 From Hollywood, California, the Lux Radio Theatre presents Marlena Dietrich and Douglas Fairbanks Jr. in the Song of Songs with Lionel Atwell. Lux presents Hollywood. We want to thank all of you for your loyalty to our product, Lux Plates. The loyalty which makes this program possible. The lights of our marquee place forth tonight with the names of Marlena Dietrich, Douglas Fairbanks Jr., Lionel Atwell, and Pedro Decordable. And as guests, Walt Disney, creator of Mickey Mouse and the Silly Symphonies. Louis Silvers conducts our orchestra and our entire production is under the direction of Hollywood's master showman. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. The taxi cab drivers of New York are known as the most efficient, London's the most patient, and those of Paris the most impetuous and chivalrous in the world. The Parisian cavies first proved themselves during the World War when they loaded their whimsical chariots with troops and raced them to the front in defense of their city. Several weeks ago, they proved their gallantry for the second time. It was while Marlena Dietrich was in Paris. Mr. Dietrich, of course, used cabs many times, but without exception, every driver refused to accept a fare or a tip. No amount of persuasion from the embarrassed Marlena did the slightest good. The drivers met her proffered Franks with Gallic gallantry, smiled faintly, bowed deeply, and asked of their only reward permission to shake her hand. Each of them volunteered his services for the remainder of the day, and Marlena was unable to convince them that they had families to support and that the landlord isn't paid with handshakes. Mr. Dietrich also visited London. While there, she saw the play French Without Tears, and liked it so well that she asked Paramount to buy it. The result? She starts work on the picture next month. Marlena expects to visit London again next summer, but then her passport will read Marlena Dietrich, citizen of the United States. Tonight, Mr. Dietrich re-enacts one of her most memorable screen characterizations, the role of Lily in The Song of Songs. Solomon gave us the title, Herman Suderman wrote the book, Edward Sheldon the play, and Paramount produced the picture. Opposite Mr. Dietrich has Richard Waldo, his Douglas Fairbanks Jr., whom I'm proud to have known since his knickerbucker days, when he and one of my daughters did their algebra problems on the floor of my home. It's hard to believe that this young man has been in pictures 15 years. Well-named the international ambassador from Hollywood, Douglas made several films in England and has also taken an active part in producing pictures. His last visit abroad was after he made The Prisoner of Zender, but he was promptly summoned home to star with Ginger Rogers in Having Wonderful Time. He leaped across the 7,000 miles in about six days, including a few hours stop in New York to see the stage play. His next star film co-stars him with Irene Dunne and is tentatively called Joy of Loving. From the film cast of The Song of Songs is Lionel Atwill as Baron van Meersbach. This splendid character actor, most recently seen in The Great Garrick and Lancer Spy, has been host these past few days to his brother-in-law, James Cromwell, husband of the former Doris Duke. Pedro de Cordoba will be heard as the art dealer. And now, the Lux Radio Theatre delivers its Christmas present to the radio listeners of America. We raise the curtain on The Song of Songs, starring Marlene Dietrich and Douglas Fairbanks Jr. with Lionel Atwill. Orient Express, furl into Constantinople, threads its way across the hills of Central Europe. In a third-class compartment, a young girl in peasant dress sits stiffly on the edge of her seat. She's been that way from early morning until night, her meager possessions in a bundle on her lap. In her eyes, an expression of mingled fear and expectation. The conductor opens the compartment door. Good evening, froline. Good evening. Well, we're almost there now. A few more minutes. You will let me know when we come to Vienna. You know it. Vienna never sleeps. Is this your first visit? Yes, I'm going to my aunt. You will like it in Vienna, froline. Thank you. It frightens me a little. Ah, you get used to it. Tickets, tickets. The bundle, froline. Carry your bundle, froline. Carry your bundle, froline, froline. Order. Carriage, froline. Carriage, carriage here. Carriage, froline. Carriage, carriage. Carriage, froline. Any place in Vienna. Right here, froline. I'll take your bundle. Thank you. Where to, froline? This address, please. It's written on the card. I don't know where it is. Oh, I'll find it. Don't worry about that, froline. It's a bookshop. A bookshop. We'll be there in no time. Get in, froline. Get in, please. Get in. The froline. The bookshop, eh? Yes. How much, please? 10 shillings, froline. 10 shillings. Here. Thank you, froline. What is it? Good evening, tantra asmusen. Oh, so you're Lily. Come in. Did you have to arrive in the middle of the night? It was the only train I could get, tantra asmusen. Well, aren't you going to kiss your old aunt? Of course. Let me look at you. I'd forgotten people wore clothes like that. They're all I have. Well, come on. You'll find this room in here behind the shop. I've got it fixed for you. Go on. Go on. Thank you. What have you got in that bundle? Just, just a few things. Open it up. It's just a comb and my brush. What's this? A Bible? It was my father's. Is that all your scamper for father left you? A Bible. He wasn't a scamper. He was a good man. I don't know what he was good for. Dying off and leaving you a charge on your distant relations. At least he taught you to read. That's something. You may be some use about the shop after all. Father was a good man. Every night these last few years since he got sick, he used to make me read to him from this. The Lamentations of Job, no doubt. No. The Song of Solomon. He loved it best. The Song of Songs. It's beautiful. Beautiful? He was a good man. All right, all right. Have you had your supper? I'm not hungry, thanks. Then you might as well go to bed. In the morning I'll start teaching you about the books. I lock up tonight, but after this you do it. Yes, Tante. Now? Get to bed. And don't keep the lamp on all night reading your Song of Songs. I don't have to read it anymore. I know it by heart. Good night. Good night, Tante. Don't my bed I sought him, O my soul loveth. I sought him, but I found him not. I will rise now and go about the city in the streets. And in the broad ways I will seek him, O my soul loveth. I will seek him, O my soul loveth. There's two shillings to buy or one penny a day for renting. I'll rent it, please. Yes, Farholden. You can charge it, I suppose. Yes, Farholden. Good day. Good day. Good morning, sir. You're looking for a book? Huh? I said you're looking for a book. That's what people usually come in a bookshop for. I'm sorry. I thought perhaps I could help you. Well, you can't. No one can. I'm lost. Do you understand? Lost in a sea of... Oh, hello. Hello. Who are you? I work here. I'm Mrs. Vasmussen's niece. I don't believe it. What? An old witch like Vasmussen couldn't have a niece like you. Who are you? I'm Mrs. Vasmussen's niece. Well, you ought to know. How long have you been here? Just a little while. What kind of book are you looking for, please? Look. Oh, what have you got unsculpturing? There's some on the shelf over here. Oh, I've got those. Read them all cover to cover. Nothing in them. Then I don't know. What I need is something inspirational. Inspirational? Yes, you know, something that'll make you work when you don't want to. I'm afraid I can't help you. No? Well, I wouldn't be too sure about that. You are Mr. Waldo, aren't you? That's right. Richard Waldo. New York, Paris and Vienna. How did you know? I've heard some of the people talk of you. People that come in the shop. Oh, yes? What did they say? Well, they said that. Never mind, never mind. I don't want to hear it. Did you ever model? Model? For an artist, for a sculptor. Oh, no. Well, you ought to. You're beautiful. Please, I... Don't be so modest. I didn't say you're a beautiful woman. I said you're a beautiful model. There's a difference. Who is there? How would you like to model for me? Oh, but I couldn't. Don't be silly. Let me see your profile. But you don't know... Perfect. You'd be a wonderful model. But my aunt... No, no. Your aunt's too fat. Now look, you come to my studio at seven o'clock. It's just across the street, third floor on your right. I think you must be crazy. Sure. That's why I'm a sculptor. I'll be expecting you then. I can't come. I... Good morning. Oh, uh, good morning. You're looking for a book, Mr. Waldo? Oh, yes, yes. I found one. Yeah. You'll send that over to my studio, please. Of course. Thank you. Well, good morning. Good morning. Good morning. Good morning. What book is that? What? That book he bought. Let me see it. Hmm. Embroidery and needle point for beginners. You... you told me to come. Yes, come in. I've been expecting you. I, um... I brought your book. Oh, that. Thank you. Sit down. No, I can't stay. Tanda Rasmussen doesn't know I'm here. What's the matter? You're not afraid of her? Yes. So am I. Is this where you work? Yes. It's messy, but it's home. Look, I made some sketches of you already. Like to see them? Sketches of me? Yes, from memory. I've got a figure to do. These are studies for it. They're not very good. Oh, I think they're beautiful. But they're not like me. You... you don't think so? Oh, this one is like... like someone in the Bible. What's that? Let me see. You know the girl in the Song of Songs. The way I see her. Young, very fair. She has never loved. But she knows that one day she will. And that's what she waits for. A straight, a head high, listening, waiting. Don't move. What? Don't move. But I don't know what... Put your arms down, close to your sides. Palms out, head up, up. That's it. The Song of Songs. It's perfect. Please, if you don't mind. It's just what I've been looking for. Get up on that platform over there. But I can't. What's your name? My name is Lily. Then don't argue, Lily. Now, take the same pose. Come on. We'll make a sketch first. A little? All right. You can rest now. Thank you. I'll get it. Next the clay and then the marble. And then a Song out of marble. A Song of Songs. Who is it? Am I welcome? Oh, come in. I was passing and saw your light. I thought I could see how you were getting along with my statue. Well, I made a sketch of it. Like it? Very good. You see what I'm getting at? I think so. Very interesting. Aren't you going to introduce me? Oh, sorry. Baron von Merzbach. Lily. How do you do? How do you do? So you are Richard's inspiration, huh? These artists are privileged people. I think I'd better go now. Oh, please. Don't want to wear my account. You see, I'm not altogether an intruder. The statue our young friend is to make of you will belong to me. It's late. I really have to go. Good night. Good night. Tomorrow evening? I, uh, I try. A lovely girl. Where did you find her? Oh, I ran across her. Oh, she's not a professional model? No, no. She works in the bookshop across the way. Well, uh, she interests me. Oh, yes? But of course, Richard, if there's any reason why I shouldn't... None at all. She's nothing to me. Oh, that's fine. That's fine. Because she interests me very much. And that's just a frame for the clay model. I see. I see. Now, don't move, Lily. It's very rough yet, but in a few weeks it'll... Cut the marble soon. Eyes open, Lily. Please. Charmy. Charmy. Excuse me, man. Oh, uh, am I on your way? I'm sorry. Lovely. Lovely. Lovely. The marble is superb. And when do you suppose it will be finished? Oh, I don't know by New Year's perhaps. Sooner if it let us alone, Baron. Oh, my friend, you're annoyed with me. Go very well. I'll not come again. I will keep out of your way, hm? Lily, where in heaven's name have you been? I know that I'm late third time this week. Richard, so many people in the shop all day, all evening. What's that got to do with me? A Christmas Eve is the same as any other for an artist? I'm sorry, Richard. What have you got there? Flowers. I can see that. What are they for? I don't know. Where'd you get them? A man. What man, the Baron? No, I didn't know him. I met him downstairs in the street. You mean to say you accepted flowers from a stranger in the street? He was very handsome. What's that to do with it? Nothing. Perfect stranger, and you accept? It's indecent. Jealous? No, I'm not jealous. Throw those flowers away. I won't. Throw them away, do you hear? Give them to me. No, let me go. Come on, give them to me. Oh, you're hurting me. No. Oh, Lily, I didn't mean it. Look, you've crushed the flowers. And I bought them for you. Please forgive me. Why? Because I love you, Lily. Because I love you, darling. Richard, did you just find that out? I don't know. I should have known always. I have known. On the first night I came here, I saw things then for the first time. The gold in the sunlight, the deep brown of the earth, the whiteness of the snow, so beautiful. I won't have you squandering your love that way. What about me? When I put my hands on the earth, it's you I'm touching. The wind on my face is your kiss. You are in everything I think and feel and do, and will be till I die. You feel that way? You shouldn't, Lily. Shouldn't? Why? Don't love too much, ever. We weren't made to love that much. You don't want me to love you? Yes, I do. I do, Lily. Then that's my way, the way of the girl you have carved from the cold stone. But her heart is not cold. And she says, set me as a seal upon thine arm, as a seal upon thine heart, for love is strong as death. And Richard, here, fill up your glass. I said no. Go on with what you were saying, then. Well, you don't seem anxious to hear it. I am. I said my interest in Lily was not frivolous. In fact, I may say my interest is far less frivolous than your own. What do you mean? You've been in love before, Richard. And why not? Your young, good-looking, talented. But where are they now, these women? In love with someone else, I hope, and very happy. You hope? But you don't know. You don't care, really. I don't want that to happen to Lily. What makes you think it will? Nothing. But it has happened before. It may happen again. And I want her. You want her? Give her to me, Richard. I need her, and you don't. I could make her happy, and you won't. I'm rich. I can give her anything, anything. I can educate her, refine her. I could make her the balloness von Besbach. Are you serious? Doesn't this sound as if I were? What do you want me to do? Step aside, Richard. Go away for a while. Give me a chance to see her. What can you give her? A little happiness, perhaps? But for how long? You can't marry her, Richard. And you can't drag her down as a poverty. And sooner or later, you'd have to choose between her and your career. Which will win? Which? Shut up! But don't be angry with me, Richard. Think of her, well, Richard. Let me alone. Come in, Lily. Where's Richard? What has happened here? Where is he? The statues. Lily. Where's Richard? Where is he? He's gone. Gone? Gone where? Away. To Italy, I think. He asked me to see you and explain. Italy? When is he coming back? Not for a long time. Perhaps never. I don't believe it. I don't believe it. Don't take it too hardly, Lily. He isn't worth it. No man is. When? When did he go? This afternoon, early. He told me yesterday he thought you would be best for you and for him. Yesterday? Then he knew. He knew and he didn't tell me. He hadn't the heart, Lily. That's why I'm here. Lily. Lily, don't cry. Don't you see it had to end this way sooner or later. He never really loves you. And I do. Let me take care of you, Lily. Go away, please. Go away. While I live, you'll have everything you need, everything you want. After my death and it may not be so long, you'll have the estate. Is it because of him? Are you going to let him spoil your life? He didn't let you disturb his. He didn't consider you his equal. Well, I do. Come with me and I'll make you his equal. I'll clothe you and teach you. I'll make a great lady out of you. I'll make you my wife. My wife, Lily. And when you meet him again, you'll be the baroness from that park. The baroness, Lily. And he'll be nobody, obscure, penniless, living in gallets. You can buy a statue from him, perhaps, for charity's sake. Is it worth it, Lily, for his lives? We were alive. All of them. Then let me help you, Lily. Make him pay for them. Oh, be sweet, Lily. Really sweet. We'll take a brief information now and then return to Marlin, Edith, Douglas Fairbanks, Junior, and Lionel Atwell in act two of our play. In this intermission time, let's step on radio's magic carpet and fly to a home in Eastern town where everything is in a state of tense excitement. Marjorie, the older daughter of the house, a college freshman, has just come home for Christmas. The family are gathered round the fire eager for all of the news of college. Gosh, it's nice to be home. But you're happy at college, dear. Oh, I love it, mother. Of course, they work at home. Oh, we don't want to hear about work, Mar. My daughter, dear. Oh, please, mother, I want to know about the parties and the games and what the girls wear. Oh, hold on, sis. One question at a time. Well, about clothes. We just live in sweaters. And we usually wear them over silk blouses, just as I am now. That sweater still looks very nice, dear. Just as pretty and soft as when we bought it last year. I guess the credit goes to Lux. I washed it oodles of time just the way you told me to. Well, there's nothing like Lux's flakes, dear. I'm glad you remembered that. Oh, Lux is the college girl's pal, mother, nearly all the girls Lux stocking, dundies, and sweaters. He doesn't shrink wool, thank goodness. I simply despise shrunken sweaters as socks. It's a good thing to remember that Lux won't shrink woolens, won't fade colors. It's safe for anything that's safe in water alone. And now our producer, Mr. DeMille. We continue with the Song of Song, starring Marlena Dietrich and Douglas Fairbanks, Jr., with Lionel Atwell. A year has passed, a long dull year filled with bitterness and disillusionment. As the Baroness von Merzbach, Lily lives only for the time when she will see Richard again, to humble him with a difference in their rank. The Baron, failing in help, has grown jealous of his young wife. In the library of their country house, he stands by the window looking out. Suddenly he turns and addresses the housekeeper savagely. Where is she? Where is she? I've told you. For the fourth time, she's gone riding. Doesn't she know we're having guests? I told her that. Riding. Her own suggestion that she learn, along with her French and her music and her singing, you suggested that she... I didn't intend her to be out every day. No? Then perhaps you shouldn't have provided so. Handsome, a master. What? He is handsome, your riding master. And young. Be quiet. Please remember you are my housekeeper. Nothing more. When I want your opinion, I'll ask. I've been your housekeeper for 10 years. It's only recently that I've been reminded of it. That's enough. When she comes in, I want to see her. Do you understand? I understand. Oh, oh! Shall we rest a while, Baroness? I think so. Oh, let me help you down. There we are. Thank you. It is very beautiful here. Yes. I come here often by myself. Why have you never brought me? Well, it's rather silly. This place is a sort of retreat for me. A sacred resting ground. Whenever things look hopeless and black, I come here to be alone. Are things so hopeless now? Yes, Baroness. They have been for a long time. How long? Since I first came here. Since I first met you. I'm sorry you said that. I think tomorrow I shall ride alone. Because you want to, Baroness? Or because you're afraid? I'm not afraid. I've watched you in that house. Your soul is dying there. I've watched you with me. I've seen you smile. It meant nothing. It did to me. Lily, I love you. Let go of my hand, please. No, no, you've got to listen to me. You've got to. That was not meant to hurt you. Only to prove to you that our rides together have been only that. We will not ride tomorrow. So you've decided to come back? Miss Vogue said you wish to see me. Where have you been? I've been riding. Alone, I suppose. No. Hereafter, I will be. Isn't it a bit soon? I'll learn quickly. Well, you better go and get dressed. Yes, I will. We're having guests for dinner. Or I should say, guest. Our friend Richard is coming. What? You're surprised, eh? He's coming here tonight? Yes. And you must look your prettiest, my dear. I want to see you together. You and your old friend, the starving artist and the baroness von Meckbark. Sit down, Richard. You arrived just in time, huh? Nasty weather. Yes. Cigarette? No, thank you. Lily will be down in a moment. Oh, you'll be surprised at the change in her. She's a woman, Richard. Matured. Beautiful. You said something in your letter about... About a business matter. Yes, yes. I've been thinking, Richard, that statue. What was it? The song of songs. Where is it? I never finished it. What? I was almost done. I never finished it. I see. Of course, I know you paid for it. I'll do something else for you. Or I'll pay you the money back. I can get it somehow. No, no, no. Forget it, my friend. Forget it. And you've already paid me back, you know. I have the original. Lily, come in, my dear. Good evening. Good evening, Richard. What, Lily? No kiss for me this evening? Of course. It was nice that you got some, Richard. You're always glad to welcome old friends. Thank you. Dinner served your excellency. Ah, dinner. Take the balloness, Richard. Go on, go on. The young before the old. And he said, he never finished it. Never finished the statue after spending months of work on it. There's an artist for you. We'll drink to him. More wine, Lily. I've had enough, thank you. I see you think that I've had enough also. But tonight, I go the limit. We will win. Isn't she lovely, Richard? Isn't she everything I said? And you must hear her sing, my boy. You're singing for Richard? Won't you, my dear? And French? She speaks French. And rides? Yes, like a real lady, Richard. A real lady. A real lady. A real lady. Like a real lady, Richard. A real Baroness. Excuse me. And just to seek, I owe all my happiness to you. You exaggerate Baroness. Not at all, not at all, not at all. You didn't know that, did you, my dear? When I told Richard how I felt about you, he... Go on. Why did you stop? Because it seemed to me that Richard kicked me under the table. He must have had a reason. Oh, he's just modest. Likes to pretend he's a cynic. Doesn't want his good deeds, no. I'm modest enough to wish we'd talk about someone else. No. I like to hear about good deeds. What did he do? Well, he stepped aside when I wanted you. Did he? With rare friendship, he gave you to me. Our touching. One of the most beautiful gestures I have ever encountered. Beautiful. Yes, I can just see the scene. You two bartering as to which one should have me. Lily. And he gave me to you. Lily, don't. As if I weren't a human being, but something to be passed on from one pair of hands to another. No, you don't understand. You'll forgive me, please. I forgot for a moment that I was a Baroness. The Baroness has no emotions. Excuse me. Lily. Come back. Listen, Lily. Fool you. Why did you tell her that? Do her good. Do her good. Well, I'm going to tell her the truth. All of it. Lily. Lily, where are you? Lily. I beg your pardon, son. The Baroness has gone out. Which way? Along the garden about, sir. To the lodge. I'm rather worried. Lily. Lily, where are you? Lily, wait. Wait. Where are you going? Let me alone. You can't go running around in the dark. Listen to me. I've had enough for one night. You haven't heard anything. You're coming away from here. I'm taking you back to Vienna with me tonight. You think I would go with you now? You've got to. You can't stay here any longer. I won't let you stay. I can see what it's doing to you. Lily. Let me go. I thought I wanted to see you again. I don't. I thought it would give me strength to see you crawl before me. Well, it doesn't. You're not even that much good to me. Lily, don't. Don't hate me so. I want to help you. Help me? That's what he said. He wanted to help me, too. Well, I don't need your help. I have everything I want. Except love, and you can't live without love. I have that, too. What? Yes, I have that, too. There's a boy here. A boy who loves me. I'm going to him now. You're lying. Am I? Do you see that light between the trees? He lives there, in the lodge. I'm going to him now. Lily, don't. Have I hurt you, Richard? Is there an ache in your throat? Do your eyes sting like fire? Mine did. I love you, Lily. Richard, don't love too much. We weren't made to love that much. Goodbye. Lily. Lily! Baroness. Let me in and shut the door, please. Baroness, why did you come here? I could have come to the house if you... No, no, I just want to stay here for a moment. What this afternoon you said? This has nothing to do with this afternoon. I don't understand. There's nothing for you to understand. I want to stay here. That's all. I'm sorry. You may sit down. What, do you think it's quite safe? If anyone saw you come here, Baroness... Someone did see me. What? I meant him to see me. He'll be gone soon, and then I'll leave. I'll never get back if this storm breaks again. That struck close. Did you feel it? I thought I heard... Stay where you are, please. Look, that light. It's fire. It struck out there on the porch. The whole place will be blazing in a minute. Come on. We can't get out that way. It's a furnace. The whole front of the lodge. Come on, the back way, quickly. Baroness, don't stand there. Baroness! Bring her over here. Is she still unconscious? Lay her down on the ground. She's not burned. It's just smoke. I tried to get her out, but she wouldn't come. I had to carry her. Have you sent for a doctor? She's all right now. She's opening her eyes. Get out of the way! Out of my way! There's smoke. There's smoke. The Baroness is... Is she all right? Yes, I think so. And get back to the house. Go on, all of you. I'll take care of her myself. Baroness. Baroness, look at me. Are you all right now? Yes. And try to stand up. Quickly. You've got to leave here. Do you understand? Leave. Get on your feet. The Baron, he knows you're in the lodge. He's coming down here now. He'll kill you. He'll kill you if he finds you. Can you walk? Yes. We'll go by the back gate. Hold on to my arm. Take the road to the town. There's a train at midnight. We'll have to hurry. Here. Here's money. Don't miss that train. Do you hear? Do you hear? I hear. Go on. The gate's open. I'll send your things after you. You little fool. Where will you be? Where will you be? I don't know. I don't know. For station identification, this is the Columbia Broadcasting System. In a moment, Marlene E. Dietrich and Douglas Fairbanks Jr. with Lionel Atwell return to the stage for Act 3 of the Song of Songs. In this brief intermission, we bring you special Christmas news. A new way to make your Christmas tree more glittering, more exciting. Decorate it with real-looking snow. You can make it easily with luxe flakes and apply it in no time. Here's how you do it. Pour a box of luxe flakes into a big bowl or dishpan and add lukewarm water. You don't need much water, only about two scant cups to a big box of luxe. Then beat up with an egg beater. Soon you'll have a bowl full of pure white suds that look like whipped cream. Then right away, take handfuls of this whipped-up mixture and spread with your fingers along the branches of your Christmas tree. While it's still moist, and if you want an even more glittering effect, sprinkle the tree with that shiny artificial Christmas snow you get in the stores. You'll have the loveliest effect imaginable. Your tree seems covered with glistening, soft, freshly fallen snow. This new way of decorating your Christmas tree is practical, too. It clings to the pine needles and keeps them from drying and falling off so soon. Try this easy inexpensive tree decoration. White trees are smarter than ever this year. Remember, luxe flakes, a little water, about two scant cups of water to a big box of luxe, and beat it with an egg beater. Remember to have a large box of luxe flakes on hand so you'll have plenty of snow. Back now to Mr. DeMille, our stars and play. Marlene Dietrich, Douglas Fairbanks Jr. and Lionel Atwell resume the song of songs. More months have passed, and Lily has vanished, lost in the maze of the city. In Richard's studio, the statue of the song of song stands completed, gleaming with a ghostly radiance. Richard, looking tired and worn, exhibits some of his work to Adila. Here's one that's dubbed here. You can have it for 10 shillings. 10 shillings? That is very cheap. I need the money. Unfortunately, I have no need for the statue. Oh, there's a mate that goes with it. All the holidays coming on you... Your holidays are not important in my shop. My clients are... What's this? What? This life-size marble. Is it yours? Yes. The song of songs. Very beautiful. How much do you want? For that? It's not for sale. Oh, come on though. You don't have to deal that way with me. I'll give you a fair price. I'll give you a thousand shillings. No. More, perhaps. I said no. Whom did you make it for? The Baron von Mirzbach. The Baron von... Didn't he die recently? I thought I read in the paper that he... You might have, but the statue is not for sale. Very well. I know better than to argue with an artist. But if you should ever change your mind, Waldo, I'd like the first bid. What about the other things? Frankly, they're not very good. Not for my purposes, anyway. I've got to sell something. You can name your own price. I've got to have money. There's nothing I want, Waldo, except... No. Well... Good night, Waldo. Good night. Good morning. Something for the holidays? Perhaps. Oh. It's you again. Good morning, Mrs. Rasmussen. Have you any word yet? No, I haven't. I should think you'd be tired of asking. You'll let me know, won't you? Oh, I'll let you know. I don't want to run my hands again. Ungrateful little fool. She'd be on velvet now if she'd had any sense. What with him dying? But did she think of me? Did she think once of her old aunt? Oh, off she went. Where? I've looked every place. I've never, ever, never even heard of her. Have you tried the gutter? She may be there. If she is, I'd put her there. And I'll bring her back. Don't you like it? People come here to spend. Then I'll get out. Where's Mrs. Waldo? Hello, Antoni. Excuse me, will you? No, no, no. Sit down, Waldo. Sit down here. I can't now. I've got to get... Oh, of course it matters. The girl over there, at that table. Oh, that's Lily. She sings here. Tell her I want to see her, will you? Right away, outside. Oh, sure, sure. Hey, Lily. Lily. Lily. What do you want? I'm too glad to see me. That's how you come in. What do you want? I've been looking everywhere for you. What are you doing in this place? I've had to work. You could have come to me. You know that. Why didn't you? Why didn't I? You ask me that? Excuse me, I must get back. You're not going back in there. You're coming with me now. Am I? Lily, what's happened to you? You're changed. You're hard. You're bitter. I wouldn't be a good model now. The freshness is gone. Did you expect anything else? Why have you been looking for me? Why did you come here? Did you expect to find me as I used to be? Lily, we can't talk here. Please come with me. Very well. Why not? It's the same place, you see. I've changed things around a little, but some of the pieces are gone. Not many, I'm afraid. Sit down. You haven't done so well either. Have you, Richard? No, Lily. You said you'd never finish the statue. I did later. No office? No office. It's my best work too. It's the only worthwhile thing I've ever done in my life. Why did you bring me here? To talk about her? And about ourselves. I brought you here because I thought when you saw this room again, you'd remember another Christmas. Centuries ago, Lily, you bought flowers for me. Do you remember? I have no flowers now. I brought you here because I thought you might love me again as you once did. I never did. That isn't true. I never did. There was a young girl once, centuries ago, who came up those stairs as I did tonight. She loved you. With all her soul, she loved you. I'm not that girl. You are in your heart. In my heart, least of all, shall I tell you something? Sometimes that young girl comes to me at night. She used to go to you. She whispers those words to me. The words you loved to hear. I sought him. whom I so loved. I sought him, but I found him not. I called him, but he gave me no answer. Lily. The watchman that went about the city found me. They smote me. They wounded me. They took away my veil for me. Lily, Lily, don't. We will love you. I do love you. Then you love someone who's dead. You love a cop. I'm dead. What right is she to live? Let's touch you there. Let her die too. Lily, don't touch it. Let her die. Never. Don't just see, darling. We can start again. You've destroyed her and we can start again. She should have died. Because we profaned her. And now we'll make another. You and I. Another song of songs. More beautiful than the last. Because our love is still there. It is there, Lily. We've kept it alive under everything. Richard. What was it in a song? What was it, Lily? Set me as a seal upon thine heart. A seal upon thine arm. Love is strong. Marlena Dietrich, Douglas Fairbanks Jr. and Lionel Atwell will be heard again before we say good night. Hollywood, land of perpetual sunshine, December roses, and rising temperatures is going to have a snow-white Christmas. Yes, it's true. But before I completely confound our Chamber of Commerce, let me explain myself. Tomorrow night in the Carthy Circle Theatre, scene of epic Hollywood premieres, another chapter in motion picture history will be written when Walt Disney presents the first full-length animated film ever made, Snow White and the Seven Dwarfs. For giving us Mickey Mouse, Donald Duck, and the silly symphonies, the world owes Walt a great debt. He was the first to make animated cartoons in sound and then in color. And with Snow White, he pioneers once again in a picture that took three years to make and involved more than two million individual drawings. Walt is standing beside me now. I should say he's quaking beside me now. He's nervous, trembling, and out of breath. Book up, Mr. Disney. What's wrong? Oh, nothing, nothing much. Except I've been running around in circles so long it's getting to be a habit. Carthy Circle? Well, that's just one of them. I think I've got stage fright. You've got premier fright, which is much worse. You ought to know you've produced an open more than 200 pictures. And I'm just as scared the 200th time as I was the first. But I hear Snow White and the Seven Dwarfs has the screen's greatest innovation in years. Well, your own first full-length picture, The Squaw Man, was considered quite a departure. After all, people'd only seen two realers up to then. So I can forgive your condition tonight, even though you look as though you've done all the work yourself. Oh, far from it. If I had tried to make this picture by myself, working eight hours a day and going to a sanitarium for two weeks each summer, it would have taken me 250 years. You figure that wasn't quite fast enough. Anyway, lots of luck. Pardon me, do you say lots of lucks? I said luck. But the name Snow White suggests Lux Flakes. So that Lux Flakes may be played some part in your production. Well, I'm grateful to Lux Flakes. They made Snow White a household word to women who watched their own fine things, long before I ever thought of putting her on the screen. I also understand that Lux Flakes play a big part in cutting down Hollywood's wardrobe bill, which reminds me how costly a young lady Snow White was to close. We figure her costumes cost about $100,000. From just a minute, Walt. How do you figure that when all our costumes were made with paint and brush? But it's true, even though she wears only two dresses and both of them are drawings. You take the salary, the artists and the animators, and there are hundreds of them. The cost of the paints, colors, photography and technique color, and little Snow White's two dresses add up to $100,000. The cost of our entire picture is almost as much as your own new film, The Buccaneer. And yet you didn't have to pay the salary of a single star. We who produce pictures with human beings figure their salaries alone consume 25% of our budgets. So with a million and a half dollars invested, I can understand in more ways than one. Why, you may be nervous. I guess it wouldn't be normal. I weren't nervous. But Snow White is a goal we've been aiming at for 10 years. There won't be any Mickey Mouse or Donald Duck to attract the people. They'll all be brand new characters. I suppose after Snow White is successfully launched, you'll sit back and take it easy for a while. Are you going to stop work after The Buccaneer? I haven't begun to work yet. Well, we won't stop either. It's just the beginning for us. We're going to make more feature-length animated productions and try to make use of all that we've learned in the three years required to produce Snow White. We don't think we know so much even now and we're using all the outside advice we can get. What sort of outside advice? Well, there's Sidney Franklin, for example, the man who directed Good Earth. He seems to think our cartoon medium is important and he's offered to work with us in directing Bambi, the famous story The Little Deer. We've also started work on Pinocchio. What's going to happen to Mickey and Minnie and Donald Duck? They'll continue to be just as important as they've ever been. We wouldn't dream of anything else. But we're growing, Mr. DeMille, in experimenting. Leopold Stokowski, the famous conductor, is going to work with us on an idea of combining fine music with animated cartoons. He wants to make great symphonies popular with people all over the world. After that, we're, gosh, look at the clock. I've got to start running again. Good night. I wish you the greatest success of your career, Walt. Good night. Now, in this season of Christmas Stars, we bring you one of Hollywood's brightest, Marlena Dietrich. Thank you, Mr. DeMille. There's one thing I really want to say to everyone. A happy Christmas to you all. Good night. Good night, Marlena. And now we'll have a gentleman report. Mr. Fairbanks, Mr. Adwell. Thanks, CB. You know, Lionel, Mr. DeMille here means a lot more to me than almost anyone else in Hollywood. Really? You've been for years, helped me, advised me. I really think a great deal of Mr. DeMille. Sure, we all do. That's very kind, gentlemen, but after all, Doug, I don't think this is the time to... No, I want everyone to know what I think of you. For example, you like boats. You like to get away on the water, peace, quiet, time to think things out. Any man who likes boats as much as you is bound to be a big man. You are not leading up to borrowing my boat by any chance, are you? Well, I thought if you weren't doing anything... Yes, and how are you, Lionel? Fine, CB, thanks, fine. But speaking of hobbies, my stamp collection is really the... Of course, I have a boat of my own, but it's in England, on the Thames. And if you're ever over there, I want you to feel that my boat is yours. Now, just take it any time and keep it as long as you want. But, Doug, I haven't the slightest idea of going to England. Well, that's all right. I just want you to know that it's there when you do go. I think that's very generous. And now, as man to man, I'm planning a little fishing trip. Do you think you could... No. No? No. I haven't forgotten the last time I loaned my boat to you and Bob Montgomery and Lawrence Olivier. You filled it full of swordfish. The next time I took it out, it smelled like a hot Friday on the waterfront. I needed a surgical mask to walk up the gang plank. Oh, that. Well, Lionel, about your stamp collection. Oh, then you did loan, Doug, your boat, Mr. DeMille. I certainly did, once. What else happened? Lionel, what were you going to say about your stamp collection? Oh, yes, yes, yes, yes. I have a block of 1855 Mexicans. Well, why don't I think of it? Do you have a yacht? Yes, yes. But about those stamps, I've never seen anything like... Mr. DeMille, don't you think that Lionel is a great actor? I mean, his performance tonight, the work he does on the screen. Why, if I just had one-tenth of the stamp... Yes, Doug. Yes, Lionel. My boat's in dry dock for the winter. In dry dock? Yes, in Baltimore. Oh. Oh, Miss Dietrich. Yes, Miss Dietrich's a great artist, too, but she doesn't have a boat. You know, I'm afraid, Doug, the only boat you're going to get is the next one you take to England. When will that be? Well, there you've got me. It'll probably be next summer. I think I'll get back then. I'll be pretty busy here for a while, but someday I hope to have things worked out, so I'll be able to make two or three films here a year and one abroad. And if I can sandwich in an appearance in the Lux Radio Theater every now and then, why, I may even forgive C.B. for not letting me take his boat this time. But, um, well, we'll see. Good night, C.B., and what I said about my boat still goes. Thank you, C.B. Good night, shipmates. Good night. This piece is currently on the scene. The silver's appeared to courtesy of 20th Century Park Studios, where he was in charge of music for love and hisses. Now, an important announcement for Mr. DeMille. Next Monday night, the Lux Radio Theater closes its book of 1937 presentations. To mark the occasion, we bring you a radio adaptation of that remarkable and highly successful motion picture produced by Samuel Goldwin, The Loved Enemy, the romantic, thrilling drama of a young Irish patriot and a beautiful English girl torn between their love of country and their love for each other, our stars, Brianna Hearn of the original cast and one of the screen's most beautiful actresses, Madeleine Carroll. 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 Madeleine Carroll and Brianna Hearn in Beloved Enemy. And now, before we say good night, I'd like to reach across the miles and take the hand of each one of you, whether you're a man, woman or child in a warm class of friendship and say a happy Christmas to you. We learn to care most for those we serve most. And since my main endeavor each week is assembling and staging the Lux Radio Theater production for you, I look upon you all as close friends and attentive neighbors who make it a joy for me to come on this stage every week and say greetings from Hollywood. I hope you'll have all the joys and blessings of the Christmas season. The cast and staff of the Lux Radio Theater and our sponsors, the makers of Lux Flakes and Lux Toilet Soap, join me in these greetings. This is Cecil B. DeMille, saying good night to you from Hollywood. This is the Columbia Broadcasting System.