 Hollywood, California, Monday, December 14th. The Lux Radio Theater presents Gene Hollow and Robert Taylor in Madame Saint-Gene, with Claude Brains and C. Henry Gordon. Lux presents Hollywood, our stars Gene Hollow, Robert Taylor, Claude Brains and C. Henry Gordon. Our guests, Jerome Napoleon Bonaparte and William Councilman, screenwriter and creator of Ella Cinders. Our producer, Cecil B. DeMille, our conductor, Louis Silvers. Do you who crowd our theater on Hollywood Boulevard tonight? And do you unseen millions the nation over? Welcome to the Lux Radio Theater. A do and a don't. Use all the cosmetic and rouge you wish, but don't run the risk of getting cosmetic skin with its tiny blemishes and large pores and dull complexion. Protect your skin the way nine out of ten screen stars do with Lux Toilet soap, whose active lather cleanses the pores thoroughly and leaves your skin healthily clean, smooth and lovely. I now turn you over to the producer of the Lux Radio Theater. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. To preface tonight's play, as it would be preface on the screen, I should smack my lips, glance at the audience and roar like the Metro-Golden Mayor Lyon, for we're presenting two of MGM's brightest stars, Jean Harlow and Robert Taylor. I've been hearing about Jean ever since she was a child. My daughter, Cecilia, used to come home from school and tell me that this little blue-eyed blonde was making so many conquests there weren't enough boys left to go around. At 17, Jean was offered a contract by the Howlroach Studios, but the shock of seeing her on the screen was too much for her grandfather. This telephone call from Kansas City resulted in her promise to stop acting. For eight months, Jean kept her word. Then, Grandpa Prolended, and she went into the lead of Hell's Angels. She has since become quite a figure in the industry. Of Robert Taylor's storybook rise, I told you a few weeks ago when he appeared here in Saturday's Children. Like Lord Byron, he awoke one day to find himself famous. He's just completed his role opposite Greta Garbo in Camille. Tonight, he becomes Count de Neyperg and Miss Harlow, Madame Saint-Jean, the French words for Mrs. Devil May Care. Claude Reigns, who started his stage career as a callboy, carpenter, property man, and manager at his Majesty's Theatre London, will be Napoleon, a character he recently portrayed and heart-divided. Not in The Invisible Man, the first picture he made in Hollywood, Mr. Reigns is the only actor who ever appeared in a film without being seen in it. As Fouché, Napoleon's aide, we have C. Henry Gordon, one of the screen's most delightful menaces. Our play is by Victorian Sardau. And nothing remains but to ring up the curtain. Lights, music. The Lux Radio Theatre presents Jean Harlow and Robert Taylor and Madame Saint-Jean with Claude Reigns and C. Henry Gordon. August 10th, 1792. France is rocked by revolution. In the city of Paris, a rabble mob sweeps on to the Tuileries, thirsting for revenge, intent on the slaughter of their king and queen. Spear-de-patriots, eyes hot with a lust of battle, swarm madly in the rue Saint-Écasse. Their pikes raise high in the air, their voices lifted in a horse hymn of hate. She comes a young girl, a clothing in shreds, a laundry basket on her arm. She fights past the men, pushing her way toward the end of the street. Come back here. Let me alone. You want to be pushed along. If you're fighting down there, you'll get your skull cracked. Well, it's my skull. What have you got in that basket? Food. Well, he owes me for three weeks in wish counting this winter, and he's not going to skip without paying. A revolution going on and all she thinks about is a laundry business. Oh, shut your mouth. I know her. Her name is Madame Sanchez. Madame Devil may care, huh? Well, Madame Devil may care. You're a brave little girl. And patriotic, too. Come here and give me a kiss. Take your dirty hand off me. What? No kiss for an honest patriot? You may be a patriot, but you smell of God. Sarge is a devil, is my man. And if I tell him what you've done, he'll bite your mouth. You don't go, Sarge, you little pig. We wouldn't let you pass away this time. And if he values your pretty neck, he'll give us away warm. Come on now. Come on. Come on. Come on. Come on. Come on. Come on. Come on. Come on. Come on. Come on. Come on. Come on. Come on. Come on now. Come on. Come on. Come on. You're interfering with the lady's business. Wait a minute. Who's there? Come out from behind that wash tub. I know you there. How are we there, Catherine? Oh, it's you, Fusci. Yes, I... What are you doing here? Nothing very much. You were hiding, weren't you. No, no, no, I was just resting. Well, why aren't you out there with the rest of the men where you belong? Ha! You call yourself a patriot. Haven't you got any blood in your vein? None to spare. I don't see why I should waste it. You're afraid. Now each to his own trade, my dear. Some men are sent into the world to fight and some to organize. Now I am an organizer. You won't get much organizing done behind a wash tub. Well, that's where you're wrong. Sitting there while I go, listening to the cannons in the distance, I thought of an excellent plan of action once the two of you are in our hands. I suppose you think they'll make you an official of something. Well, why not? I should make a very good minister. Well, it won't be minister of war. Oh, even that, when the war is over. You've got about as much chance of being a minister as I have of being a duchess. I can scarcely imagine you in that character, my dear. Neither can I. Hey, pour some water in that table, will you? Yes, certainly. Well, besides, they're going to do away with duchesses. But they will always need organizers. Well, when you're a minister, I hope you won't forget that little washing bill you owe me. Oh, for shame, my dear. Asking favors already. How is that you're so hard on me when you're so obliging to others? What others? Well, that young artillery officer, what's his name? Bonaparte. I'm sure you never press him for money. You know a lot, don't you? I merely observe things. Well, Napoleon Bonaparte can have all the credit he wants. He's a soldier and a defender of his country. Napoleon? What an outlandish name. It's Corsican, and so is he. Yes, I suppose it is. Listen, hiding's coming closer. Yes, so it is, so it is. How long have you been here? An hour, perhaps more. Did my fave come by? No. Well, he might be with Aunt Marba. You better get out. Well, I can't leave now. All right, then, sir. If you don't mind having your neck twisted. What? Oh, he's very jealous, Mila says. Oh, not of me. He's crazy enough to be. Of course, if you want to stay, it's up to you. Well, I believe I'd have time to get to my rooms. Good night, Catherine. What do you mean by pushing in here as if you owned the place? Sorry, but I've been wounded. I've had to get out of the streets. What's your name? Does it matter? Well, it does to me. You're not a Frenchman, are you? I know Austrian. Austrian? A lot of heaven don't scream. I'll scream if I want to. Where did you come from? The Twerys. I escaped. A royalist. And it's a royalist who has done his duty depending on the queen. Am I supposed to help you for that? Queen of Austrian, too. She's my countrywoman. If they find you here, they'll rip you to pieces. Yeah, or anywhere else. I'm throwing myself on your mercy. All right. Now what's your name? Count Denei Perk. The Count Denei Perk? Yeah. Why do you stare at me? I haven't seen many noblemen up close. We're no different from anyone else. Guess you're not there. Now let me see it. They did a good job, didn't they? Only fair. You're still alive. I'll get something to bandage it with. You'd rather see me dead, I suppose. I'd rather I never saw you at all. If Lafave knew I'd help the royalist, he'd throttle me. Lafave? Oh, you don't know him. No, no, of course not. Let me know if I hate you. He wants to marry me. You're very much in love, I suppose. He is. Hold your arm up and keep it there. You haven't told me your name yet. My name? Well, I'd like to know to whom I'm indebted for all this. Well, my name's Catherine. But they call me Madame Saint-Jean. Oh, yes, Devil May Care. It suits you. Yes, what makes you think so? You would never be doing this for me if you weren't Devil May Care. Harboring a royalist is a capital offense among patriots, isn't it? You mean they'd kill me? Wouldn't they? Well, you keep your arm up. I'm sorry. You're a funny person. You force your way in here whether I like it or not, and then you worry about what might happen to me if I catch you. Well, I'm not going to stay. I wasn't thinking much about anything when I broke in here. I'm sorry. It's all right. If you've finished with my arm, I'll leave now. No, stay where you are. I'll get you some other clothes. They'd spot you in a minute with that fancy-rotated coat. Just as you spotted me. I knew you weren't French. And I guess somehow I knew you weren't like the rest of the mob. You're a gentleman. You talk like a royalist sympathizer. Well, I'm not. But that doesn't mean I can sympathize with one of you. Thank you. Well, we'd all have been nobles if we could have been. Even though right now I'm glad I'm not. You should be. Well, I guess you can go now. Count to my page. I don't know how I can thank you for this. Don't try. And if I get out safely, and if there's anything I can ever do for you, you'll let me know, won't you? I guess I won't need much help. I don't believe you will. Who's that? Oh, classic! It's Lafayne. Quick, get into the bedroom. Yes, but you. Don't stop the talk. Go in there. Hey, open the door. I don't come out until I tell you. You understand? Yes, very well. Open up. Open up, Catherine. It's the code. I'm coming. Don't be in such a rush. About time. Oh, come on in. And the devil will worry you up in the garret. I don't open doors at night until I find out who's there. Oh. A good rule. Well, don't we get a kiss? If you want. If you want. There's a nice greeting for a victorious patriot. They've taken the twilleries by storm. Listen to them. Tonight to be remembered, girl. The king and queen. The temple under lock and key. They won't be for long if that mob has anything to say about it. Bring me some wine. We'll drink a toast to Madame Guillotine. Hey, Catherine. Yes. What's the matter with you? Why are you so quiet? Did you say you wanted wine? Come here. You're in a funny mood tonight. I came here expecting to be greeted with open arms. You expected too much. I'll get the glasses. I can wait. What are you looking at? Nothing. Someone came here tonight? Yes. Who? Your friend, Fouché. You're not jealous, are you? Anybody else? No. Sure? Of course I'm sure. Why do you ask? No reason. Except that I can't imagine Fouché wearing a brocaded coat. It's hardly Fouché's style, is it? Put down that coat and get out of here. I'll have a look around. Get away from that door. Oh, so that's where he is. Thank you. Get away. I'll bring you with us all. Put it down. I mean it. Yes, you do, don't you? Now I understand why you've been putting me off for so long. No, don't be a fool. I won't be any longer. I'm going into that room. You go in there when you're my husband and not before. And if you ever want to be my husband, you better get out of here. What do you mean? Oh, I'm sick of your jealous sits. Sick of you raving every time I happen to look at another man. There's nothing wrong here tonight, not a thing. And why not let me see for myself? Because you've got to learn to trust me. And you've got to learn now. I warn you, if you open that door half an inch, I'll never see you again. And if I don't open the door? I've already told you. All right, I'll get out. But don't forget, we're going to be married soon. Probably. But why worry? You haven't done so badly, Catherine, the wife of General Lefebvre. It's a far cry from washing dirty linen. Oh, stop putting on airs. You've just been lucky. Lucky? I intend to be luckier. Wait till Napoleon is through with the Austrian. Who have a list of the wounded sergeant? And the dead, Monsieur. How still it shall be a costly victory? Any officers killed? 12, Monsieur. One of them, a general. Who is it? General Lefebvre, Monsieur. He died at the hospital 10 to an hour ago. Yes? A gentleman to see you, madame. Tell him to come in. Will you come in, please, Monsieur? Thank you. Good afternoon, madame Lefebvre. Fouché, I'm glad to see you. But, though... Thank you. It's been a long time since I've met you. Been ages. I hear you've grown up in the world, Fouché. Oh, yes. His Majesty the Emperor has seen fit to bestow certain honors upon me. Don't be so pompous. What brought you here? I have a bit of news for you. I'll bet it's bad news if you're bringing it. Now, first, may I offer my sincere regrets on the passing of your husband? You're a little late, Fouché. My husband died at Austerlitz. Yes, I'm aware of that. And so was His Majesty. When he made your husband the Duke of Dancy. What? Yes, the Duke of Dancy. His Majesty conferred the honor on the field of battle. Oh, so that's your news. Well, what of it? Well, don't you realize what that means? You're the Duchess of Dancy. You have a title. And what am I supposed to do with it? Oh, my dear girl, what does anyone do with a title? That's what I'm trying to find out. Well, if you go to court, you attend His Majesty. He seems to have enough attendance now. Who's at the court, Fouché? I'm not up on those things. Oh, among others, there's the Duke of Rovigo, Canoville, the Queen Caroline of Naples, the Count of Nijpeg. What? Nothing. Come on. Count the Nijpeg? Who else? It doesn't make any difference. There are many hundreds of them. Funny, Fouché. Remember a long time ago? I thought you had about as much chance of being a minister of status as I had of being a Duchess. No, I'll be a minister yet. But I'm a Duchess already. Tell me, do I meet all those people at the court? Certainly. On the same footing? Practically. You'll be the social equal of any person there. Even, uh, even of a count? What count? Well, any count. Well, I should say, yes. All right, then I'll go. It might be fun after all. We will continue presently, starring Jean Harlow and Robert Taylor in Madame Saint-Jean. But now, let's drop into Musso's Beverly Hill restaurant on Wilshire Boulevard around the corner from the famous Carthé Circle Theater. It's six o'clock. Dinner guests are beginning to fill the tables. In a corner, a fortune teller talks earnestly to two young girls. And the cards say you will have a great change this year. What do you want? Husband? It will come true. You will have great romance. Oh, but very great. The King of Hearts, see? Hmm, well, you're encouraging. Is 50 cents right? Yes. Thank you. Good evening and good luck. Immediately so uppity Adele. After all, she was doing her best. Well, personally, I'm sick and tired of hearing about romances and wishes coming true. She might as well have predicted I'd be a second Joan Blondel. Hey, Adele, you look a little like Joan at that. And Joan Blondel just had a big romance. Listen, Adele, would you get mad if I told you something? No. Why should I? Listen, I'm no fortune teller. And I'm not trying to say you'd be a second Blondel. But doesn't it make sense to you if? Well, Donna, Adele, why don't you do something about your complexion? It's in the cards that if you have a lovely complexion, you're bound to win. So don't take chances with cosmetic skin, dullness, tiny blemishes, enlarging pores. Joan Blondel never takes such chances. This beautiful star is a luxe toilet soap user. She knows the active lather of luxe toilet soap guards against cosmetic skin because it removes dust, dirt, stale rouge, and powder thoroughly so they can't choke the pores. Use powder and rouge all you like. But remove them with luxe toilet soap. Remember, nine out of 10 screen stars use this soap. Joan Blondel says, I'm delighted with the way luxe toilet soap keeps my skin so smooth. And you know, clear smooth skin means success, romance. And now, Mr. DeMille. We continue with Madame Saint-Gene, starring Jean Harlow and Robert Taylor with Claude Reigns and C. Henry Gordon. Another year has passed. For Madame Saint-Gene, now the Duchess of Danzig, life at the court has been half enjoyment, half boredom. Weary of its petty snobbery, she is made up for it by a more than friendly interest in the county night bird. She is still the same person, however, unassuming and charmingly direct, perhaps a bit too direct for the ladies of the court. As she enters the glittering ballroom at the palace, Napoleon's two sisters, Carolyn and Elisa, are especially malicious. There she is now, coming in the door, Your Highness. What a horrible dress. Fantastic. She seems, as usual, to be having a little difficulty with the trains. Almost as much as she has with her speech. Have you ever heard some of the expressions she uses? Yes. The men seem to enjoy it. Look at them, flocking to her. I don't see the county night bird. Isn't he usually dancing attendance upon her? My dear, don't be absurd. The county night bird is amused by her. Not in love with her. To wonder she doesn't come to you at once, Your Highness, she must know tonight's ball is in your honor. I expect little courtesy from a washerwoman. I'd like to tell her that sometime to our faith. She's coming over. I'm honored, Your Highness. Oh, my dear Catherine, we're delighted to see you. I hope Your Highness applaud me for being so awfully late. I had a terrible job getting into this dress. It's a little tight around the same. Oh, my dear. How queen, queen. Yes. We've noticed, Duchess, you have a very original manner of expressing yourself. So, uh, picturesque. Are you making fun of me, Madame Savray? If you are, you can save yourself the trouble. That's the way I have always spoken, and it's the way I always will speak. Really? If you'll forgive my saying so, your expressions seem to have been borrowed from the lower classes. Not borrowed, brought. I'm from the lower classes myself. I shouldn't boast of it, my dear. I'm not, but I'm not ashamed of it either. Just what were you before you became a duchess, Catherine? I think you know that. But I don't mind telling you again. I was a washerwoman. Really? I should think you'd rather keep that quiet, my dear. Your Highness, there aren't any stupid trades. Only stupid people. You forget yourself. I had a trade, and I'm proud of that. And let me tell you, I'm in good company here. Monsieur Dupre used to sell oil. Bessier was a wigmaker, Bruna printer. And your own husband, Your Highness, who is now the king of Naples, was once a servant in his father's wine shop. Be quiet. And some people here who now call him Your Majesty used to shout at him, hey, waiter, bring me some soup. I think you have said enough. The emperor shall hear of this. Oh, I'm sure he will. Good evening, Your Highness. Catherine, whatever have you done? Well, I appreciate it. You realize you've insulted the emperor's sister? She's had it coming to her for a year. She'd stayed a little longer. I had a lot more to say. You may pay dearly for it. The emperor's in a nasty mood tonight. What about? Well, heaven only knows. If heaven knows, so do you. Now, what is it? There's something about the empress. A little jealousy, I think. Is that all? He'll get over it. You take other people's love affairs very lightly, my dear. Well, I happen to know something about jealousy. I'm married Lefebvre. Yes, of course. And jealousy is very stupid. It doesn't get you anything in the end. Yes, quite right. Oh, by the way, how is the count tonight, Berg? I, uh, I haven't seen him for a week. Oh, really? Oh, then it wasn't you who was driving with him in the park last Wednesday. In the park? Was he in the park? Yes, with a woman. They passed me in. What did she look like? I really couldn't say she was very heavily veiled. How was it? Will you order my carriage? What? My carriage. I'm going home. My dear Catherine, what has happened to your philosophy of jealousy? If you think that I'm in love with my pig. Well, aren't you? Oh, fuchsia, you're a nosy meddling old fool. Get out of my way. Majesty's the emperor. Good evening, Your Majesty. Good evening, Your Majesty. Your Majesty. Good evening, sir. Good evening. Did you receive my message, fuchsia? No, sir. I ask you to report to the West Wing as soon as you arrive. I'm sorry, Your Majesty, but no. Never mind. Go there and wait for me. There's something I want to speak to you about. You're now. Yes, Your Majesty, at once. Your Majesty, the Duke of Chantier asks if he might see you in private. Tell him I'm busy. Yes, Your Majesty, and your sister, the queen of Naital. Tell her I'm busy. I'm going to the West Room. Cancel all appointments and see that I'm not disturbed. Yes, Your Majesty. Sit down, fuchsia. Thank you, sir. Now, fuchsia, how well are you acquainted with the palace guards? Do you know eight or 10 who can be trusted to keep their mouths shut? Why, I believe so, sir. Good. Find them and tell them to report to Roussin. I'm putting a special guard around the Empress apartment tonight. And I want men, not fools. A special guard around Her Majesty's apartment? And may I ask why, sir? Are you pretending that you don't know? For Your Majesty, I... I have reason to suspect fuchsia, that someone will try to gain admittance to the Empress chambers late tonight. A scandal must be avoided at all costs. For Your Majesty, you surely don't imagine why it's incredible. You must be mistaken, sir. You're paid to follow orders, fuchsia, not to question them. Very good, Your Majesty. One moment. Yes, sir. There's a woman here tonight, the Duchess of Danzig. Do you know her? Very well, Your Majesty. My sister tells me this woman has insulted her publicly. I wish to see her at once. I'm sorry, Your Majesty, but the Duchess of Danzig has already left the palace. Are you sure? I'm quite sure, Your Majesty. She asked me to order a carriage. She must be on her way by now. Well, I'll see you in the morning. Leave word that she's to be here at 10 o'clock. Yes, sir. Your Grace? Well, what is it? The Count and I percuss here, Your Grace. The Count and I percuss here? In the drawing room. I told him you were at the palace. Oh, never mind now. Yes, Your Grace. Good evening, Louis. Catherine. I've been waiting for you. You knew I was at the palace? If you wanted to see me. Well, I... I wanted to speak to you alone. Oh. Sit down, Louis. There isn't much time, Catherine. I may have waited too long now, but I couldn't leave without... Leave where? What are you saying? I'm trying to say goodbye, Catherine. I'm leaving France tonight. You mean... ...good? Yes. Why? This afternoon, the Duke of Rovego handed me the Emperor's orders to leave before nightfall. Leave? You're short of route. Never come back. But what have you done? He can't send you away for nothing. My mother covers all crimes, Catherine. I've been faithful. But I... Faithful to my name and to Austria. You see, I was a friend of the Duke d'Anglienme. Napoleon never forgave that. When the date was fixed for his marriage to Marie-Louise, a list of officers was submitted to his inspection. Officers who were to conduct her majesty from Austria into France. With one stroke of the pen, he scratched my name from the list. He hates me. And that's why he's sending you away? No, no. Now he's a little too clever for that. He's discovered what he thinks to be a love affair of mine in the palace. A love affair? He's become very strict on that point since his second marriage. He's using this affair as an excuse to get me out of the country. Is it only an excuse, Louis? Yes. You don't love this woman? I told you I didn't. Then why do you look so sad? Who is she, Louis? I can't tell you that. Then you do love her, don't you? Catherine. Oh, you do. It's written all over you. Are you going to see her before you leave? Tonight, very late. She's arranged a meeting. Louis, will you do something for me? Yes. Don't see her. But it's my last chance. Please, for my sake. Do you know what you're asking, Catherine? I think I do. I know what you're going through, Louis. I know what it means to love someone that you can't have. You? Why? Every man at court is mad about you. Except one. He's the only one that matters. Please, Louis, don't see this woman. Why do you ask that? If Napoleon hates you now, how will he feel when he finds out that you've deliberately disobeyed him? He won't find out. You forget. I'm leaving France for good. Oh, but there may be some hope if someone spoke up for you. That's a Napoleon. The noise when he's had his feathers ruffled, it's like speaking to a stone wall. But he can't send you away like this. He kept. Louis, wait here for me. Catherine, where are you going? I won't be long. Just wait, please. Francois. Your grace. Order the carriage. I'm going back to the palace. Your Majesty. Well, what is it? Don't you see I'm busy? I beg your pardon, Sire. But the Duchess of Danzig is here. She insists upon seeing you at once, Sire. But this hour, well, who did you say was? The Duchess of Danzig, Sire. Yes, send her in. Yes, Sire. Your Majesty. So you're the Duchess of Danzig. Yes. Your Majesty must have seen me at... I can't remember everybody. Sit down. Thank you, Sire. It's strange that you should come here tonight. It's about the... It's very strange. Because I was going to send for you in the morning. I suppose you know why. Yes. Your sister's been carrying tales again. What's that? She told you I insulted her. She's right. You have no hesitation about admitting it, have you? No, Sire. I hope you realize you've caused a scandal. I hope I have. But do your sister a lot of good, Sire, if someone took her down a peg. Mm. She forgets that she had an humble beginning, too, like a lot of it. You're very frank. Almost brutal. That's my army training, Sire. You see, I've served under the flag. You? With a brandy keg on my hip, giving drinks to the wounded and the dying. Have they bondiered? Yes, Sire. Where? It'll say 15th light instant. Army of the Vogue. Army of the Vogue. Army of the Moselle. Army of the Wall. Don't be shot out from underneath me. The general made me in the orders of the day and kissed me right in front of the whole regiment. He should have. Why have I never heard about this? You didn't ask. Either did your sister. Oh, her. All she knows is that I was a washerwoman. Yes, I've heard about that. You've tried all trades, then. No. Only two. One too many. Have you bondiered? Good. But a washerwoman. When? Where? In Paris, 91 and 92. A lot of bad customers, though. Right here in the palace, there's a soldier who owes me 60 francs to this day. He's got up in the world, but he never paid me. I think I'll ask him for it. That would look nice, wouldn't it? I've even brought his bill with me. I thought you'd like to see it. No, thank you. Oh, just to see the name on it. I suppose you would like me to collect it for you. Oh, and here's an old letter he's asking for credit. Listen. Out of my small pay, I am again called upon. Oh, the writing's awful. Again, called upon to come to the aid of my mother and sisters who are about to take refuge in Marseille. What's that? As they are obliged to flee from Corsica. Corsica? Let me see that. Look at the signature, Sire. Napoleon Bonaparte. Yes, that's my bad customer. Now, let me see your shop. The Rue Saint Anne. The corner of the Rue des Hortes. I remember, but your name. I can't recall that. No, no, no. The other. The nickname. Oh, madame. Madame Saint-Jean. That's it. Well, so you were Madame Saint-Jean. Oh. Well, I was in bad straits then. I'd almost decided to become a furniture dealer. There's a lot more money in what you're doing now. Well, oh, yeah. Well, let's see about this bill. Forty francs for mending a loan. That's rather high. It isn't high at all. You never had a whole shirt to your back. Well, we weren't bargain about it. We'll say Napoleon Bonaparte, who you were. Sixty francs. And the interest adds up makes it seventy. Hmm. Well, I'm afraid for it's against me. I haven't a suit in my pocket now. Well, I've waited this long. I'll give you another day to settle on. Ha! Ha! Ha! Yeah. Yeah, we'll be waking up the whole palace. But, um, just a moment. You didn't come here to present this bill. No, Sire. I only brought that with me to remind you that I once did you a favor. Yeah? Because now I'm going to ask a favor of you. Go on. There's a man here at the court. A man you're going to punish just because you happened to dislike him. You come to plead for him? Yes, Sire. I'm not in the habit of punishing a man for personal reasons. Oh, then let him stay. Don't send him back off. One moment. What man is this? A count than I've heard. You can save your breath. You're mad. I said you can save your breath. But... Well... Your Majesty. What is it, Roussa? Downstairs. The door to the private staircase has just been opened. You see who it was? Oh, yes, Sire. I... Well, come on. Speak up, man. It was a count than I've heard. Lily, what? Quiet. Please. Did you put a guard around Her Majesty's apartment? I did, Sire. Her Majesty? Now, Duchess. Perhaps you understand why your friend must leave. But it's impossible. You're all wrong. Roussa, keep this woman here. Yes, Sire. Listen, he's wrong. I've got to tell him. Hey, come back here. Let me go. Come back here. Your Majesty. Stand back. Go on. Here he is, Sire. We've got him. Lily. Well, sir. I was prepared for this. So I see. Perhaps you will tell us what you were doing at the door to the Empress's apartment. I didn't wish to leave without bidding Her Majesty farewell. Really? At this hour? Your Majesty didn't give me the choice at the hour at which I should receive the orders of my sovereign. And what orders have you to receive from the Empress? Those which she alone has the right to dictate to me. I am neither the subject nor the valet of Your Majesty. I'm a general in the service of my country. And in that character, I owe all of my devotion to the Archduchess of Osphere, the Empress Marie Louise. And in that character, it would be my pleasure to see you stand before a firing squad. Take him away. Wait. Your Majesty, you can't do this. It's murder. Take him away. For station identification, this is the Columbia Broadcasting System. So as Madame Saint-Jean and Robert Taylor as the Count and Iperge, resume the events of our play in a few moments. And now, ladies and gentlemen, from the corridor of Napoleon's palace, the Château de Compagnie, we traverse land, sea, and time to enter the drawing room of a later Napoleon Bonaparte. It's a privilege and an honor to present the only living descendant of the Emperor of France in America. One of the great figures in the social life of New York, Palm Beach, and Newport. We switch you now to New York City, to the drawing room of a house on East 69th Street. Seated there, amid rare portraits of his illustrious ancestor, is that Emperor's great, great nephew. From Hollywood, we welcome and introduce him. In New York, he speaks to you. The pretender to the French Empire, Jerome Napoleon Bonaparte. Thank you, Mr. DeMille, and good evening. I count it a great pleasure to take part in one of the performances from your brilliant Luxe Radio Theatre. As I sit here, I know that if the likeness of the Emperor in this room had come to life, he would not as approval. In his day, all the theatres were under the subsidy of his government. And when he returned to Paris from crammed European campaigns, he wasted no time in taking his place with his court to hear the latest plays at the Comédie Francaise. This famous institution had been closed during the Revolution, but Napoleon was so interested in it that he had it reopened in 1799. He re-established it in the building which it still occupies today. Mr. DeMille introduced me as the pretender to the French Empire. I think his statement needs some explanation. Technically, I am the present pretender, as I am the direct descendant of the Emperor Napoleon's brother by his first marriage. But I have lived all my life in America, my family and my friends are here, and also there is no French Empire. There's one detail of my ancestry Mr. DeMille omitted in introducing me, and it's one that I'm very proud of. While I am descended from the Emperor of France, I also claim another honor. My mother was the former's Appleton of Boston and the great granddaughter of the great American statesman Daniel Webster. It always amuses me to think that the great Napoleon has become related by other people's marriages to Daniel Webster. Our family, of course, can never enter into discussions as to whether or not the pen is mightier than the sword. As I am seated here, the microphone stands on a rosewood desk that may interest you. I have used it all my life. It was originally given to my cousin, the Empress Eugénie, by the city of Paris when her son, the Prince Imperial, was born. There's no telling how many great documents have crossed it, and its value to me personally is even greater now that Napoleon can use it to broadcast his words to a nation. Now, in saying good night to you, may I congratulate you all on this great Lux Radio Theater. My compliments to your brilliant Madame Saint-Jean Jean Harlow, to Mr. Taylor, and of course to Mr. Codd-Raines for his very fine characterization of my great-great-uncle. Thank you, Mr. Bonaparte. We're back in Hollywood now, where Jean Harlow and Robert Taylor star for us in Madame Saint-Jean, with Codd-Raines and C. Henry Gordon. It's later, the same night. The execution of the Count of Nightburg is set for five o'clock, three hours from now. In the drawing room of her house, Catherine paces the floor nervously, desperately trying to find a way to save him. She is sent for Fouché. As he enters, she moves quickly toward him. Fouché, is there any news? None. I tried to see the emperor, but it's no use. He won't see anyone. What time is the execution? At five o'clock. And Nightburg, where are they holding him? At the palace. I'm afraid it's a bad job, Catherine. The emperor's keeping the whole thing hushed up to avoid a scandal. We can't do anything through the usual channels. We've got to get Nightburg out of the country. Are you mad? What do you intend to do? Storm the palace in reason by force? I tell you, it's useless. He's blundered badly this time. Of all the women in the palace to fall in love with, he picks the empress. Does she know what's happened? No. Napoleon hasn't been there in anyone to see her. Then she won't know until it's over. Exactly. He's taking no chances of her interfering. We've got to do something. We've got to. Oh, why do you stand there, you stupid fool? They're going to kill him. Do you realize that they're going to kill him? I'm sorry that you love him so much, Catherine. There's nothing I can do or anyone else. I've got to see him. Take me to him, Fouché. I can't. You've got to. You can arrange it. Please, just a few minutes along with him. A few minutes, Fouché. If I could only reach the contour of Eagle. No, you can't, please. I can't promise a thing, Catherine. But I shall do my best. You can't stay long. When I knock on the door, you must come out. I will, thank you. Who's that? It's me, Louis. Catherine. Catherine, how did you get in here? Fouché arranged it. I have to see you again. Louis, why did you do it? Why didn't you wait? You promised. Would it have done any good? I came here tonight to see the emperor, to ask him to let you stay. You came here without knowing the facts, Catherine. Have you... Did you try to send word to the emperor? No, there's no one I can trust. A letter would be intercepted. The Austrian ambassador? There isn't time. It's no use, Catherine. You see? Well, shall we... shall we talk about something else? What else is there? If time is so precious... Time is nothing now. There's so little of it left. This time even you can't save me. This time? Well, you haven't forgotten that you saved me once. I've thought of that night often. I always meant to ask you, how did you get rid of Lefebvre? Doesn't matter now. I went back there once after the revolution. Back to the shop? Why, Louis? I wanted to thank you. And they told me you had married Lefebvre. Never thought I'd see you again. Then that night, the night you were first presented at court, the Duchess of Danzig. You saw through me quick enough. Well, I recognized you if that's what you mean. But you knew that I wasn't really a Duchess. But you were. You are, Catherine. No, no. I'm all dressed up now, and the servants call me your Grace. Weigh down underneath. I'm the same as I always was. I can't be like the rest of them. I've tried, but I can't. You're a thousand times better. Louis, maybe if I... if I'd been born a lady, a weird lady... What, Catherine? Nothing. Why do we sit here and talk when... When? And are you crying? I guess I am. I never cried before that I can remember. Now look up here. You mustn't do that. I'm sorry. That's a fine thing for a vivandiere. Louis, you're not afraid. Afraid to die? No, why should I be afraid? You love her that much. Has any soldier loved his queen? What do you say? I'm devoted to her. I asked you if you loved her. As a man? No. But I... Marie-Louise and I grew up together in Austria. We've been friends, good friends, since childhood. She came here as Napoleon's wife. We tried to continue that friendship. That's all. But tonight you were going to... That's her request. Just to see me. Oh, why didn't you tell that to the emperor? Not to laugh on my face. But he thinks that... He thinks whatever he chooses to think. Then you don't love her. Then you don't love her. You don't love her. Mr. God, you'll have to go now. Louis. Your grace. One moment, please. I'm sorry, your grace. Goodbye, Captain. Bye, Louis. This way, your grace. Wait. I want you to take me to the emperor. Your grace, that's impossible. Take me to him. He won't see you. He won't see anyone, your grace. Take me to him. If you don't, I swear I'll wake the whole palace. I want to see the emperor. Sit down. Thank you, sir. Now that you blackmailed your way in here, I suppose you've come to plead for your friend again. I've come to straighten things out, sire. Indeed. Your majesty, the Count and Ipeg is not in love with the emperor. Really? And just how did you reach that conclusion? He's her friend and perhaps her advisor. She'd need one in this place. Thank you. But that's all there is to it. He's not in love with her any more than she's in love with him. You still haven't answered my question. Oh, I can't give you proof. You'll have to take my word for it and your wife's. And just why should I do that? For the past three months, I've had the Count and Ipeg followed. Day and night. There are the reports on my desk. Those reports inform me that he's been meeting the empress regularly and secretly. I prefer to take the word of my police officers. The Count is Her Majesty's friend. These reports confirm that. But he's not in love with her. I know it. You seem so sure. I am. Why? Because because he's in love with me. What? He is. That's why I came here tonight. I love him and I'll do anything to help him. You're lying. Am I? You said you had reports of his movement. Have you got one for tonight? Certainly. Then look out and find out where he was before he came here. At 10. To the home of the Duchess of Dancy. Well. It doesn't prove anything. But it makes good sense. Where does a man go when he's ordered to leave the country? To the woman he loves. He came to me. He also came to the empress. I knew he was coming. He told me. But he came to her because she asked him to. He loves me. You mind if I ask him that? In your presence? Of course not. Very well. Rooster. Your Majesty. Have the Count and Iperg brought here at once. Open that door. Count and Iperg. Yes, what is it? Will you come out here please? Aren't you a little early, Captain? The clock struck half past four just a moment ago. I have orders to take you. Very well. You don't mind if I finish a letter, I hope. You'll have time for that later. I'm afraid not. Will you come please? The Emperor wants to see you. The Emperor? What for? I'm not here to answer questions. I was told to bring you to his study. Fall in, please. Certainly. Ouch! Your Majesty. Bring him in, Rooster. In here, please. Louis. Captain. What are you doing? That'll be all, Rooster. Wait outside. Yes, sir. Well, and Iperg? Your Majesty. I have a question to ask you. It's rather important. So I want you to think carefully before answering. Your Majesty. May I ask you? Thank you. I'll ask it myself. Niperg. If you'll pardon a purely personal question, are you in love with Her Majesty? Are you? I have been for a long time. I hardly knew it myself, but I'm sure of it now. Good. Now, this is the important point. Would you mind telling me with whom? Must I answer that? I insist. Very well. Since I'm to die in an hour, it can't do much harm. Who is she? Well, Your Majesty doesn't know her. Louis. I don't know her, eh? No, Your Majesty. Her name is Madame Saint-Jean. Saint-Jean? Here, catch her quick. Catherine, what's wrong? She's fainted. So that's why you wanted to know. Yes, but he knew me as Madame Saint-Jean, too. It seems that I gave the right answer. If you'd given any other, you'd be dead by now. There wasn't any other. I love you, Catherine. Oh, Louis, why didn't you tell me? I was going to. A month ago. I wish you had. Louis, take me home. I think my knees are giving out. Well, it's late. You must be tired. Tired? I feel as if I had done a hard day's wash. But not the players. Jean Harlow and Robert Taylor returned shortly for a curtain call. Ella Stenders is a human being known in most American homes where she drops in daily as the heroine of a comic strip. Tonight, we present her creator, William Consulman. Bill came to Hollywood 10 years ago when Ella Stenders was made into a motion picture starring Colleen Moore. He has remained to become one of 20th Century Fox Studios' most sterling and reliable scenario writers. Many of Will Rogers' pictures came from his typewriter. Likewise, many of the Shirley Temple films. His latest hit, written in collaboration, is Pigskin Parade. And he is now writing the story for Irving Berlin's new musical, On the Avenue. Ladies and gentlemen, Mr. William Consulman. Well, I'll do first. Talk about movies or comic strips. You can choose your weapons, Bill. But remember, you're supposed to be a humorist. All right. And suppose I tell the latest story making the Hollywood rounds. It's about a well-known director, present company accepted, who was tested to death every single day with people trying to see him. Nothing he could say or do would keep them away. Well, last week he was taken suddenly ill. He rushed home and told his wife to get a doctor quickly. Three hours later she managed to reach one and as the physician drove up to the house the director's wife rushed into his room. Henry, she said, Dr. Brown is here to see you. Impossible, he said weekly. Tell him to drop around next week. Can't you see? I'm much too sick to see anybody. Not bad, Bill, not bad for a starter. But now I have to confess, that story I just told is pure myth. It's the exact story, worded a little differently, that was pulled in France about 400 years ago. I cited it to prove the point I'm about to make. Namely, there's no such thing as a new joke. Take any funny story, and if you're curious and patient enough, you can find its duplicate told in different languages all the way back to ancient Greece and Rome. That's why trying to be funny is such a sad job. All we can do is grind away and trust we'll be lucky enough to find a new twist to someone else's gag. That goes for pictures and comic strips too. I've noticed a definite change in comic strips, Bill. They seem to be dropping humor in favor of melodrama. Even Ella Cinders has lost those freckles she used to have. That's because the people didn't like Ella with freckles. Women take a tremendous interest in comic strip characters. Originally, Ella was a skinny little girl with freckles and scraggly hair. Greed has protested so much we dropped the freckles. The next campaign to get Ella a permanent wave. But this we drew the line. If we're ever interested in making Ella as beautiful as the Hollywood Picture Stars, I will follow their example in a quaint Ella with your splendid product, Lux Toilets. Once Charlie Plummer I associate my, we're debating whether or not to have a marry. This question drew 40,000 letters from our readers and pitfalls in the wedded state. Ella, by the way, is still single. Today about 200 different comic strips are read in the United States. Over a period of time, they wield a mighty influence. Popeye, for example, has probably sold more spinach than all the advice the physicians can give. The first comic strip ever published was printed in Germany about 50 years ago, while the granddaddy of the American funny paper was a still-remembered yellow kid. Ella's senders is perhaps a little different from most others, and that it has a closely knit continuity and we try to tell a complete story every day. Between the movies in Ella, I seldom waste a single gig. If I can't work it into a scenario, you can depend. You'll see it in the funny papers. But whether it's a motion picture, a comic strip, or a radio program, we're all working for the same common end to please as many people of as many different types as possible. It's been very nice being here, Mr. DeMille, and meeting you and Robert Taylor again. I can't help but feel a little proud of Bob's success. When I was writing the script of Handy Andy for Will Rogers, we decided to look outside our own studio for the masculine love interest. We borrowed Bob from MGM, and Handy Andy was the first picture he ever played in. Thank you and good night. Good night, Bill. Good night. This is a high point of the evening, the moment when we present tonight's stars, not as characters in a play, but as two of Hollywood's supreme favorites, Gene Harlow and Robert Taylor. Thank you, Mr. DeMille. I'm glad you said nothing about glamour in your introduction. If you had, I'm afraid I would have screamed. Why don't you glamour? Oh, Taylor! You scream almost as well as you scream. But he pulled a pun, Mr. DeMille. Well, then may I have your autograph? Bob is the one who does that. Just last week he visited his alma mater at Pomona College. The co-ed's almost tore him to pieces, getting the sign thing. One girl couldn't find anything for me to sign except for examination paper. I was a little disappointed when I saw it was Mark D in economics. However, you've been in Hollywood nearly 25 years, Mr. DeMille. What is it that turns nice, peaceful people into autograph hunters? I've asked him that, Bob. The most sensible answer I ever received was from a young lady who said, I don't care about your autograph, Mr. DeMille. I just wanted to see what you looked like. Hollywood is unique for a number of things to sign autograph hunters. Out here you can take life a lot easier. There's just as much hard work done in Hollywood as any other town. You've dropped into any place like the Brown Debbie. You find half the girls in faultless evening dress and half in slacks and sweaters, but nobody feels ill at ease. If you're invited to someone's home for a seven o'clock dinner, you arrive at nine and you find you're early. But the only thing that really puts on a show in Hollywood is a hamburger sandwich. And they are served with pecans and walnuts. And, oh well, this is a town that is all so constantly bubbling over with new ideas. Hundreds of them come and go every week. But as far as keeping a lovely complexion is concerned, the actresses, including myself, have just one idea. Perhaps to use luck toilets. Oh, and yes, Hollywood is probably the only town where a kiss is measured in feet. Five feet of film for a peck and 85 feet for the real thing. The strangest kiss I've seen in pictures was that film the other day at Paramount. Marsha Hunt and Leith Erickson playing in college holiday were the participants. And the scene of action was the bottom of a tank filled with 40,000 gallons of water. Ducky, I call it. Oh, that's worse than that. Well, Robert, any further remarks? And Gene, except my thanks to the Lux Radio Theater for another swell evening. And mine too, Mr. DeMille. It really was a privilege to be here. Good night. Good night, Gene. Good night. Good night, Bob. Thank you, Miss Hollow, and thank you, Robert Taylor. Ladies and gentlemen, this is your announcer, Melville Rueck. Before Mr. DeMille tells us of next week's program, may I say that our stars tonight came to us through courtesy of Metro Golden Mayor Studios. Miss Hollow will next be seen with Wallace Beery and Spencer Tracy in The Foundry. Mr. Taylor in Camille with Greta Garbo. Mr. Reigns appeared through courtesy of Warner Brothers Pictures. His next picture is stolen holiday with Kay Francis, while C. Henry Gordon is currently seen in The Charge of the Light Brigade. Mr. DeMille is from Paramount and Mr. Silver's 20th Century Fox, where he was in charge of music for the new film Banjo on My Knee. Our cast tonight included Lou Merrill as Lefebvre, William Royal as the general, and Comstar, Corinne Ross as Madame Savaree, Sarah Selby as Elisa, Phyllis Coughlin as Carolyn, Gretchen Thomas as Marie, Frank Nelson as Rustam, Ken Chevelle as a footman, David Kerman as a guard, James Eagles as a sergeant, Ross Forrester as a patriot, Charles Emerson as citizen, and George Finney as citizen dupré. And now, Mr. DeMille. Two of Hollywood's most glittering personalities, teamed first in Warner Brothers Pictures, and more recently in Matrimony, are teamed again in the Lux Radio Theatre next Monday night. They are Dick Powell and Joan Blondel. And they'll star for us in a sparkling musical comedy, the radio version of Warner Brothers Picture, Goldiggers. Our sponsors, the makers of Lux Twilight Soap, join me in inviting you to be with us again next Monday night, when the Lux Radio Theatre presents Dick Powell and Joan Blondel in the radio version of Warner Brothers Picture, Goldiggers. This is Cecil B. DeMille saying good night to you from Hollywood. Broadcasting System.