 Hollywood, California, Monday, May 24th. The Luxe Radio Theater presents Under Two Flags with Herbert Marshall, Olivia DeHavilland, Lucy Belles, and Lionel Atville. Luxe presents Hollywood. Under Two Flags comes to you through the courtesy of the makers of Luxe Flakes. May we thank you for supporting the Luxe Radio Theater through your regular use of Luxe. Tonight, our stars are Herbert Marshall, Olivia DeHavilland, Lucy Belles, and Lionel Atville. Our guests, Ms. Van John, of the famous team of Van John and Marco, now Hollywood's first major studio woman producer, and Louis Van De Nekker, former sergeant in the French Foreign Legion. Our producer, Cecil B. DeMille, our conductor, Louis Tillman. So do we welcome you to another hour in Hollywood. Before starting our play, let me say that from all I hear, Luxe Flakes seemed to be mighty popular with modern drives. They're not going to risk dishpan hands if they can help it. They know that we men don't like red rough hands. Such a hand feels coarse and unpleasant, makes a man wince inside, though naturally he tries not to show it. Mrs. John McGuire, who was married this year, puts it very well when she says, Maybe men respect them, but believe me, they don't admire dishpan hands. I'm not going to have them, thanks to luck. As Mrs. McGuire knows, Luxe guards against dishpan hands. It has no harmful alkali to dry and roughen the skin. You'll find it speeds up dishwashing too. I turn the microphone over now to Hollywood's celebrated producer and star finder. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Tonight's production of Under Two Flags recalls memories of the golden age on Broadway. David Bellasco was starring Blanche Bates in this great play. I was acting in another production nearby, and frequently members of our company would slip into Bellasco's theater to watch Ms. Bates rehearse as a cigarette. Among us was a very young girl, also destined to leave the stage and try her luck in the fad that was soon to sweep the country, moving pictures. She did rather well. Her name was Mary Pickford. Our story is from the celebrated novel of Louise de la Rame. And tonight, thanks to Paramount and RKO Studios, we star a gentleman of long acquaintance with our microphone, Herbert Marshall. Bart leaves the set of Angel, his new picture with Marlene Dietrich, to portray the role of Corporal Victor. As cigarette, there's Guadalupe Villalabos, the hard way of saying Lupe Vallez. Born in San Luis Potosí, daughter of a colonel and an opera singer, Lupe flared the fame on the Mexican musical comedy stage, and her firecracker personality prompted me to cast her in the third version of the Squaw Man. Olivia de Havilland's third appearance in the Lux Radio Theatre finds her in the part of Lady Venetia, lovely, talented, and youthful. Olivia can look forward to a most brilliant Hollywood future. She's just completed, call it a day, and has begun work on it's love I'm after for Warner Brothers. Just as busy as Lionel Atwell, who, like Lupe, is home from picture making in England. He's just finished the road back for Universal and last trained from Madrid for Paramount. We meet him tonight in the role of Major Doyle. From this point on, that our stars account for themselves. Up with the curtain then, as once again, we bring you the magic of the Lux Radio Theatre, presenting under two flags, starring Herbert Marshall, Olivia de Havilland, Lupe Vallez, and Lionel Atwell. Algears, land of shimmering sands and blazing sun, trackless desert wastes of scorching days and magic-star-swept nights, land of the foreign legions. On the edge of the great Sahara, the little Arab town of Saida lies drowsing in the midday heat. Only in the cafe, cigarette is there any sign of activity. Cigarette, herself, a vivacious young French girl, moves from table to table, chatting with the patrons. Suddenly the doors flung open as her father waddles excitedly into the room. Cigarette, cigarette! Where are you? Papa, what is wrong? Cigarette. The 14th company of lesionaires. They have marched away. What? That is impossible. No, no, they are gone. With my own eyes, I see them go. They cannot do this to me. They owe me for wine, for beer, for food. Oh, they will never pay now. We are going. Oh, Papa, are you donkey? Why did you let them go? Why? I am one man. Can I stop a whole regimen? And I am one girl. But I will stop them. I will see the commandant. Oh, no, it is too late. Already they have marched across the desert. The commandant will make the march back. Wait here. I'm sorry, little one, but Major Doyle is busy. Get out of my way. Here, here, what's this? Oh, hello, cigarette. Oh, hello. This fool here would not let me speak with you. It's all right, all right. Well, it's nice to see you. Thank you, Mr. Comandant. So you robbed me, eh? You ruined my father, my cafe. Oh, you pig? Easy there, easy. What's all this about? Look at this, Bill. What you fine legionaire saw me. And what do you do, huh? You march in my way. Now I never get my money. Oh, never, never. There, there, now, cigarette. I wouldn't do anything to hurt you. I never gave you a thought. No, you never do. Well, what can I do about it now? The company's gone. You can order them back. Order them back? But I can't come to mountain order. But Comandant, for me, for cigarette? No. No? No. Oh, what a great big no. And yet you say you love me. But when I ask you such a little thing, I did you say no. No, no, look here. Have I ever refused you anything in reason? You always seem very, very kind. Yes, and too blasted patient. Now, I've waited a long time for you, cigarette. Ah, but you will soon be a colonel. Yes, you said major when I was a captain. Did I? I never know how to take you. Now, do you love me or don't you? No, very, very much. And when you're a colonel, I shall love you so much more. And, uh, what? Now you will bring them in back for me? Yes. And when they come back, I will kill you, hmm? Like that. Oh, cigarette. Goodbye, young colonel. Come back here, come back here, come. Little devil. Orderly. Come on, then. Orderly. Tell the agent to send a messenger out to the 14th company and order them back to barracks. Order them. Didn't you hear? Jump. Come in. Commandant? Well, that Corporal Victor is here, sir. Victor, who's he? One of the survivors of the 17th company, sir. Oh, yes, yes, yes. I want to see him. Commandant? Come over here. Your name, Victor? Yes, sir. 17th company. How many have you left? Eight, sir. It was a surprise attack by a CD-BEN user. Yes, I know that. You're lucky any of you came out alive. Yes, sir. Corporal Victor, your company was on its way here to Saida. You were carrying food for Colonel Farrell's mess? Yes, sir. Well, where is it? We haven't got it, sir. Halibs take it? No, sir. I gave it to the men. What? Emergency ration, sir, just after the attack. Emergency ration? How long has caviar been emergency ration? Never no complaints, sir. You know those stores with Colonel Farrell's private use? The colonel has excellent taste, sir. I might add that his wine is also up to the mark. Ha, ha, ha, ha, ha. I see, I see. Made up your mind to have one good meal before they finish you off, eh? Well, I think I'd have done the same thing myself. Thanks, sir. Corporal Victor, huh? Any military service before you join the Legion? Yes, sir. British Army, of course. Yes. How long in the Legion? First year of my second enlistment, sir. Good. I'll get you transferred to my battalion. It's the best battalion. I like to have the best men. I like to be under the best commander. Mm-hmm. That'll do, Corporal. Yes, sir. Oh, if I might make a request, sir. Well? There's another survivor, Legionnaire Rake. I'd like to have him transferred with me, sir. Rake, eh? Friend of yours? A very old friend, sir. He's been with me. We've been friends for years. I'll arrange it. Thank you, sir. You know, Rake, I think I'm going to like the 14. They're a jolly bunch. Yes, sir. A bit noisy, sir. Don't call me, sir. You really must get out of that habit, Rake. I've tried it, sir, but it will slip out like... Oh, hello, my friend. How are you, Ivan? Sit down. Rake and I were just about to open a bottle. A bottle? Of course, I'll sit down. Bless the cigarettes. Bless the cheer for the girls. Yes, cadet? Yes? Who's that man over there? There's one other table with Ivan. You like his looks, eh? This is Corporal Victor. Oh, Corporal Victor. Uh-huh. I think I'm all welcome here. Who will like it here, Corporal Victor? I'm sure I will. Corporal Victor, I welcome you to my cafe. I am cigarette. How do you do, mademoiselle? May we have three glasses, please? What? But I am cigarette, the mascot of the company. Again, how do you do? I'll be the first, if you don't mind. But always, the first time you've gone cigarette gives you a bottle of wine. Thank you, mademoiselle, but we have cognac as you see. Now, may we have our glasses? So, you refuse my wine? You insult me, my cafe? Perhaps we should be glad of your wine later. We have no glasses for you. Now or later, you are too good for us here, Corporal Caviar. Uh-huh. Uh-huh. If you're not going to serve us, mademoiselle, we shall have to go to another cafe. Don't let him get away, cigarette. You lose your customers. Get on his lap, cigarette. Oh, no, no, no. The corporal would not like for someone to sit on his lap, like this. That's quite all right, mademoiselle. But I hope you don't mind if I stand up, like this. Oh, you pig, you dog, you sit around the floor, yes? Yes, good night, mademoiselle. One hour a day for rest and recreation, and we've got to spend it here in the bar. Now, get off my bonky bun. Ah, don't push. Now, come on, get off. Don't you think you better have a nap, sir? I mean, corporal. Thanks, Wig. I'd rather finish carving this model. The or, sir? It's a model of Forrest King. Like it? Carved him a bit delicate, like I haven't guessed, sir. His legs, I mean. Well, perhaps I have. Yes, you'd have a broken paw, like with a bone like that. You know, sir, at the time, you always sit in the rail at Aintree. He had a great heart, that fella. The biggest in England. Oh, sir, it would be nice to see him again, wouldn't it? He's about the only thing I'd care to see again. Attention! Commandant going around. All ready, Commandant? Listen, men, we're having a visitor, an English lady from the hotel. Now, act your best. At ease, men. Is this the place, Commandant? This is it. Come in, Lady Venetia. I do hope the men don't mind. Mind? Why, they are honored. Well? Oh, the men must be tortured with the fly. Shouldn't they have screens in their quarters? Screens. It's said in the legion that when a fly bites a legionaire, the fly dies. Is that right, Corporal? Right, right, sir. Oh, how do you do? How do you do? Corporal Victor. One of my best-led men, ladies Venetia. English, of course. Got a fine record in the legion, I mean. Nothing to be ashamed of there at any rate. Thank you, sir. This carving. Is it your work, Corporal? My recreation. It's beautiful. A perfect model of an English celibate hunter. A hunter, is it? A lot of me knows about those. He sees nothing but araponies in these parts. Might have been carved from memory. Not likely, I should think. But that's dangerous grama, ladies. Better not look into their pasts. I'm sorry, Corporal. I'm glad you like the model, my lady. Well, shall we get along, ladies Venetia? Thank you, Commander. The other Balax, my lady, are... They gave me the creeps of us all the way you looked at her. For a moment I thought she knew yet. No. I've never met her before. She's beautiful, isn't she? So it isn't Corporal anymore. It's Sergeant from now on. Sergeant Victor. Thank you, sir. Now, you know Alevic, Sergeant? Yes, sir, some. Good. I have an assignment for you. Important. Go down to the Alevic horse market. There's some new traders have just come in from the desert. Keep your eyes open. For what, sir? For any talkum, see if you've been used it. Any hint that he's collecting his tribes. Very good, sir. Oh, and, uh, Sergeant? Yes, sir. You may see an English captain down there. What are the party of visitors? He'll be buying horses. See that he isn't cheated. I'll do my best. Well, I'll now. Right now, I'll take that horse here, and ship this horse like it. Did you see that, sir? Yes, our English friend has bought the same horse four times. Those Arabs are shrewd traders, Vic. Shrewd, sir. They're downright thieves. That girl over there, you know, cigarette. She seems to be helping him to buy. Not helping him, Rick. I should say she's helping the Arabs to sell. Come on. This black one here, no? Oh, but that gray one, I think I like him better. Good afternoon, sir. Hey, oh, good afternoon. Buying horses, sir? Yes. What do you want here, Sergeant Cobb-Yaw? Oh, just looking on. Look here, cigarettes is the blacks the finer horse in the gray. You agree, Sergeant? Since you asked my opinion, sir, I would take the gray. The black is a bit weak in the forelegs. And what would a legioner know about horses? You take my word, Munt captain. I know. There's one way to prove the black is best. I will ride him, and the Arab boy shall ride the gray. We will race. Good idea. Excellent. That'll show. It is a good idea, sir. But with your permission, I'll ride the gray. You see, the Arab boy might be in time to think that someone wants you to buy the black. Oh, I see. Yes, plenty, Sergeant, plenty. Look here, my dear, you don't mind if a sergeant rides against you, do you? No. It will be a pleasure to bid him. Well, forget this. Look here, I see you too. You know, you ought to bet on this. Let's say a bottle of wine to a kid, what? As the lady likes, sir. Well, I bet, even though he would kill me to pay. It's all right, mademoiselle. If you don't care to pay, it will be the horse who will win. We could compromise and allow you to kiss him. Oh, for you, you, I'll pay now. Look out, she's riding off. You've made a jolly angry, Sergeant. Cigarette, I didn't mean to come back. After a Sergeant. Cigarette, wait. Nice bit he catch up. He will that, sir. He'll get it. He's going right down, she's on that. Stop the lift, blow up your horse. Cigarette, are you all right? Can you sit up? Cigarette, look at me. You fool. Why don't you leave courses alone if you can ride? Do you want to kill me? Do you want to break my neck? No, I couldn't break that lovely little neck. Oh, I hate you. I'm terribly sorry if I was rude. Sorry? Yes, really. I didn't mean to offend you. No? The first time you come to my cafe, you insult me. And the next time you see me, you tell me to kiss a horse. You know, after all, you did say it would kill you to pay the bet. Are you really sorry? I am indeed. And you have forgiven me? Would it have killed you if I had paid my bet? I should say not. Then here, you like that? No. Who wouldn't? I'm sorry we didn't bet some more. What would we did? Five, six, 10 deaths. And every time you won. No. What are you thinking about? Well, oh, nothing much. Just watching the sunset. I have been watching it, too. But I have been thinking. What about? Oh, about you? I did not know I could hate a man so much. And falling in love with him so quick. What a strange little creature you are, cigarette. Now we've got to go. Come on. It will be a long walk without the horses. Shall I carry you? Oh, no, no. This isn't the first time I walk in the desert. Many a times I march with a leisure. Yes. You told me you were the mascot. That night at the cafe? Even though you did not look at me then, I knew that you liked me. And I liked you, too. And tonight you will come again. And I will fix a little table so nice for you in the alcove. Then I think we will bet some more. You will come, yes? My dear cigarette. That's an invitation no soldier could refuse. Before going on with our play, let us imagine for a moment that we're in a typical American home, which we meet three members of our unseen radio audience. First you hear Joe's sister, Dorothy, who has come over tonight especially to listen to Under Two Flags with Nan and Joe. It's a swell show, isn't it? I wouldn't think of missing the likes program. And I couldn't live without my luck. Well, seems to me there's always something rather you can't live without. Now, there's a brother for you. I'm really very easy on it for Joe, darling. Yeah. But listen, Nan, I got four of the grandest dresses today. I'm going to be the best dressed girl in town. Four? Oh, doc, you are getting extravagant. I'm not. Thanks to Lux Flakes. You see, dear, I can put more money into new clothes this year because Lux has been saving me so much money on cleaning bills. And my things last so much longer now. They really new looking. Besides, it leaves dresses so clean, isn't it? Are you going to Lux everything? Yes, ma'am. I'm not buying a thing that isn't Luxible. Then nothing but Lux Flakes will ever touch them. I'm too thrifty to risk ordinary soaps to rubbing with cakes, though. Dorothy has found the way to dress well at very little cost. Nowadays, every store is full of Luxibles that are knockouts for smartness. And they'll look as smart at the end of the season as they do right now if you stick to Lux. These gentle flakes are made to protect colors and fabrics. Remember, anything safe in water alone is safe in Lux. Back now to Mr. DeMille. Under two flags, starring Herbert Marshall, Olivia de Havilland, Lupi Vallez, and Lionel Atwell. It's later the same evening. Convince the sergeant Victor is in love with her. Cigarette sings happily as she prepares the private table in the cafe. But the sergeant has forgotten his promise. He's late even now. And Ivan, the legionnaire, muses himself by poking fun at cigarette. So it is the sergeant now, huh? You're in love with him. In love? I hate him. Of course, of course. Maybe that's why you make up a nice table here because you hate him. He is not coming here. You can be sure of that. What do you mean? I know he's not coming. And you know why? Because there is a ball up in the English hotel. He's gone up there. Ah. Oh, you're a fool, Ivan. Legionnaires are not permitted at the hotel. But he has gone there. I saw him. And I bet you he does not come here. All right. I bet you. So you were expecting him. He shot down there with the old animals, buying horses. I've heard they're rather shrewd, Captain. Well, of course, I had to watch me step again. Excuse me, sir. Now, what is it, Sergeant? Important dispatch is just arrived, sir. From Egypt? Quite possibly, sir. George, I am a skilled. Are you coming, Lady Venetia? No, I'll wait. Don't be long, Captain. No, I won't. And thanks, Sergeant. So a sergeant now? Yes, my lady. Tell me, was there any such important message? There might have been, but I didn't bring it. It's very dangerous for you to be here under false pretence. It is indeed twice dangerous. Twice? A firing squad on one side, and your eyes on the other. You're a daring man, Sergeant. I had to come to bring you this. Oh, the model of the horse. You were kind enough to admire it. Will you accept it for me as a gift? Thank you. I shall love it, not only for itself, but because you risked so much to bring it. Do you know this is the best exciting thing that's happened to me in all this monotonous country? Africa, monotonous. Well, look about you, isn't it, monotonous? But this isn't Africa. It's just a ball in a hotel in any part of the world. Africa's out there. In the Arab quarters, the Jewish bazaars, the cafes, the cabal dancers. Things I'm afraid I shall never see. Things you ought to see if you want to know Africa. I could take you, you know. Or perhaps adventure doesn't appeal to you. You're daring me, aren't you? Yes. You realize it's absurd, impossible. Quite. And that's why I'm I doing? Of course. Oh, you want to tempt me. When can we go? Now. Now? How can we get out? Can you climb? I used to climb apple trees. And come on. The balcony shouldn't present any difficulties. Sergeant. You've probably been missed. Oh, what a pity Cinderella has to go home. We'd better say good night out here. Thank you for showing me Africa. It's been thrilling. You didn't think that that was Africa, did you? But you said it was. Did I? No. The real Africa's out there in the desert. The Maibu Oasis at full moon. Maibu. It sounds enchanting. And only three miles out? Are you tempting me again? Yes. Are you tempted? Spread-flit. But of course it's impossible. Oh, quite impossible. I'm afraid so. Unless. Unless? We'll have you full moon tomorrow night. I shall see to it personally. Good night Sergeant Victor. Good night my lady. You came out here after all. Didn't you know I would? And after you ordered the moon especially for me? There it is. Shall we sit down? You were going to show me the rest of Africa. It's all around you, my lady. The desert, the oasis. These ruins here. It would have been old, it always. Yes. That's Africa. This place must have a story. A thousand stories. Shall I tell you one of them? I'd much rather hear another, your own. My story's much too long, much too dull to tell you. Not dull, I'm sure. No, perhaps not dull. And it hasn't seen long, till now. After this it'll be endless. After this? Being with you, feeling the nearness of you. You'll never know what it's meant to me. Oh, please, you mustn't talk this way. Do I frighten you? No, but. You see, it's the old trick. I'm just playing on your sympathy. Oh, you had that from the first moment I saw you. You don't belong here. You're miserable here, aren't you? I was. I'm not anymore. You mean that I... Yes. You've changed everything for me. Venetia. Oh, don't say anymore. I must go back now. Do you want to go back? No. That's why I must. What's the matter? How do I know her? Fall in, you men. It's an attack. I heard the commandant say so. Sidi Ben-Yousha's tribes, they have attacked by In-Sufra. Commandant? He just received marching orders. Iron Sufra's been attacked. He's ready to move in an hour. Full packs. That's all. Have a seat. Sergeant Victor. Sergeant Victor. What is it, Rick? Sir, I've been looking for you. I've just seen Lord Sareff. Lord Sareff? Yes, sir. He's just arrived, sir. Gone up to the hotel he is. He mustn't see me. Oh, he'd know, yes, sir. He'd recognize you, sure. And, sir, remember that lady who came to the backs that day? Lady Ben-Yousha? Yes. She's his niece, sir. His niece? Rick, you've got to pack for me. But we're marching in an hour, sir. I can't help that. I gave the carving of Forrest King to Lady Ben-Yousha. It has the name carved on it. I've got to get it back. Oh, he'd know Forrest King, sir. Bring my kit. I'll meet you at the parade ground. Oh, hello, cigarette. Oh, Victor, where have you been? Two nights I waited for you, and you did not come. Why? I'm sorry, cigarette, but I couldn't. Was it the commandant's orders? He gave you some special duty? No, no, I was detained. Oh. Forgive me, cigarette, I must go now. You would leave me and not even say goodbye? No. I was coming to say goodbye before I left. Believe me. Goodbye. Is that all you were going to say to me? Please, you must forgive me. I've got to go. I climbed the balcony. I hope no one saw me. Oh, thank heaven you've come. If you hadn't, I should have gone to you. I couldn't let you go without seeing you. Ben-Yousha, there's something I'm going to ask you. You're going to be very odd of me, but really it's important. It's the model of the horse. I've come to ask you to give it back to me. But why? It's mine, I love it. I can't explain, but I must have it. Will you give it to me, please? Well, of course I will. It's in the other room. But you must let me have it again when you come back. But you won't be here when I return. You will be in England. No, I shall be here, Victor. I can't leave you, ever. But Ben-Yousha. Oh, no, don't speak. I've thought it all out. I know nothing of you except yourself, but that's all I need to know. Ben-Yousha, dear, do you realize what you're saying? It's madness. Oh, no, when two people love each other like this in part, that's madness. And you won't always be a legionnaire. Someday your service will end. It will never end. I can never go back to England. I don't want to be exchanging my service here for a prison cell. I don't believe it. You're trying to frighten me because you think it's hopeless. But it isn't hopeless. I won't let it be. You can't forget me, Victor. Can you? No. You want me to wait? Want you? Then I will. Knock, knock, knock. Ben-Yousha, Nadia, nice to meet you. Who's that? Don't go. It's only my uncle. No, no, I can't see him. I shall be here when you come back. I love you, Victor. Goodbye, darling. Goodbye, Ben-Yousha. Cigarette, where are you? Just years, commandant. Look, my darling, you see this? It's my new commission. I've got it, cigarette. I'm a colonel. Don't you see? This is the thing we waited for, a plan for. Cigarette. Cigarette. Oh, you're crying. What is it? Darling, tell me, what is it? I cried because you go away. Maybe you will never come back. You lie. He's that sergeant. You've been different to me since the first time you laid eyes on him. For a decent kiss I've had since that day. It is not true. I hate him. You're lying to me. You're lying to me, aren't you? Aren't you? Yes, I am lying. He's the sergeant. You're crying for him. I warned you once, cigarette, that I'd never let another man take my place. No man ever shall. What? What do you mean? I warned you, cigarette. Do you want to see me, son? Yes. Yes, Sergeant Victor. I've got a little special detail worth for you. Very good, son. You'll pick up 20 men, cut across the desert, you north towards I and Cypher, hold a position 15 kilometers this side of the fort. Excuse me, sir, I don't quite understand. You said 20 men, you north across the desert? Well, that's right to the heart of the Arab forces, sir. I know that. We'll never make it, sir. You have your orders. But with only 20 men, you have your orders. It's a certain death for all of us. I suppose you know that. Yes, he's part of every soldier's equipment, Sergeant Victor. Pick your men and leave at once. You don't mind, sir? I'd like to ask for volunteers. Do what you want! Yes, sir. Thank you, sir. He calls for station identification. This is the Columbia Broadcasting System. K.M. at Los Angeles, the voice of Hollywood. Now we resume under two flags. I am privileged to introduce a soldier who served under three national banners, the Belgian, French, and Polish. He spent seven years in the French foreign region, campaigning in Algeria, Morocco, Indochina, and the Sahara, rising to a rank of sergeant. In the World War, he became a lieutenant, was severely wounded, underwent 23 operations, and received several decorations, including knighthood in the French Legion of Honor. In recent years, he's been a military technical advisor in Hollywood. He worked for me on the Crusades, and most recently on Paul Muney's picture, the life of Emil Zola. Ladies and gentlemen, a true soldier of fortune, Lieutenant Louis van den Neckar. My thanks, Mr. DeMille. I suppose a lot of people are wondering what crime I committed to have joined the Legion. If I disappoint you, I'm sorry, but the law and I have never had any arguments. Men joined the Legion for one reason, adventure. Criminals are not found in the Rhine, and if one of them manages to join, he is soon arrested by civil authorities. Because my impression that they ask no questions when you join the Legion. That's true, but that does not keep a criminal from, from, that does not keep police from chasing criminals. What are the qualifications then for our enlistment? Only two. You have to be of age and in excellent health. In our play, van, we mentioned Ayen Sufra, and Saida, do those towns mean anything to you? A great deal. I served many more at both places. In fact, at Ayen Sufra, there is a bottle embedded in the wall of one of the buildings. In it is a slip of paper with my name and the date, just a souvenir I left behind. As one who encountered the Arabs many times, what's your opinion of them as fighters? Very high. Arabs even appear. They believe that if they die fighting, they will go to paradise with many pretty girls. We had our hands full many times and I've been just as scared as anyone could be. When marching, the legionnaires are always in square formation, ready for instant trouble, and at night, they pitch their camps in square formations too. They are a neighbor without their rifles or their picks and shovels. No, they're overcoats, judging from what I've seen. Why overcoats in the desert? Because the coat acts on the same order as a thermos bottle. It keeps the heat out. After seven years in their ranks, van, what's your most vivid memory of the legion? That wonderful spirit of comradeship. That will not only risk their lives to save a wounded comrade, but there is case after case of as many as six men going to their death, trying to recover the body of a dead comrade rather than let it fall in the enemy's hands. In the legion are men of every race, color and religion under the sun, men of every profession, living together, fighting together as brothers. If the world wants an example of brotherhood to follow, let the world look to the French foreign legion. Thank you, soldier. Herbert Marshall, Olivia de Havilland, Lupivellez and Lionel, that will take up our story. Under two flags. One week has passed. The fighting has broken out at Ayn-Sufra. But no word has come from Sergeant Victor and his 20 men, doomed to perish, trying to hold a hopeless position. In her room at the hotel in Saida, Lady Venisha turns toward the door as her uncle, Lord Seraflandos. Venisha! Yes, Uncle Harry? I say! Venisha, where in heaven's name did you get this? This model of the horse here. Oh, it... It was given to me, Uncle Harry. But when? A little over a week ago. Curious? Very curious indeed. It must be an old carby. Well, I'm sure it is an old. As a matter of fact, I know it's new. But that's impossible. Don't you see it's Forrest King, Tony Brett's old horse. It has the name carved on the back. Tony Brett? Who's Tony Brett? Don't you remember the scandal? Tony Brett's younger brother committed a crime and Tony showed it the blame himself. Last summer, Tony's brother was injured and just before he died, he made a full confession of solving Tony. And where is Tony Brett now? Why, he's dead, I believe. The man that carved that horse and gave it to me is a legionnaire, an Englishman and a gentleman. He must be Tony Brett. Impossible. But wait a minute. As a matter of fact, none of us ever saw Tony's remains. I can't tell you how I know, but I have a feeling I'm sure that Sergeant Victor is Tony Brett. Isn't it said that the legion is full of dead men? Where is this man? I'd know Tony anywhere. He's gone, marched away with Colonel Doyle's battalion. Can't we get him back? I'll do what I can. You, you want him to come back very much. Don't you, my dear. I do, so much. I beg your pardon, Lady Indonesia. Yes, Paul? You are to be informed of any wounded return. Yes. There's a train of ambulances just arrived, my lady. Oh, thank you, Paul, thank you. Easy there, handle him easy. Oh, Ferrell, Ferrell, you're hurt bad, huh? Uh, see, Father, it's good to see you. Oh, here, water, water, my Ferrell. Excuse me, is there anything I can do? Oh, you. I'd like to help if I could. If you are here to look for Sergeant Victor, you need not look any longer. He is not coming back. What do you mean? You know something, ma'am, was that? Yes, I do know. The commandant had sent him to a post of death. Sergeant Victor will stay there until he dies. Is this true? Yes, it is true. I know from the wounded. Now you can go back to your own country. You will never see him again. Why, why do you tell me this? Because I love him, as you could never love him. He does not belong with your kind. He's of the lesion, and they are my kind. Would you follow them into the desert as I have done? Would you march with them and nurse them and close their eyes when they are dead? I have shot them. Do you hear? So that the Arabs could not take him alive. Could you do that? No! Oh, you poor child, you do love him. Yes, I love him, and I could save him, too. You could save him, how? In a way you could not understand. But why should I save him, huh? For you? But you said that you love him. If you really love him, can you let him die? Can you? Go back to your hotel. Go back to your soft life and easy ways. What are you going to do, ma'am, Ozel? I'm going to the commandant, Arain Soufra. I'm going to save Tarjan Victor, for you. Dear man, there's not much water. Go easy on it. Sergeant, how long are we going to be here? How long do we have to wait for help in this filthy hole? Easy, Baron. I can't stand it much longer, I tell you. I can't stand it. Quiet. They're out there waiting for us. Waiting for us to show ourselves. Waiting for us to go mad. Shut up. Sorry I had to do that, Baron. But there are only eight men here, eight out of 20. We'll need our wits to get out of this. Is this blasted silence that's got me? The Arabs are out there all right. Why don't they attack? They're all 10 feet high between us and a thousand Arabs. They could kill us poof like that. Let them wait. The longer they wait, the more chance for the relief to come. Sure, if it ever does. We were put out here to hold this position. We're going to do it. We can't if they attack us. They'll swarm over us like flies. Quiet, I tell you. He's right, sir. We'd never hold out against another attack. We're too few. It's time we're working against an air. Anything might happen if we had time. Time. I might be able to get some. Until dawn anyway. How, sir? If I could borrow the robes, one of those dead Arabs outside, I might be able to sneak into Sidi Ben-Yuzev's camp. What? Pay the sheikh a little visit. You're mad, sir, for they'd call me a derivative. We'll do that anyway, break. I'm not too particular about where I die. And it's worth a chance. Cahid, Ben-Yuzev. What is it? One of our horsemen, Cahid, he would talk with you. Send him to me. Well? What do you mean, Sidi Ben-Yuzev? An Englishman. How did you get here? It's a pleasure to renew an old acquaintance. Old acquaintance? I don't seem to recall your face. Oxford. You were at Belial? I was at Trinity. You haven't forgotten those afternoons that Professor York's? Oh. Dear old Professor York. Oh, how well I remember. This is amazing. Old classmates meeting here in the heart of the desert as enemies. Why have you paid me this most unusual visit? To save my life and possibly save yours. Really? A wise man is he who makes peace in time. Peace? Recently, a British commissioner arrived in Sidi. As your spies no doubt have already advised you. Does that affect me, my friend? I make war on the French. You know best of course. But if you were caught here with the British troops behind you, it'll be a little awkward, won't it? British troops in French territory? That is utterly impossible. The secret was well kept. Are you naive enough to think that I believe you? You have scouts, I suppose. Send them out. Learn for yourself. Well? I shall send them. If what you have told me is true, I shall be indebted to you for the rest of my life. If not, you will die, my friend. In a few hours, we shall know. A few hours? By dawn. Dawn. Thank you. Good morning, my friend. I trust you slept well. Excellent, thank you. And that you enjoyed your morning meal? I found it a delightful relief from heart attack. I am very glad, since it will be your last. Really? You lied to me. I've had scouts out all night. There are no British within 500 miles. And you knew it. Quite. And I was quite surprised that you believed me at all. And now it's my turn to amuse myself with you. I'm curious. What do you intend to do with me? Remember the old soccer games? We are going to play it now. With horses. You will be the ball. It should be very amusing, Sheikh. For me, yes. But for you, I doubt that you will care for it. What's that? Quiet, quiet, the legion. The legion, post-quadron, they ride from the north. So, this is what you waited for, my friend. The relief, Sidi Ben-Yusif. We hope they might be here at dawn. And so they are. If they pity you, you won't be there to greet them. I shall try my best. Stop him. Stop that man. And charge to the rear. Expend your right arm. Close formation on the left. Never mind the forge. Told you to stay behind. I'm riding with you. I have a battle on my hand here. Get to the rear. You promised to save you. Save your men to the forge. In fact, I did. You want to be hit? Turn your horse and go back. I'm riding with you. Cigarette. Cigarette. It was about here that she went down, Sergeant Victor. Why did she do it? The commandant tried to make her stay behind, but she wouldn't. We saw her fall and we... Look, sir. There she is. She's lying over there. Call some men from the forge. Quick. Yes, sir. Cigarette. Cigarette. All of Victor. You are safe. Let me lift you up. Oh, no. No, I... I have seen so many men die. I know what this is. You can't do anything. There is something I must say. Yes, Cigarette. She said, the English lady, if I love you, I would save you. Tell her I tried. I will tell her. Is the pain very bad? It's nothing. With your arms about me, it's so funny when I waited for you. You did not come. When I would have come, when I must go away, you will remember that day in the desert. I will always remember. Victor, shall we bet? Just once more. Cigarette. And that was the way she died. Out there in the desert. In my arms. Poor Cigarette. She loved you too, darling. And she wanted to save you. For me. I shall always be grateful to her for that. Venisha. That day you spoke to her. Did you tell her? Did you tell her? Who I am? No, darling. I'm glad now. She said that you were her kind. And wherever she is now, she'll be happy believing that. With the falling of the curtain on under two flags, comes a promise from our stars to return to us before this hour is over. Standing beside me now is a woman known to theater goers for many years. First as a dancer, then as producer of the famous Fanshawn and Marco stage shows. From among her performers have risen such stars as Myrna Lloyd, Janet Gaynor, leader Roberti, Martha Ray and Mary Lewis. Her career reached a new high a few days ago when Paramount released Turn Off the Moon with Eleanor Whitney, Johnny Downs and Charles Ruggles. It was produced by our guest and goes down in picture history as the first film ever produced by a woman at a major studio. Ladies and gentlemen, Ms. Fanshawn. For many years, ladies and gentlemen, the two names, Facelby DeMille and Lux, have meant a great deal to me. In fact, Mr. DeMille gave me my first chance to direct dances and pictures. Ms. Fanshawn staged the candy bore for me in a film called The Golden Bed back in 1925. But she didn't continue in pictures very long. Didn't you like them or didn't you like DeMille? I assure you that it was only the pictures. Today, however, was the best in stories, actors and photography. And with men like you still at the helm, I'm sure there's no medium of entertainment like the screen. You also mentioned Lux a moment ago. I can't say too many nice things about Lux's flake. Did you mean you can think of something that your former orchestra leader, Melville Ruick, hasn't already said? Well, I can say that at one time, Mark and I had as many as 1,000 girls performing throughout the country in our stage shows. And do you know, Mr. DeMille, that a part of the equipment of each of those girls was a box of Lux's flake? It's by far the best way of keeping costumes beautifully fresh, and it's especially good for silk stockings. I've used Lux countless times myself when Mark and I were starting out. It was more important to me to keep my costumes looking right than it was to eat. When it came to deciding between a hamburger and a box of Lux, my stomach was usually the loser. That's what I think about Lux. As the first woman to produce a major studio picture, what do you think makes a good film? Well, I hope to show that in my next two pictures. Some are romance and Argentine love. I believe in youthful romance and comedy, music, and dancing. In other words, an entertaining, light, happy production. I found out that about 99% out of 100 people that step up to that box office to buy a ticket do so because they want to be amused. I'm going to try to satisfy them. Education has some place on the screen, too. Yes, but a cheerful story can educate just as much as preaching. Such a story teaches everyday practical things like what's new in clothes and dances and an appreciation of good music. It teaches good manners, how to talk honestly and how to live honestly. Lots of people turn to pictures as an escape from ordinary and very often sordid circumstances. They need hope and a little curing up, a little laugh. And that's what I'm going to remember as long as I'm producing pictures. And now, Mr. DeMille and all of you, my thanks. Good night to you, Madam producer. A moment now with the evening stars, Herbert Marshall, Olivia de Havilland, Rupi Vallez, and Lionel Atville. Again, my gratitude, CB, for inviting me back to the Lux Radio Theatre, and mine, too. Well, I have an opportunity, a word of appreciation to Louis van den Necker for his splendid account of the French Legion. It interests me particularly, Lionel, because in our research in my, for my next picture, the Buccaneer, I discovered that one of the Legion's greatest battles was fought in Mexico. I can tell you about that. Oh, please do tell us, Rupi. Well, Olivia, it took place in 1863, near Beracruz, at the time when Napoleon had made Maximilian, Emperor of Mexico. Only seven French soldiers survived, but the Mexicans admired the courage of the legionnaires so much that they allowed the seven men to leave the battlefield with a rifle. Well, perhaps it inspired Louise de la Rame as she wrote the book under two flags not long afterwards. Yes, and it may surprise you to know that she wasn't French but English. But why did she use the pen name of Wida? Because as a child, that was the way she pronounced Louise. She was a strange personality. She had a particular delight in insulting everyone. Lived on a lavish scale for years and died almost penniless in Italy. That should teach us all to save our money, like I do. I wish you'd tell us how you do it, Rupi. Oh, it's easy and lots of fun, too. I cook all the meals. I paint the garden furniture and the swimming pool for Johnny. You know, it's my husband, Johnny Weiss Miller. And I don't let anybody put anything over me. I'm Mexican, all right, but somewhere I think maybe there was a Scotchman. Excellent. I'm pretty good now, Mr. Rameal. Well, C.B., the clock moves around. And I know you have an important announcement to make a little later. So we'll join the audience and say our adieu in a little verse from Truby. You may remember it. It starts a little work, a little play. To keep us going and so good day, a little warmth, a little light. I've loved bestowing and so good night. A little trust that when we die, we reap all sowing and so goodbye. Mr. Marshall, Mr. Haviland, Ms. Veles, Ms. Rattle, our thanks. The dramatic treat in store for us next Monday night will be revealed in just a moment by Mr. DeMille. This is your announcer, ladies and gentlemen, Melba Ruitt. Assisting our stars tonight were Lionel Pape as Captain Migniz, Kenneth Hunter as Lord Sarath, Leonard Mewdy as Rake, Michael Viseroth as Ivan, L'Alchand Merra as C.D. Ben-Yusef, James Eagles as Cascadi, Lou Merrill as Pierre, Frank Nelson as Berrand, David German as Officer, Warren McCullum as Grévan, Ross Forrester as Ferrol, Harold Daniels as Adjutant, and Charles Emerson as a Doctor. Mr. Marshall appeared at the courtesy of Paramount and RKO Studios, Mr. Haviland, Warner Brothers, Mr. DeMille, Paramount, Lionel Atwell and Lewis Silver's 20th Century Fox, where the latter was in charge of music for the new film Cafe Metropole. May I remind you now that next week will be National Cotton Week. All over the country, leading stores are featuring smart cottons, attractively priced. Stop at your favorite store to see these exciting new clothes. A multitude of glamorous luxables to choose from. Smart stores everywhere are recommending the easy lux way which banishes wardrobe worry. Back now to Mr. DeMille. A year ago at this time, I was up to my boot tops in preparation for my 63rd picture. In the marching panorama of events from 1865 to 1875, I hope to show the character of a group of great Americans, their mighty courage and resounding struggles to open the Western frontier to civilization. The picture is the Plainsman and it makes me happy to announce that next Monday night, the Plainsman comes to you for the first time on the air in the Lux Radio Theater. Heard in the roles of Wild Bill Hickock and Calamity Jane will be the stars who contributed so much to the success of the picture, Gary Cooper and Gene Arthur. 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 Gary Cooper and Gene Arthur in the Plainsman. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System. KMX, the Columbia station, Los Angeles.