. Call a taxi. Very well. No, wait. Before I go, I want you to kiss me, just one. Darling. Oh, Jim, please call a, uh, call her. Oh, no, darling. It's too late. Yes, much too late. For station identification, this is the Columbia broadcasting system. This is KNX Los Angeles, the voice of Hollywood. Tonight or never, starring Jeanette McDonnell and Melvin Douglas. With Louie Albani, continue shortly from the Lux Radio Theater. The grand opera of our time has known no personality more glamorous, no voice more thrilling than that of Mary Garden. Born in Scotland, she was the first Briton to sing at the Opera Comique in Paris, the first at the composer's request to create the role of Melisande in Debussy's Paleos and Melisande. And when she became manager of the Chicago Opera Company in 1921, she was the first woman ever to occupy such a position. From New York's Metropolitan to auditoriums the world over, her performances have always decked the words grand opera in new glory. A month ago, Miss Garden came to Hollywood and is now engaged in discovering new singing personalities for Metro-Goldwyn-Mayer studios. Ladies and gentlemen, one of the world's great women, Mary Garden. Mr. DeMille, I thank you. For the last 20 years, I have been hearing about you and wondering if and when we would ever meet. My gratitude is yours for your titanic motion pictures, for this remarkable radio program, and for your most excellent diction. When students ask me the correct pronunciation of English words, I tell them to listen to you on the Lux Radio Theater. And I mean, now I'll probably start with the tuttering. Well, then you take it easy, Mr. DeMille, and let me tell you what I think of Hollywood. Right here lies the future of grand opera. You cannot put opera, as I sang it, on the screen. But you can take the fundamentals of opera, surround them in new forms, and create a magnificent spectacle of sight and sound that will astound the musical world. I predict this will come, well, within three years. If motion pictures borrow fundamentals from grand opera, Miss Garden, what can they give in return? Oh, glamour, Mr. DeMille, glamour. The opera needs the loveliness of Hollywood youth. It needs to say goodbye to its 200-pound crema d'arna, and give it for the unphysical beauty as well as artistic beauty. You know, fact never helped anyone to sing. When I made my debut in 1900, I weighed 98 pounds, and today I weigh 121. Therefore, I've gained three pounds in 30 years. Now that's not bad, is it? No, I'd call it perfect. And I don't let my complexion grow old either. That Lux soap of yours is really wonderful. It keeps one's skin as vigorous refresh as a spring morning. But we were talking about opera, weren't we? Sooner or later, the Metropolitan Opera Company in New York will more than likely unite with Chicago, New Orleans, and Hollywood, and make a great musical bridge over the United States. Motion pictures will help opera, and opera in turn is bound to help music on the screen. The future of grand opera rests with America, because I think Americans, more than any other people, possess the three rules of greatness. Imagination, glamour, and brain, and that's what I'm looking for. And now, Mr. DeMille, good night, and good luck to you, always. Good night, Miss Gardner. Once more, tonight or never, starring Jeanette MacDonald and Melvin Douglas with Louis Albany. Two days have passed. An evening after a meeting with Jim, Nella sang Tosca with magnificent success. The critics were unanimous in their praise, and her name is on everyone's lips. Tonight, she's to sing the Traviata, and Rudy gets come to the house to give us some last-minute coaching. Like last night, that's all I ask, you Nella. Sing tonight as you did last night, and all Paris will be at your feet. Was that really so good, Rudy? Good, you were magnificent. Some divine miracle must have happened. Perhaps. But I would like to see you now more excited, more triumphant. What is wrong, Nella? Nothing. Listen, I have some news that will cheer you up. Who do you suppose was in the theater last night? Collier. Collier? Yes, the man from the Metropolitan in New York. Oh yes, I know. I had a message summon. A message? What was it? A note. Yes. Let me see. Your Tosca was magnificent, but tomorrow is the real test. Then he will be in again this evening, eh? Yes. Tomorrow is the real test. Do you know what that means? If he likes you, you will go to America to sing at the Metropolitan. Oh, it is magnificent. I suppose so. What is the matter with you, Nella? You don't seem a bit enthusiastic. Oh yes, I am. But you take it so casually. It was always the one wish of your heart to sing at the Metropolitan, and now, now, now you are sad. It's because I'm thinking of something more important. What important? What could be more important than it? Rudy guy. I think I'm in love. In love? And you are not happy? Oh, I'm miserable. So, unless you have learned to suffer, that is the miracle. Who is the man? You don't know him. The gigolo. Rudy. The young man you went to see two nights ago, eh? That's who he is. You are in love with him. How did it happen? I don't know. I can't imagine. You have been seeing him? No, not since that night. You are going to see him? Never. Ah, good thing. What is his name? I forgot to ask. Oh, oh, oh, it's Jim. Jim. Oh, it's a beautiful name, isn't it? Jim the gigolo. Yes, beautiful. Oh, stop it. Please. Oh, you can't help falling in love, Rudy. It, it just happened. It could be a thief, a murderer, anything. It would still be the same. I, I just can't help it. But you must think of your career, America. I am thinking of it. And you will never see this man again? Oh, no, I couldn't. I couldn't. Ah, good. It's almost time to leave, madam. Yes, I know. Come, my dear, forget everything for a while. And remember only, only that you must see. Yes, view letter. The girl who wanted love. My cloak, Emma, please. All the choices, everyone. All the choices. The house is dark. Very well. Good evening, Elvis. Nella, my darling, I've been trying to reach you all day. You were perfection last night. What brilliance, what emotion. I can't find words to express it. I was made in Linden, Albert. Nella, is that my welcome? Excuse me, please. Rudy has been giving me some points. What are you saying, Rudy? I was saying in the second night, Nella, you must be here. Nella, wait. Are you angry with me? Oh, no, not at all. Then why do you act so? Shut the door, please, Rudy. Yes, Nella. I'm sorry about what I said the other day. Really, I am. And I'm going to make it up to you. I'm going to make you very happy, Nella. Really? What's the matter with you? The other day, you blamed me for not setting the date for our marriage. Now, when I'm ready to do so, what's happened to you? Do you really want to know? Well, I have dined out. I've had a little flirtation. What? I don't believe it. You wouldn't. You're too conceited. Oh, you dare to say that? Well, never mind me. I can tell you what has changed you so suddenly. I'm singing now better than ever. I'm somebody, and somebody else wants me. Who? Monsieur Collier, that too. He's practically made me an offer. What? Yes. Yes. Yes. Everyone will want me after now. That's why you want to marry me, but you won't marry me. You understand? Because I won't have you. Nonsense. You don't mean it. It's Lyndon. You're jealous of her because I'm not. I'm not. It's not Lyndon. What's your man? Yes, I'll be right there. Nella, please, darling. Don't touch me. I'm leaving here on the first road I can get. I'm through with you. I'm through with Paris. I'm through with everyone. Goodbye. Remember, Nella. Tonight is the test. Through with me. A flotation. Did you hear that, Rudy? Yes, Your Excellency. Oh, she can't mean it, of course. She's just jealous. I know her. Am I right, Rudy? You know Your Excellency? I am always impressed by your knowledge of human nature. Of course, of course. I know her every day. Your cloth, madam. Thank you. How was it tonight, madam? Oh, all right, I suppose. Has anyone telephoned? No one, madam. Are you sure? Oh, yes. That someone is here. Here? Who? The young man. Was that? I'll tell him to leave at once. Oh, no. No, you mustn't do that. I'll see him. Nella. Wait here, Rudy. Please don't go away. Don't go away. What are you doing here? Are the Jacksons at home? Or am I in the wrong house? What do you want? I've come to congratulate you. A very unusual performance tonight. You were there? Well, you don't suppose I'd miss it? Why haven't you been at home more often? I've phoned three times. I know. I didn't want to speak to you. Well, that's frank enough. Why? I think I'd better tell you. I'm going away. My plans are all made. Oh, where are you going? To America. I should be very glad to leave this place and forever. Very glad. I'm going away too shortly. Oh, where are you going? To America. Oh, is the Marquesa going? Well, no, not at present later. Of course, you knew I'd come tonight. I didn't. I didn't want to meet you again, ever. Is this visit going to be long? Probably, unless you put me out. Well, you kind of tell me why you came. I came to return your call. Oh. And to tell you again that I adore you. Really? And how is the Marquesa these days? Well, she's very well thank you. Oh, nice. Oh, Nella, what's going to happen to us? I don't know. You think I'll let you go now? I know it wasn't love that sent you to me. But now, don't you love me just a little? I don't know. Darling. All I know is that I'll never see a spring rain falling, but that I shan't think of you in that little cafe and all you said and your kisses. I love you. You've shown me that I have a heart. I love you. You've taught me to love. I love you. Now I have to send you away. I love you. Oh, I can't bear it when you talk that way. Please don't. Nella, my darling. No, no, no, no, no. Nella. Go. Go, please go. Very well. But before I do, suppose we talk business. Oh. What is your usual fee? Well, you're very unkind. Will you sign this, please? What is it, the check the supper? Hardly. It's a contract. It calls for two seasons at the Metropolitan in New York. You're mad. No, I'm not. No, really, you sign there, and I sign here. Who are you? Collier's the name, James Collier. The French pronounce it collier. Collier? Yes. Collier? Yes, C-O-L-L-I. You're not. You can't be. But I am. I can prove. I showed you my passport. But the Marquis, you and she. What? You're engaged to her. I am not. You are? Well, don't tell me. I ought to know. She's my aunt. Your aunt? Your aunt? Yes, people do have them, you know. Then you're not what Rudick said you were? Of course not. I dance terribly. Oh, Jim. I thought, well, he told me, oh, you'll never forgive me. Oh, yes, I will. No, you won't. You're forgiven right now. But I don't want to be forgiven. I don't deserve it. Now, listen, you're going to be forgiven and you're going to like it. You mean it? Yes, and now I'll give you just two minutes, darling. Just two minutes to. No, no. Not two minutes. Why? Because all I need is. Oh, Jim, darling, how long does it take to say, I love you? John McCutten and tonight and ever with promise of a word from Jeanette McDonald a little later. As thousands of girls do every year, Marcella Knapp came to Hollywood 10 years ago to become an actress. And like thousands of girls, she found it almost impossible. But in spite of her cool reception, she liked the movies so well that she decided to go to work for Metro Goldwyn May as an office girl. Today, as a casting director, she occupies one of the most responsible positions on the lot, casting players in all MGM major productions. Ladies and gentlemen, Marcella Knapp. Thank you, Mr. DeMille. A casting director's job, ladies and gentlemen, is briefly this. We first read the story and then make a breakdown or analysis of every character. We then suggest to the producer and director, as many names as are available for each part. Once they OK them, screen tests are made. And from these tests, the qualifying players are cast. For each part, there are usually from 10 to 15 excellent actors available. So you see, it's often just as difficult to determine whom we don't want as whom we do want. We comb the country constantly for new talent. But the big mistake that so many young people make is to come to Hollywood without experience, without having been seen by a scout, and try to get into pictures. That brings us to the work of the Central Casting Corporation. I'm sure the figures you must have, Ms. Knapp, will startle our listeners. First, let me say that Central Casting is an organization controlled by the studios to handle the tens of thousands who want to be film extras. But so many registrations are now on file. No new ones are being accepted. Every day, over 12,000 extras try to find work. While the average number of jobs is only about 600, they are paid by the day. The salaries ranging from $3.20 to $15. There is one exception, babies. An infant gets $75 a day, and is under constant medical care. The $15 extras furnish their own wardrobe. We use them for ballroom and similar work. As most of these girls are used in close-ups, they must be exceptionally good looking. One of the principal requirements is a clear, lovely skin. It's really surprising how many girls do have flawless complexions. So surprising, in fact, the time and again I've asked them what they use. The answer is almost unanimous. Lux toilet soap. This soap, it seems, is really a part of Hollywood. But no matter how lovely you are or how talented, don't come to Hollywood unless you have a job. Just remember that out of the 40,000 who have gone to Central Casting for jobs, only 13 have become stars. If you have what it takes, our thoughts will find you. Thanks, and good night. Good night, Ms. Dap. Good night. And now a word from our star. Ladies and gentlemen, Ms. Jeanette McDonald. Excuse you, Mr. DeMille. It seems we only have time for hello and goodbye, but I do want to say it was particularly nice to come back again to the Lux Radio Theatre. You see, our play tonight provided the first change I've had, so to speak, since last August when we started to make Maytime. But now that's completed too, and after a little vacation I'll begin work on Rudolph Rimmel's Firefly. Meanwhile, till we meet again, bye. Good night, Jeanette. Thank you, Ms. McDonald. Ladies and gentlemen, this is your announcer, Melville Rue. Before Mr. DeMille tells you of the exceptional treat in store for you next week, may I say that Ms. McDonald, Ms. Garden, Melvin Douglas, and Ms. Knapp appeared tonight through courtesy of Metro Golden Mayor Studios, Mr. DeMille Paramount, and Louis Silver's 20th Century Fox. And now, Mr. DeMille. For many weeks, ladies and gentlemen, the Lux Radio Theatre has hoped for the time when we could make the following announcement. The moment has come at last. And we know that you share our pleasure when we say that next Monday night, the Lux Radio Theatre presents that outstanding motion picture success, Mr. Deeds Goes to Town. With the original style, Gary Cooper and Gene Arthur. This picture did more than shatter box office record. It added such words as pixelated and doodling to everyday vocabulary, and revealed Gary Cooper as the man who gave the tuba a soul. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Gary Cooper and Gene Arthur in Mr. Deeds Goes to Town. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.