Lux Radio Theatre - Love Affair

Summary

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Harold's Old Time Radio

Episode Summary: Lux Radio Theatre - "Love Affair"

Aired: July 1, 2026

Featured Stars: Irene Dunne (Terry McKay), Charles Boyer (Michel Marnay), Host: Cecil B. DeMille

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Episode Overview

This episode of Harold’s Old Time Radio presents a classic radio adaptation of the 1939 romance "Love Affair" from the Lux Radio Theatre. Hosted by legendary producer Cecil B. DeMille, the episode brings together original film stars Irene Dunne and Charles Boyer for a sweeping tale of fate, love, and personal transformation. The story follows two engaged individuals who meet on a transatlantic voyage, fall in love, and make a pact to reunite atop the Empire State Building, testing the boundaries of destiny, ambition, and devotion.

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Key Discussion Points & Musical Moments

Setting the Scene (00:30 – 01:03)

• Host Introduction: Cecil B. DeMille describes "Love Affair" as one of the rare "perfect motion pictures," filled with simplicity and magic due to the synergy of script, stars, and direction.
• Quote - DeMille:

  “It doesn't take much knowledge of the theater to guess what would happen if a Broadway producer were able to announce the appearance of Charles Boyer and Irene Dunne for a single performance.” (01:03)

• Audience Context: The show highlights the unique opportunity for a coast-to-coast American audience to hear these stars together for free, a feat only possible in radio’s golden age.

Shipboard Encounters: Foundations of Love (04:07 – 10:09)

• Meet Cute: Michel Marnay, a famous French painter and playboy en route to marry an American heiress, meets Terry McKay when a message blows into her hands.
  • Terry’s Wit:

    “How’s your fiancée, Ms. Lois Clark?” (06:19)

  • Michel’s Flirtation:

    “Every woman I meet I put on a pedestal. But the longer I know her... Well, let's talk about you.” (08:01)

• Romantic Chemistry: Their playful banter, mutual teasing, and self-awareness set the tone for an unconventional and grown-up romance.
• Backstories Revealed: Terry’s history as a nightclub singer; Michel’s reputation as a heartbreaker.

A Visit to Madeira: Family, Reflection, and Depth (12:04 – 17:12)

• Grandmother Janu’s Home: Michel invites Terry to meet his wise and endearing grandmother in Madeira, who becomes a pivotal character.
  • Janu’s Insight:

    “There is nothing wrong with Michel that a good woman could not make right.” (15:46)

• Setting & Symbolism: The tranquility and history of the grandmother’s home deepen the emotional stakes, and Janu’s gifting of her shawl foreshadows future acts of tenderness.

The Pact: Hope, Hesitation, and Longing (18:10 – 21:02)

• Vulnerable Confessions: On ship deck, Michel and Terry contemplate their feelings and futures, deciding to pursue honest work and independence before seeing if their love can withstand time and distance.
  • Famous Exchange:

    “Wishes are the dreams we dream when we're awake.” – Terry recalling her father (18:29)

• Six-Month Promise: They agree to meet July 1, 5pm, atop the Empire State Building to determine if they still belong together.
  • Terry’s Instructions:

    "It's the tallest building in the world. You can't miss that. It's the nearest thing to heaven we have in New York. And oh yes, darling, be sure to take the elevator.” (21:27)

Falling Apart: Missed Connections and Tragedy (30:13 – 34:11)

• Countdown to Reunion: Both struggle to establish themselves; Michel paints under a pseudonym, Terry works as a singer.
  • Montage of months passing, each counting down to the meeting.
• Accident on the Eve: En route to the Empire State Building, Terry is struck by a car, critically injured, and doesn’t arrive.
• Michel Waits: Michel waits for hours atop the tower, unaware of what’s happened.
  • Poignant Scene:

    “[To the elevator operator] What time is it?” “10 minutes after 5.” (33:02)

• Secrecy: Terry, now paralyzed, chooses not to tell Michel, fearing pity and wanting to recover before seeing him again.

Recovery, Resilience, and New Purpose (39:15 – 43:19)

• Terry Finds Meaning: While recovering, she coaches children at a neighboring orphanage, using music and kindness as therapy for herself and the children.
• Michel’s Artistic Growth: He pours his heartbreak and hope into painting, notably a portrait of a woman in a shawl, signifying Terry.
  • Kobe:

    “You became a painter.” (44:09)

• Michel’s Success: His new works are recognized; yet he remains emotionally adrift.

The Final Encounter: Truth and Reconciliation (48:15 – 54:14)

• Fateful Reunion: Michel visits Terry’s apartment, their conversation full of restrained emotion and playful deflection.
• Gradual Revelation:
  • Terry struggles to conceal her condition; Michel realizes the truth through the presence of his gifted painting and Janu’s shawl.
  • Powerful Exchange:

    Michel: “Why didn’t you tell me, Terry?... If anything had to happen to either one of us, why did it have to be—”
    Terry: “Darling, don’t look at me like that. It was nobody’s fault but my own. I was looking up at the 102nd floor, you see. It was the nearest thing in the world to heaven because you were there, dear.” (53:44)

• Resolution: They reaffirm their love, buoyed by hope—“If you can paint, I can walk.”

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Notable Quotes & Memorable Moments

• On Love’s Possibility:

  “Every woman I meet, I put on a pedestal. But the longer I know her... the better I know her, you know.” – Michel (08:01)

• On Fate:

  “It's the nearest thing to heaven we have in New York...” – Terry, about the Empire State Building (21:27)

• On Resilience:

  “Unless I can walk to him—and when I say walk, I mean run—he’ll never know.” – Terry (46:29)

• On Closure:

  “We said if we could make it, we’d be there. And if one of us didn’t show up, there must have been a darn good reason.” – Terry (50:31)

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Timestamps for Key Segments

| Timestamp | Segment & Description | |-------------|----------------------------------------------------------| | 00:30 | Opening & DeMille's introduction | | 04:07–10:09 | Shipboard encounters—Michel and Terry's first meetings | | 12:04–17:12 | Madeira—meeting Grandmother Janu | | 18:10–21:27 | The Promise—“Meet me in six months” | | 30:15–34:11 | The accident and missed rendezvous | | 39:15–43:19 | Terry’s hospital recovery, work with orphans | | 44:09 | Michel's one-man art show and emotional reckoning | | 48:15–54:14 | Final confrontation—truth, forgiveness, and reunion |

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Episode Tone & Style

• The dialog sparkles with wit, gentle sparring, and moments of deep vulnerability, true to the golden age of romantic drama. The emotional arc blends lighthearted banter with poignancy, culminating in a hopeful yet realistic ending.
• The chemistry between Dunne and Boyer, guided by DeMille’s careful narration, brings sincerity and gravitas to the proceedings.

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Conclusion

This broadcast delivers a faithful, emotionally rich radio dramatization of "Love Affair," balancing heartache, humor, and romantic idealism. With deft acting and memorable lines, the episode explores love’s capacity for growth, healing, and transcendence. Fans of classic radio will find this a standout performance, rich with nostalgia and timeless sentiment.

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Transcript

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[Narrator/Announcer]

Lux presents Hollywood. The lux radio theater brings you irene dunn and charles boyer in love affairs. Ladies and gentlemen, your producer, Mr. Cecil b. Demille.

[Cecil B. DeMille]

Greetings from Hollywood. Ladies and gentlemen. Once in a blue moon occurs that phenomenon of the motion picture art, the perfect motion picture. Sometimes it makes no pretensions to greatness. It's only a simple tale of men and women. But all the elements of story, stars and direction are so happily combined that the finished product emerges as a living thing. That blue moon was shining over Hollywood when Irene Dunn and Charles Boyer teamed in the RKO picture Love Affair. And ever since, you've been asking us to beg, borrow or steal the original stars and present it here. However we did it, they're here tonight for this romantic story of a love affair that begins on shipboard and ends. Well, that's for the third act to say. It doesn't take much knowledge of the theater to guess what would happen if a Broadway producer were able to announce the appearance of Charles Boyer and Irene Dunn for a single performance. As a matter of fact, there's probably no theater in the world but the Lux Radio Theater. That would be big enough to hold the crowd. And so if you'd. If you'd like to thank someone for your seats tonight, the credit should go to Lux Flake. If this were a Broadway playhouse, the line at the box office would probably extend much further, farther than you could see. And every man and woman in that line would be ready to pay several hard earned dollars to enjoy these stars in a hit like Love Affair. But it doesn't cost you a cent at our box office because so many millions of you have discovered another great hit, the title Lux Plate. Now, as we raise the curtain, an audience from coast to coast joins an audience of members of the American armed forces around the world for the first act of Love Affair, starring Charles Boyer as Michelle Manet and Irene Dunn as Terry McKay. It's said of certain people that they have less privacy than a goldfish. But Michel Manet must have gazed with envy at the placid goldfish bowl. For compared to him, the Finnay resident was a hermit. On a night not long ago, the radio gossipers burned up the airwaves of the world with the latest news of his unprivate existence on the continent. Ladies of all nations will be desolate at these reports. Michel Marnay sails tonight for America to marry Lois Park, American heiress to a fortune of 600 million francs. In New York, Prince Michel Marnay, the French heart crusher, sailed incognito tonight aboard the Empress.

[Narrator/Announcer]

Why?

[Cecil B. DeMille]

Because Lois Clark and her 20 million smackers will be waiting for him on

[Kobe (Art Dealer/Friend)]

the dock in New York City.

[Cecil B. DeMille]

And this time it's Mary on the steamship Empress. The subject of all this excitement paces the deck slowly reading a radiogram. Suddenly, a gust of wind takes it from his hand and whisks it around the corner of the deck. Monsieur Marny gives chase and rounding the corner, pulls up short as he sees a very pretty girl reading a radiogram.

[Michel Marnay / Andre (Painter)]

Oh, I beg your pardon, madam. I think you're reading my radiogram.

[Terry McKay]

I beg your pardon.

[Michel Marnay / Andre (Painter)]

The wind blew it. Here. My radiogram. I believe you're reading it.

[Terry McKay]

Oh, just a moment. I want to finish. Oh, well, how do I know this is yours? Can you identify yourself?

[Michel Marnay / Andre (Painter)]

Well, I am Michel Marny.

[Terry McKay]

Don't tell me you're the fella. The one they've been talking about on the radio. Well, now, can you tell me what this message says? It's rightly personal and, well, I'd like to be sure that. Well, you know.

[Michel Marnay / Andre (Painter)]

Well, it says, remembering a warm, beautiful night. A thunderstorm over Lake Como and you.

[Terry McKay]

And you.

[Janu (Grandmother)]

That's you.

[Terry McKay]

That was all right, huh? It was nice. Do you think it'll ever take the place of baseball?

[Kobe (Art Dealer/Friend)]

Eh?

[Michel Marnay / Andre (Painter)]

I beg your pardon?

[Terry McKay]

Never mind. Here's your radiogram, Mr. Marnay. Good evening.

[Michel Marnay / Andre (Painter)]

No, no, wait, please. I'm in trouble, serious trouble.

[Terry McKay]

Well, I could have told you. Playing around Lake Como. The poor thing.

[Michel Marnay / Andre (Painter)]

I must talk to someone.

[Terry McKay]

Well, I'm not very good at that sort of thing. I talk a lot. Really? I'm trying to break myself of the habit.

[Michel Marnay / Andre (Painter)]

Well, you have an honest face. I can trust you, can't I?

[Terry McKay]

Yes, I guess so.

[Michel Marnay / Andre (Painter)]

Come with me.

[Terry McKay]

But the captain has an honest face too.

[Michel Marnay / Andre (Painter)]

No, no. Shall we go to your cabin or mine?

[Terry McKay]

Well, mine. It's not that I'm prudish. It's just that my mother told me never to enter a strange room in months ending in r. Well, your mother

[Michel Marnay / Andre (Painter)]

must be a very beautiful woman.

[Terry McKay]

Here it is.

[Michel Marnay / Andre (Painter)]

What's Your name?

[Terry McKay]

Terry McKay. And I'm traveling alone. That wasn't by any chance what was troubling you?

[Michel Marnay / Andre (Painter)]

Yes, of course.

[Terry McKay]

How did you guess?

[Michel Marnay / Andre (Painter)]

Oh, this is fine. You know you saved my life. I've been bored to death. I haven't seen one attractive girl on this boat since we left. Not one. Can you imagine nine days like that? Oh, it's terrible. Life should be bright. It should be beautiful and bubbly like. Like pink champagne. You know, I got scared. I said to myself, don't beautiful women travel anymore? Evidently not. Then I saw you and it was all right. Cigarette?

[Terry McKay]

No thanks. Have you been getting results with a line like that? Or would I be surprised?

[Michel Marnay / Andre (Painter)]

If you were surprised, it would surprise me.

[Terry McKay]

That sounds like a nasty craft. I could. I could make a few too, if I felt like it.

[Michel Marnay / Andre (Painter)]

I'm sure you could.

[Terry McKay]

I know I can.

[Michel Marnay / Andre (Painter)]

That's what I said.

[Terry McKay]

I think I will. How's your fiance, Ms. Lois Clark?

[Michel Marnay / Andre (Painter)]

Oh, she's got a call.

[Terry McKay]

Oh, too bad. Got her to Lake Como.

[Michel Marnay / Andre (Painter)]

No, no, she wasn't there.

[Terry McKay]

Then the lady of the Lake isn't?

[Michel Marnay / Andre (Painter)]

No, no, it was her best friend. Oh, tell me, Bunch, this boat is going awfully fast. Only eight and a half days till we get in. Now is there any reason why from now on shouldn't be pink Champion?

[Terry McKay]

Tell me, do you like that picture on the table?

[Michel Marnay / Andre (Painter)]

Oh, yes. Friend of yours?

[Terry McKay]

A very good friend.

[Michel Marnay / Andre (Painter)]

Oh, I see. He's nice, eh?

[Terry McKay]

Very nice.

[Michel Marnay / Andre (Painter)]

He's all right.

[Terry McKay]

Uh huh.

[Michel Marnay / Andre (Painter)]

Where is he now?

[Terry McKay]

In New York. He sends me on a buying trip every once in a while. You see, he's my boss too.

[Michel Marnay / Andre (Painter)]

Oh, you don't think he would approve of being champagne?

[Terry McKay]

No, I don't really.

[Michel Marnay / Andre (Painter)]

Well, I think it's very touching, you and him. Very beautiful. I like that. He must be very engaging.

[Terry McKay]

Well, you can just imagine how attractive he is. When I can resist so charming a person as you.

[Michel Marnay / Andre (Painter)]

Yes, well, I think I'll go now. After all, I still have deck tennis, Kino shuffle ball.

[Terry McKay]

Don't tell me you're embarrassed.

[Janu (Grandmother)]

Yes.

[Michel Marnay / Andre (Painter)]

Yes, to my embarrassment. Well, if you don't mind, I'll take my pride for a walk. Unless by chance you care to have dinner?

[Terry McKay]

Dinner or rat? I like very much. I'd love to have.

[Michel Marnay / Andre (Painter)]

Oh, now, you mustn't believe all you've heard about me.

[Terry McKay]

Oh, I couldn't believe all, Mr. Marnay. But I gather you've known quite a few women. Or maybe few is the wrong word.

[Michel Marnay / Andre (Painter)]

Well, yes.

[Terry McKay]

And I gather you haven't much respect for Them? Well, no, but of course, you've always been fair in your judgment.

[Michel Marnay / Andre (Painter)]

I've been more than fair. I idealize them. Every woman I meet I put on a pedestal. But the longer I know her, the better I know her. And the better I know her, you know. Well, let's talk about you.

[Terry McKay]

Oh, no, not just now, please. We'll talk about me another time. I'd like to take a walk on the deck.

[Ken (Terry's fiancé)]

Deck?

[Kobe (Art Dealer/Friend)]

Of course.

[Michel Marnay / Andre (Painter)]

Here, boy.

[Terry McKay]

Radiogram, Signor Mar. Oh, my, my. Another one. Your name? Seora McKay. There is one for you also here. Oh, thank you.

[Michel Marnay / Andre (Painter)]

Some New Year, huh?

[Terry McKay]

Yours from New York too?

[Michel Marnay / Andre (Painter)]

Well, now, where were we? Oh, yes. What's the name of that strange place you were born?

[Terry McKay]

Kansas.

[Michel Marnay / Andre (Painter)]

And from there, where did you go?

[Terry McKay]

Well, from there I went to New York and got a job singing in a nightclub from 10 to 3 in the morning. Then the manager used to chase me around his office till about 4. And then I went home. Then one night he came along.

[Michel Marnay / Andre (Painter)]

Oh yeah, the man in the picture?

[Terry McKay]

Uh huh. And he said I didn't belong in a place like that.

[Michel Marnay / Andre (Painter)]

He said that you should improve yourself.

[Terry McKay]

Yeah.

[Michel Marnay / Andre (Painter)]

So I studied hard so that someday you would be a charming and lovely wife.

[Terry McKay]

Yes, that was more or less the idea. Well, that sort of brings us up to date. And there's something else I want to tell you.

[Michel Marnay / Andre (Painter)]

Yes?

[Terry McKay]

I don't think it's very good for either one of us to be seen together. Right or wrong, people like to talk. It had better be debased.

[Michel Marnay / Andre (Painter)]

What's the matter of you?

[Terry McKay]

No.

[Michel Marnay / Andre (Painter)]

Well, we're on the same ship. There's still eight days, you know.

[Terry McKay]

Well, you can take nice long walks in the sunshine. We'll be in Madeira tomorrow. The sun always shines in Madeira.

[Michel Marnay / Andre (Painter)]

What do I do if it rains?

[Terry McKay]

No, no, it's no good.

[Michel Marnay / Andre (Painter)]

I see. It's particularly no good for you.

[Terry McKay]

Yes, that's right. Being seen with you is news and. Well, I just think we better spread out. Good night.

[Michel Marnay / Andre (Painter)]

Good.

[Cecil B. DeMille]

Accident will send me back on board at 5 o'.

[Children/Chorus]

Clock.

[Cecil B. DeMille]

Boat will leave Madeira at 5 o'.

[Michel Marnay / Andre (Painter)]

Clock.

[Cecil B. DeMille]

Passengers will please be back on board at five o'.

[Children/Chorus]

Clock. Hello.

[Terry McKay]

Going ashore?

[Michel Marnay / Andre (Painter)]

Yes, I'm calling on a lady this afternoon.

[Terry McKay]

Even in Madeira.

[Michel Marnay / Andre (Painter)]

You're mistaken this time. It's my grandmother.

[Terry McKay]

Oh, I'm sorry.

[Michel Marnay / Andre (Painter)]

Oh, that's all right. She lives way up on that hill, see? Would you like to come along and meet her?

[Terry McKay]

I'd be glad to come.

[Michel Marnay / Andre (Painter)]

This is her house. That's a little chapel over there. And down the hill. See those houses? That's the village.

[Terry McKay]

What a divine place. I want to meet her.

[Michel Marnay / Andre (Painter)]

Well, I'll see if she's here. Janu.

[Cecil B. DeMille]

Janu.

[Michel Marnay / Andre (Painter)]

It must be in the chapel.

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[Terry McKay]

What is there about this place? Something makes you feel you want to whisper. There's such peace here. It's like another world.

[Michel Marnay / Andre (Painter)]

Yes, my grandmother's world.

[Terry McKay]

Tell me a little more about it.

[Michel Marnay / Andre (Painter)]

My grandfather was in the diplomatic service. This was his last post. He died here, so she stayed on to be near him. She must be waiting, I think a little impatiently, for the day she would join him.

[Kobe (Art Dealer/Friend)]

Michel.

[Terry McKay]

Michel, my dear.

[Janu (Grandmother)]

Why didn't you tell me you were arriving?

[Michel Marnay / Andre (Painter)]

Januel, darling, I wanted to surprise you.

[Janu (Grandmother)]

I am very surprised. So you are going to be married. Michel, Is this the girl?

[Michel Marnay / Andre (Painter)]

No, no. This is Mysterie mckay.

[Janu (Grandmother)]

Oh. How do you.

[Terry McKay]

How do you do?

[Janu (Grandmother)]

She's very charming, Michel. I like her.

[Terry McKay]

Thank you. I'm glad.

[Janu (Grandmother)]

If you'll excuse me, I'll sit down for a moment. I'm longer at my prayers nowadays. And my knees, well, they are as old as I am. Tell me, are you English?

[Terry McKay]

No, I'm American.

[Children/Chorus]

American.

[Janu (Grandmother)]

Do you know I have a special fondness for America. It was my husband's first post after we married.

[Children/Chorus]

Really?

[Janu (Grandmother)]

Yes. In fact, we went to Washington on our honeymoon. My husband was in the French embassy. Mr. Grover Cleveland was your president. We met him. A great hacky man. He got married while he was in the White House. And we all went to the wedding. I remember the lovely bride. I remember it caused a sensation.

[Terry McKay]

She did not wear a bottle.

[Michel Marnay / Andre (Painter)]

What a simple way to cause a sensation.

[Janu (Grandmother)]

For those days it Was a revolution.

[Terry McKay]

You have such a lovely place here.

[Janu (Grandmother)]

Thank you.

[Terry McKay]

I'd like to stay on forever.

[Janu (Grandmother)]

Oh, no, you are young for that. It is a good place to sit and remember. But you still have to create your memories. I see you looking at my chapel. Would you like to go in?

[Terry McKay]

Oh, may I?

[Janu (Grandmother)]

But of course.

[Terry McKay]

Thank you.

[Janu (Grandmother)]

How long has it been for you, Michel?

[Michel Marnay / Andre (Painter)]

Well, a long time.

[Janu (Grandmother)]

Since you were an altar boy, huh? And you better go into it. Won't hurt you. I'll prepare soon. Come in, my dear. He will be ready in a moment. Where is Michel?

[Terry McKay]

He'll be right along. May I help you?

[Janu (Grandmother)]

Thank you, my dear. I'm sorry. I had to let my maid go. I have to watch my experience. You see, I planned on dying when I was 75, but here I am, 77. So if I'm not going to die, I should start saving my money.

[Terry McKay]

Oh, what a lovely painting.

[Janu (Grandmother)]

You like it?

[Terry McKay]

It's charming. Who did it?

[Janu (Grandmother)]

Michel.

[Terry McKay]

Michel?

[Janu (Grandmother)]

He painted it for me.

[Terry McKay]

But he's good.

[Janu (Grandmother)]

He is very talented. Unfortunately, he's also very critical. The artist in him would create.

[Terry McKay]

The critic is throws.

[Janu (Grandmother)]

As a result, he has not done anything since.

[Terry McKay]

What a pretty.

[Janu (Grandmother)]

Michel is too busy living, as they call it. Things come easy to him. And he's always allured by the art he's not practicing. The places he has not been, the girls he has not met.

[Terry McKay]

Maybe I shouldn't have met him.

[Janu (Grandmother)]

Oh, no, no. You are different. I don't mind confessing to you, my dear, that I have been worried about him. I am frightened sometimes.

[Children/Chorus]

Why?

[Janu (Grandmother)]

That one day life will present a deal to Michel and that he will find it hard to pay. But when I see him with you, I feel better.

[Terry McKay]

I wish I could share your confidence.

[Janu (Grandmother)]

You will have it when you need it. There is nothing wrong with Michel that a good woman could not make right.

[Michel Marnay / Andre (Painter)]

Hello. Well, how have you two girls been getting along?

[Terry McKay]

You'd be surprised.

[Janu (Grandmother)]

Yes, wouldn't he?

[Michel Marnay / Andre (Painter)]

I bet Janu did all the talking.

[Terry McKay]

She'd been telling me that when you were a little boy, if you didn't get your own way, you'd lie on the floor and kick and get red in the face.

[Michel Marnay / Andre (Painter)]

Oh, what did you say?

[Terry McKay]

Well, I said you didn't do that anymore. Now, if you don't get your own way, you just get embarrassed.

[Michel Marnay / Andre (Painter)]

Well, may I have some tea? You know, she was a great pianist once.

[Terry McKay]

I think she's wonderful. Right now she is. Not so loud. I can see you.

[Michel Marnay / Andre (Painter)]

Well, I'm afraid it's for us. We ought to be at the boat.

[Janu (Grandmother)]

I do not like boat whistles.

[Michel Marnay / Andre (Painter)]

I'll come back and see you soon, I promise.

[Janu (Grandmother)]

Please do.

[Terry McKay]

You are shivering. Don't you want your shawl around you?

[Janu (Grandmother)]

Thank you.

[Terry McKay]

Such a beautiful shawl.

[Janu (Grandmother)]

You like it?

[Terry McKay]

Yes, I do.

[Janu (Grandmother)]

I'll send it to you someday. Goodbye, Michelle.

[Michel Marnay / Andre (Painter)]

Goodbye, Janu.

[Janu (Grandmother)]

Goodbye, my dear. God bless you.

[Michel Marnay / Andre (Painter)]

Mind if I come in with you for a moment?

[Terry McKay]

Please do.

[Michel Marnay / Andre (Painter)]

It's getting very windy on day.

[Terry McKay]

Yes, isn't it?

[Michel Marnay / Andre (Painter)]

Well, I just want to thank you for a grand evening.

[Terry McKay]

And I want to thank you for the loveliest day I've ever known.

[Michel Marnay / Andre (Painter)]

You were very sweet to my little grandmother.

[Terry McKay]

I'm going to write to her.

[Michel Marnay / Andre (Painter)]

Oh, that'll be nice. You know, I'm very, very grateful to my grandmother.

[Terry McKay]

You should be.

[Michel Marnay / Andre (Painter)]

But I think she's made you see me in a more favorable light.

[Janu (Grandmother)]

She has?

[Michel Marnay / Andre (Painter)]

Now you're wondering, of course, why I'm not better than I am.

[Terry McKay]

I think you're all right.

[Michel Marnay / Andre (Painter)]

Oh, that's as far as you'll go.

[Terry McKay]

That's as far as I can go, dearie. Feel how the boat's rocking. We must have changed our course. I think we have, dearie, but only for a while. Good night, dearie.

[Narrator/Announcer]

Listen to me.

[Terry McKay]

No, now, don't. We're heading into a rough sea. Michelle. Good night.

[Michel Marnay / Andre (Painter)]

Good night. Hello, Taving.

[Terry McKay]

Hello. If you say a penny for your thoughts, I'll jump overboard.

[Michel Marnay / Andre (Painter)]

What are you doing out here? Couldn't you sleep?

[Terry McKay]

No. Too near New York to sleep. What about you?

[Michel Marnay / Andre (Painter)]

All I seem to do is turn and toss.

[Terry McKay]

Dreaming?

[Michel Marnay / Andre (Painter)]

No, you couldn't call it dreaming. I'm awake. I would call it wishing.

[Terry McKay]

My father used to say, wishes are the dreams we dream when we're awake. He used to drink quite a lot.

[Michel Marnay / Andre (Painter)]

I wrote a song once about wishing. Was nice.

[Terry McKay]

Was it? How does it go?

[Michel Marnay / Andre (Painter)]

Oh, I forget. But it said that if you wish long enough in your mind and if you wish strong enough in your heart, and if you keep on wishing long enough and strong enough, you get what

[Terry McKay]

you want for Christmas.

[Michel Marnay / Andre (Painter)]

Yes. Well, we'll get in in the morning. Well, I guess if we have something in our minds, we'd better say it now. Yes, I. I, you know, have never worked in all my life. In all my life, I've never worked.

[Terry McKay]

I've been thinking about that. What did you say?

[Michel Marnay / Andre (Painter)]

I didn't say anything.

[Terry McKay]

You did too. Oh, you. You said I was very fond of expensive things. Furs and jewels and things.

[Michel Marnay / Andre (Painter)]

Oh, did I say that?

[Terry McKay]

I guess you and I have Been more or less used to a life of pink champagne. It might be a little difficult to change. You like beer?

[Michel Marnay / Andre (Painter)]

Yes. Yes, I do.

[Terry McKay]

But I know my father used to say it's a funny thing. The things you like best in life are either illegal, immoral or fattening.

[Michel Marnay / Andre (Painter)]

Your father.

[Terry McKay]

I told you, he drank like a fish.

[Michel Marnay / Andre (Painter)]

I wonder what your father would think of me. Never working, not once.

[Terry McKay]

Just because you haven't, that doesn't mean.

[Michel Marnay / Andre (Painter)]

That doesn't mean that I couldn't. Of course not. But you know, I might not find out all at once. Might take me at least six months to find out if.

[Janu (Grandmother)]

If.

[Terry McKay]

If what?

[Michel Marnay / Andre (Painter)]

Well, it's hard to say. After all, it's unfair to ask you to take a chance. But. Well. Well, if I worked hard enough and long enough and wishes came to. Where would you go?

[Terry McKay]

What are you trying to say, Michelle?

[Michel Marnay / Andre (Painter)]

I'm trying to say that it would take me six months to find out if I'm worthy to say what is in my heart.

[Terry McKay]

Oh, that's just about the nicest. Well, I. I guess I'll turn in now and do a little rolling and tossing and thinking. I'll think about it and let you know in the morning. Going my way?

[Michel Marnay / Andre (Painter)]

No, no, I think I'll walk a little.

[Terry McKay]

You know, marriage is a very serious thing for a girl like me.

[Michel Marnay / Andre (Painter)]

Yes, I know.

[Terry McKay]

Do you like children?

[Cecil B. DeMille]

Yes.

[Michel Marnay / Andre (Painter)]

Yes, I do.

[Children/Chorus]

Uh huh.

[Terry McKay]

So do I.

[Children/Chorus]

Michelle. Michelle.

[Ken (Terry's fiancé)]

Oh, there you are.

[Michel Marnay / Andre (Painter)]

I was worried. I thought you had left the boat without telling me.

[Terry McKay]

Oh, no. Michelle, listen. If everything goes all right for both of us in six months, I mean. That's July.

[Michel Marnay / Andre (Painter)]

That's July.

[Ken (Terry's fiancé)]

Yes.

[Terry McKay]

Now look, I've written out these directions. Now read them carefully so there won't be any mistake.

[Michel Marnay / Andre (Painter)]

Oh, my dear. My darling. Darling, that's me.

[Cecil B. DeMille]

Oh.

[Michel Marnay / Andre (Painter)]

Meet me on July 1, 5 o', clock, 102nd floor, top of the Empire State Building.

[Terry McKay]

There it is. See over there? It's the tallest building in the world. You can't miss that. It's the nearest thing to heaven we have in New York. And oh yes, darling, be sure to take the elevator.

[Narrator/Announcer]

Mr. DeMille presents Act 2 of Love affairs starring Irene Dunn and Charles Boyer in. Just a moment. Meantime, I have a riddle for Sally. Oh, Sally.

[Cecil B. DeMille]

What?

[Narrator/Announcer]

Five letter word in the English language is never pronounced right.

[Terry McKay]

Well, goodness, I. I can't imagine.

[Narrator/Announcer]

No, it's very simple. W, R, O, N, G. Wrong.

[Terry McKay]

Now honestly, Mr. Roy.

[Narrator/Announcer]

Now honestly, Sally, isn't it a good idea to keep those two words straight? For instance, if you Took that pretty rayon dress you're wearing and scrubbed it with a strong wash day soap.

[Terry McKay]

But that's wrong, Mr. Roy.

[Narrator/Announcer]

Of course it is. Chances are you'd have a sadly faded and streaked piece of material on your hands when you were through. But if you washed it carefully in gentle, lukewarm lux suds, it would come out fresh and bright and pretty as ever.

[Terry McKay]

That's right.

[Narrator/Announcer]

Yes. There's a right and a wrong way of doing things. And nowadays, when you want everything to last and wear better than ever, of course you want to be sure you're giving your pretty washables the right kind of care. Gentle, new, quick luxe has no harmful alkali to injure fabrics or fade colors. And for those quick, rich suds, there's none of the cake soap rubbing that's so hard on fabrics. On rayons, particularly. Many rayons, you know, are temporarily weak when wet, so never rub or twist them. Now, it cost you less than a penny to luxe a dress, so don't risk ruining pretty washables with strong soaps. Stick to care you know is safe, gentle luxe flakes. So safe, in fact, that more makers of fine washables advise luxe flakes than advise all other soaps combined. Now, our producer, Mr. DeMille.

[Cecil B. DeMille]

Act two of Love Affair, starring Charles Boyer as Michelle Manet and Irene Dunn as Terry McKay.

[Bretzky (Spinquest Promoter)]

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[Cecil B. DeMille]

The excitement of the landing is over. Michelle and Terry have been rushed away from the dock under the protection of their respective fiance. Now, a few hours later, Terry stands on the balcony of her penthouse apartment, gazing dreamily at the majestic tower of the Empire State Building. Behind her in the room, the door opens quietly. Terry.

[Ken (Terry's fiancé)]

Hello, darling.

[Terry McKay]

Oh, hello, Ken.

[Ken (Terry's fiancé)]

Well, darling, how does it feel to be back?

[Terry McKay]

Oh, fine, Ken. I want.

[Ken (Terry's fiancé)]

Sorry I had to rush away this morning, but right now there's not a thing on my mind except that I'm in love. Kiss.

[Terry McKay]

Mm.

[Ken (Terry's fiancé)]

Hey, wait a minute. Kiss me again, will you?

[Michel Marnay / Andre (Painter)]

Huh?

[Ken (Terry's fiancé)]

Remind me to ask you later what's happened to your kisses? Oh, by the way, take a look at the Paper. Your picture's on page three.

[Terry McKay]

Marnais wedding.

[Ken (Terry's fiancé)]

Or think of it, your picture right under the headline. Now they could have said beautiful Terry McKay comes between the famous Marnie and his fiance. Or maybe they should have.

[Terry McKay]

Should they?

[Ken (Terry's fiancé)]

Well, after all, darling, you were on the boat with them, weren't you?

[Terry McKay]

Huh?

[Ken (Terry's fiancé)]

Did you meet him?

[Terry McKay]

Yes.

[Michel Marnay / Andre (Painter)]

Uh huh.

[Ken (Terry's fiancé)]

Must be a fascinating chap.

[Terry McKay]

Yeah.

[Ken (Terry's fiancé)]

Oh, and he's not nearly as bad as people say.

[Terry McKay]

Darling, if there were only some way without hurting you.

[Ken (Terry's fiancé)]

I get it. I'm sorry.

[Terry McKay]

Oh, Ken.

[Ken (Terry's fiancé)]

Terry, darling, how can you do such a thing? It doesn't make sense. I know you must be losing your mind.

[Terry McKay]

I know.

[Ken (Terry's fiancé)]

Terry, what are you going to do?

[Terry McKay]

We're giving it six months to. Well, to see if we are both sure what we want. I'm leaving New York. I'm going to get a job somewhere singing. And, well, we're going to meet in July.

[Michel Marnay / Andre (Painter)]

Oh, Terry.

[Ken (Terry's fiancé)]

Terry, listen to me. I won't let you do this.

[Michel Marnay / Andre (Painter)]

You're too fine.

[Ken (Terry's fiancé)]

I wanted to marry you. Sweetheart, look at me can't you see I'm in love?

[Terry McKay]

I know, Ken, darling. But so am I.

[Children/Chorus]

Pretending Leave my heart Go on and leave my heart or if you sing he'll never. Know.

[Cecil B. DeMille]

Well, Ms. McKay.

[Terry McKay]

How am I doing?

[Janu (Grandmother)]

Chief?

[Terry McKay]

Just to face society like me in Philadelphia.

[Cecil B. DeMille]

That noise is applause, isn't it?

[Terry McKay]

Maybe they're applauding your two dollar dinner.

[Cecil B. DeMille]

You've got the job.

[Michel Marnay / Andre (Painter)]

Mc if you'll step into my office,

[Cecil B. DeMille]

I'd like to talk about a nice long contract.

[Terry McKay]

Six months.

[Cecil B. DeMille]

Six months.

[Michel Marnay / Andre (Painter)]

That's another long time.

[Terry McKay]

Oh, yes it is. Yes, it is.

[Michel Marnay / Andre (Painter)]

There you are. There's a whole lot of them. Well, what do you think?

[Kobe (Art Dealer/Friend)]

11 paintings in a few weeks. You have been working hard.

[Michel Marnay / Andre (Painter)]

I want you to work hard, Kobe. I want you to sell them for me. Now you can go to work on this one first.

[Kobe (Art Dealer/Friend)]

Still life, hmm?

[Michel Marnay / Andre (Painter)]

What's the matter? Don't you like it?

[Kobe (Art Dealer/Friend)]

No, but I'll tell you, if you signed it Michel Marnay instead of Andre, I could sell it to plenty of women.

[Michel Marnay / Andre (Painter)]

No, no, no. This is the new Marnie, whose name is Andre. Well, I was hoping you would like this one.

[Kobe (Art Dealer/Friend)]

So was I. Oh, may I help myself to this apple?

[Michel Marnay / Andre (Painter)]

Sure, if you don't mind it being only half an apple. Oh, that was my lunch. Would you care to have dinner with me?

[Janu (Grandmother)]

No.

[Michel Marnay / Andre (Painter)]

I'll take a cigarette though. Oh, I'm sorry, but I quit smoking. Oh.

[Kobe (Art Dealer/Friend)]

What's the painting on the easel?

[Michel Marnay / Andre (Painter)]

Oh, it's not quite finished.

[Kobe (Art Dealer/Friend)]

Ah, it's a woman.

[Michel Marnay / Andre (Painter)]

Oh, thanks. Do you like her?

[Kobe (Art Dealer/Friend)]

Well, I know.

[Michel Marnay / Andre (Painter)]

I know you would not like to be seen with her.

[Kobe (Art Dealer/Friend)]

You did this without a model?

[Michel Marnay / Andre (Painter)]

Well, you know, women are more expensive than apples.

[Kobe (Art Dealer/Friend)]

I'd finish it though. You shouldn't have any trouble getting a model.

[Michel Marnay / Andre (Painter)]

Uh huh. This is the new money. Well, I suppose if I can't sell my paintings, I'll have to get a job. I have to make money, you know, lots of money. Oh, look, Cobain. Did you ever see those fellows who work on scaffoldings? You know, they make pictures, Petty girls, automobiles, beer, sign painting. That's it. How do you get that kind of work?

[Kobe (Art Dealer/Friend)]

I don't know. Maybe you need an agent.

[Michel Marnay / Andre (Painter)]

Oh, maybe. Well, I'll have to find out, huh? Say, say, look, P. I don't know

[Kobe (Art Dealer/Friend)]

how much of this kind of work you've done, but when you're standing on a scaffold four flights up, you stand quiet, see? You don't go dancing around like the queen of the mayor. You'll land up on the sidewalk.

[Michel Marnay / Andre (Painter)]

Sorry, my friend, just that I'm happy. How do you like my beautiful girl? See, she looked down on all New York and sell beer by the gallop.

[Kobe (Art Dealer/Friend)]

Michelle. Michelle.

[Michel Marnay / Andre (Painter)]

Who is that?

[Kobe (Art Dealer/Friend)]

There's a guy down there waving at you. Michelle.

[Michel Marnay / Andre (Painter)]

Oh, go big. What is it?

[Kobe (Art Dealer/Friend)]

I've been looking all over for you. I have good news. You know the woman I wouldn't be seen with? I sold her for $200.

[Michel Marnay / Andre (Painter)]

Two, my friend. I'm a painter.

[Kobe (Art Dealer/Friend)]

Well, so am I.

[Terry McKay]

March 29. July 1. Three months more. Three months.

[Michel Marnay / Andre (Painter)]

May 2. Two months to go.

[Terry McKay]

June 4. One more month.

[Michel Marnay / Andre (Painter)]

Two weeks from today.

[Terry McKay]

Only one more week.

[Michel Marnay / Andre (Painter)]

Next week.

[Terry McKay]

Thursday, Tomorrow.

[Children/Chorus]

Tomorrow.

[Michel Marnay / Andre (Painter)]

Today.

[Terry McKay]

Today, Today. Hello?

[Children/Chorus]

Hello.

[Terry McKay]

Oh, is this Mr. Kenneth Bradley? Well, this is Ms. Lane at the Salon Modern. Mr. Bradley. I thought I'd call you. Ms. McKay came into the shop this afternoon for some new dresses. Yes, and we used to send the bills to you and. Oh, of course, anything she wants. Yes, sir.

[Janu (Grandmother)]

What?

[Terry McKay]

Well, I'll try to hold her here. How long will you be?

[Janu (Grandmother)]

All right.

[Terry McKay]

Goodbye. No, no, Ms. Lane, I. I think I have enough right here. Thank you. Nothing else?

[Children/Chorus]

Well, if you're sure.

[Terry McKay]

Ms. McKay, where shall I have this sense? Well, I don't know at the moment. I'll have to call you back and let you know. Let me see. That'll be $234 there. I think that's right, isn't it? You mean we're not to charge this to. To Mr. Bradley? No, no, no. Goodbye.

[Ken (Terry's fiancé)]

Hello, Terry.

[Children/Chorus]

What?

[Terry McKay]

Ken?

[Ken (Terry's fiancé)]

How are you, Terry? Have you been hiding all these months?

[Terry McKay]

Ken, what are you doing here? How on earth did you know I. Oh, Miss Lane. I see. What time is it, Ken? I'm late.

[Ken (Terry's fiancé)]

It's five minutes to five.

[Terry McKay]

Oh, heavens. It's good seeing you, Ken.

[Ken (Terry's fiancé)]

Good seeing you, Terry. There's so much to talk to you about.

[Terry McKay]

Well, I'm sorry. I'm in such a hurry.

[Ken (Terry's fiancé)]

There's so much I want to say to you.

[Terry McKay]

Well, call me up sometime, Ken. Oh, no, you can't do that either. When I'm. I'm going to be married.

[Ken (Terry's fiancé)]

Oh, you're going to be married?

[Terry McKay]

Yes, Ken. And I'm late. What time did you say it was?

[Ken (Terry's fiancé)]

4 minutes to 5. Looks like I came all the way down here just to tell you what time it was, doesn't it?

[Terry McKay]

Yeah. Goodbye, Ken.

[Ken (Terry's fiancé)]

Goodbye.

[Cecil B. DeMille]

Good luck.

[Terry McKay]

Driver, can't you hurry?

[Cecil B. DeMille]

Sorry, miss, Traffic jam. I can cut across 32nd Street.

[Terry McKay]

Oh, never mind. I think I'll save time if I get out here. I'm in a hurry. Here you are.

[Cecil B. DeMille]

Hey, what's the big rush?

[Terry McKay]

I'm going to be married and I'd like you to be the first to congratulate me.

[Cecil B. DeMille]

Sure. Congratulations.

[Children/Chorus]

Thanks. Bye.

[Cecil B. DeMille]

Hey, look out.

[Children/Chorus]

Come on, miss. What's the matter? What? Half the woman can hit.

[Terry McKay]

You should dial her cab just this minute.

[Children/Chorus]

I was talking to her. Get an ambulance.

[Terry McKay]

Get an ambulance, quick.

[Cecil B. DeMille]

And this tower is the tallest in the world. 102 floors above the street. If you ladies and gentlemen just move around this wave and see the whole downtown.

[Terry McKay]

Enough now.

[Cecil B. DeMille]

Elevated A street.

[Terry McKay]

Going down, sir.

[Michel Marnay / Andre (Painter)]

What's that?

[Terry McKay]

Going down?

[Michel Marnay / Andre (Painter)]

Oh, no, no. I'm just waiting for. What time is it?

[Terry McKay]

10 minutes after 5.

[Michel Marnay / Andre (Painter)]

Oh, thanks.

[Terry McKay]

Gee, listen. Must have been an accident somewhere.

[Cecil B. DeMille]

Yeah, and up that way is the George Washington Bridge. It's not very clear tonight, but if you look carefully, you can see the red light which marks the top of the steel tower. On a clear night, you can see the automobile light. Gorgeous bridge. George Washington Bridge.

[Terry McKay]

Going down?

[Michel Marnay / Andre (Painter)]

No, not yet.

[Terry McKay]

It's eight o', clock, sir.

[Michel Marnay / Andre (Painter)]

I said I'm not going down yet.

[Terry McKay]

Yes, sir. Looks like a storm coming up, don't it? Boy, some rain, huh? Going steady for three hours. Well.

[Michel Marnay / Andre (Painter)]

Hey, wait a minute.

[Terry McKay]

You mean you're going down now?

[Michel Marnay / Andre (Painter)]

Yes, I'm going down.

[Ken (Terry's fiancé)]

Well, Doctor, how's she doing?

[Michel Marnay / Andre (Painter)]

Will she be all right, Doctor? Well, her X rays aren't too encouraging. It's hard to say if she'll ever walk again. We could tell Better in about six months.

[Cecil B. DeMille]

Are you the fellow she was yelling

[Michel Marnay / Andre (Painter)]

about under the anesthetic?

[Ken (Terry's fiancé)]

No, that's another chap. She was on her way to marry him.

[Michel Marnay / Andre (Painter)]

Have you notified him?

[Ken (Terry's fiancé)]

No, I haven't. She doesn't want that. Because until she knows what you say, you won't know for a while. She'd rather he didn't know.

[Michel Marnay / Andre (Painter)]

I see. That's being sensible. Nice girl.

[Ken (Terry's fiancé)]

I think so. May I go in?

[Cecil B. DeMille]

Of course.

[Terry McKay]

Hello, Ken.

[Ken (Terry's fiancé)]

Hello, Terry.

[Terry McKay]

Ken, this is Father Haney.

[Ken (Terry's fiancé)]

Yes, I know.

[Michel Marnay / Andre (Painter)]

We've met. He was the one who sent for me.

[Cecil B. DeMille]

Child, we weren't very sure we were going to have you with us.

[Terry McKay]

Fooled you, didn't I, Father? I guess I had this coming to me. But if the punishment fits the crime. Father, I must have been a very bad girl. Oh, can I just. Ken's the man. I told you.

[Michel Marnay / Andre (Painter)]

Yes, I know. He explained.

[Terry McKay]

He did? Oh, fine thing. A tattletale. Men like to talk, don't they, Father? You see, I was on my way to be married this afternoon. I. I was going to meet him, this other fellow.

[Children/Chorus]

Do you suppose he'll wait a very long time.

[Narrator/Announcer]

This is the Columbia Broadcasting System. Now before Mr. DeMille returns with Charles Boyer and Irene Dunn for act three of Love Affair.

[Bretzky (Spinquest Promoter)]

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[Narrator/Announcer]

Let's look in on Anne and Bill, a young couple who are entertaining some new neighbors. It's been a pleasant evening until Bill persuaded Anne to play the piano.

[Terry McKay]

I. I'm sorry. I don't remember how it goes. Let's all go outside where it's cooler.

[Narrator/Announcer]

Madame's real reason for confusion is her hands.

[Terry McKay]

They look like a couple of lobsters on the key. I saw that woman staring at them. I love keeping house for Bill. But her hand is so pretty. Pretty and white. I'll bet she doesn't do dishes three times a day.

[Narrator/Announcer]

She does though, Ann. But she guards her pretty hands with luxe flakes in her dish pan. And all you need to do to have your hands grow soft and smooth and lovely again is to change to gentle lux for your dishes instead. Of that strong soap you're using now. Yes. Actual tests have proved that simply changing to lux gets rid of ugly dishpan redness. The women who made these tests used no creams or lotions. They just changed from strong soap to gentle, new, quick lux. And in from two to seven days, their hands grew lovelier. Now, isn't that an easy beauty tip? And a thrifty one. It costs you less than a penny a day to change. To luxe flakes for dishes less than a penny a day to change. Dishpan hands. Deluxe hands. If Anne will do this one simple thing, she'll have a pleasanter reason for interrupting her music.

[Terry McKay]

Why?

[Narrator/Announcer]

Why, Bill, honey, you've got the prettiest hands in the world. Now Mr. DeMille returns to the microphone.

[Cecil B. DeMille]

The curtain rises on the third act of Love Affair. Starring Irene Dunn and Charles Bo. For three months, Terry lay in the hospital, unable to move. And then, at last, they told her she might go out as far as the hospital gate. But in her loneliness, Terry has found company. The children from the Lincoln Heights Orphanage next door who climb over the fence each day to sit in an adoring circle around her wheelchair.

[Children/Chorus]

Oh, Ms. Terry, sing for us.

[Terry McKay]

Sing for us what, again?

[Children/Chorus]

Sing that song you wrote, Ms. Terry. Terry. The one about the wishing we've been practicing in.

[Terry McKay]

Ms. Terry.

[Children/Chorus]

We got a trio. No.

[Terry McKay]

All right, I'll sing it and then you join in.

[Children/Chorus]

Keep quiet, everybody. Okay, Ms. Terry.

[Terry McKay]

Okay.

[Children/Chorus]

Wishing we made it home Just keep on wishing and care will go Dreams tell a stream come true it's no honest day and wishes are the dream we dream when we're away the freedom of night we fall if you are a servant within your heart so if you wish long enough Wish strong enough you will fall Good night. Will make it home.

[Terry McKay]

The audience acting too. Come on, let's hear the trio. Here we go.

[Children/Chorus]

Wishing will make it so Just keep on wishing and care we'll go Dreamers tell us dreams come true it's no mistake and wishes are the dreams we dream when we're awake the curtain of night will pass if you are certain within your heart so if you wish long enough Wish drawing up you will come to know. Wishing where they.

[Cecil B. DeMille]

What's all this, children?

[Children/Chorus]

Jesus, kids. It's all big old boys.

[Terry McKay]

Hello.

[Michel Marnay / Andre (Painter)]

How do you do? I'm the superintendent of the office.

[Terry McKay]

Yes, I know.

[Michel Marnay / Andre (Painter)]

How long has this been going on?

[Terry McKay]

Well, just a few days. I hope you're not angry.

[Michel Marnay / Andre (Painter)]

Oh, no, no, no. When you've got as many youngsters on your hands as I have lady, you've got a problem.

[Terry McKay]

Oh, I don't know. I like them. I like kids.

[Michel Marnay / Andre (Painter)]

I do too. But they don't like me.

[Narrator/Announcer]

They call me Picklepuss.

[Terry McKay]

Oh, dear.

[Michel Marnay / Andre (Painter)]

I can see they like you. And music too. And if it has so much influence, if you can do so much in a few days. I'm thinking.

[Terry McKay]

I'm wondering if you're thinking the same thing I am. I'll be up and around pretty soon. And music has charms. And I like children. And children like me. And I've been needing a job badly.

[Michel Marnay / Andre (Painter)]

It would only be an experiment, you understand.

[Janu (Grandmother)]

We.

[Michel Marnay / Andre (Painter)]

We couldn't pay a high wage.

[Terry McKay]

Oh, that's all right. Just so you'd pay me enough that I don't go around calling you Pickle. Fr.

[Michel Marnay / Andre (Painter)]

Yeah.

[Terry McKay]

Christmas fun. Christmas fun. Shopping for the Christmas fun too.

[Kobe (Art Dealer/Friend)]

Michelle, welcome home.

[Michel Marnay / Andre (Painter)]

How are you, Kobe? Thought I'd pay you a Christmas visit.

[Kobe (Art Dealer/Friend)]

Good. But where have you been? Michelle, I've been trying for six months

[Michel Marnay / Andre (Painter)]

to get in touch with you. Oh, my dear, mostly you receive my painting.

[Kobe (Art Dealer/Friend)]

Come here.

[Cecil B. DeMille]

Look at the gallery.

[Kobe (Art Dealer/Friend)]

I've given you a one man show. And have they been selling? Wonderful. You haven't wasted your time, Michelle.

[Michel Marnay / Andre (Painter)]

You should have seen the 50 I threw over the cliff.

[Kobe (Art Dealer/Friend)]

I can read your state of mind

[Michel Marnay / Andre (Painter)]

when you painted these.

[Kobe (Art Dealer/Friend)]

You were very sorry for yourself when you painted this one. Getting over your broken heart.

[Michel Marnay / Andre (Painter)]

Broken heart? That's not for me.

[Kobe (Art Dealer/Friend)]

But here, this one of the girl in the lace shawl in this. You became a painter.

[Michel Marnay / Andre (Painter)]

Well, I'm not exactly ashamed of that one myself, you know. I had a great deal to say. I tried to paint it instead.

[Kobe (Art Dealer/Friend)]

Oh, let me tell you something. A girl came in here the other day, a crippled girl. She saw this picture. Excuse me. Hello? Yes, madame? Michelle, it's for you. Ms. Lois Clarr.

[Michel Marnay / Andre (Painter)]

Oh, excuse me. Hello, Michelle?

[Terry McKay]

This is Lois.

[Michel Marnay / Andre (Painter)]

Oh, how are you, Lois?

[Terry McKay]

I called you hotel. They said you could be reached at this number. Oh, Michelle, I've just got to see you. Well, I know you must be busy, but can you make the theater tonight?

[Michel Marnay / Andre (Painter)]

Well, I don't know.

[Terry McKay]

Call me later, darling, and let me know.

[Lady Luck (Spinquest Promoter)]

Do try to make it.

[Terry McKay]

And whatever you do, don't plan anything for after the show, huh?

[Michel Marnay / Andre (Painter)]

All right. Well, Louise, where shall we go from here?

[Terry McKay]

I suppose you plan where we'll go, Michelle. After all, this is your evening.

[Michel Marnay / Andre (Painter)]

Darling, I don't know where to go anymore. I just got back. You know, if you.

[Terry McKay]

What is it, Michelle? Who's that girl you're staring at? That one Sitting on the aisle. Hello, Michelle.

[Michel Marnay / Andre (Painter)]

Hello, Jenny. What? What were you saying, Lois?

[Terry McKay]

I was saying you're never at a loss of his justice.

[Ken (Terry's fiancé)]

Terry.

[Terry McKay]

Oh, Ken.

[Ken (Terry's fiancé)]

Terry, why don't you tell him I'll go get him.

[Terry McKay]

No, no, no, Ken, stop.

[Ken (Terry's fiancé)]

The first time you're able to get out and have a good time and you have to meet him, and all

[Terry McKay]

I could say was hello. Well, the show's over. The boy gets the girl. Shall we go?

[Michel Marnay / Andre (Painter)]

Sure.

[Cecil B. DeMille]

Usher.

[Ken (Terry's fiancé)]

Usher, will you bring the wheelchair, please? It seems awful to take you home when everybody's going out celebrating Christmas Eve. Well, I'm going to ask you again. Why don't you let me help you?

[Terry McKay]

All right, I'll tell you again. If you paid for my getting well, he wouldn't like it. And if he didn't like it, I wouldn't like it. If you did get me well and I went to him, you wouldn't like it.

[Ken (Terry's fiancé)]

But then he certainly ought to know.

[Terry McKay]

Oh, no, no, because. Because if I didn't get well, that would be awful. No. Unless I can walk to him, and when I say walk, I mean run, he'll never know. I've got my job and I'm on a budget. And if things come out all right, then maybe if I'm a good little girl, girl, I'll get what I want next Christmas.

[Children/Chorus]

But, Ms. McK, we don't want to go without you.

[Terry McKay]

Wait, wait, wait, Doctor. I could be back in a couple of hours. This is the Christmas benefit, their first public performance. This is my team.

[Children/Chorus]

But Ms. McKay, she's our coach, Doctor.

[Terry McKay]

She is?

[Narrator/Announcer]

Doc.

[Michel Marnay / Andre (Painter)]

Look, if it weren't good for her,

[Cecil B. DeMille]

you wouldn't want her to go, would you?

[Michel Marnay / Andre (Painter)]

I've given orders to Ms. McKay not to move from this couch.

[Terry McKay]

I'm sorry, kid, but you can get along without me. Oh, Ms. McKay, there's someone here to see you. A gentleman. Oh, all right. All right, kids, you better run. Good luck.

[Children/Chorus]

Goodbye.

[Terry McKay]

Merry Christmas.

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[Terry McKay]

All right, you can send him in now. Will you come in, please?

[Michel Marnay / Andre (Painter)]

Hello, Michelle.

[Terry McKay]

I I thought it was.

[Michel Marnay / Andre (Painter)]

May I put this package over here?

[Terry McKay]

Yes, of course.

[Michel Marnay / Andre (Painter)]

How are you, deari oh, it's good to see you. Good to see you, too. Why are you lying down? Sitting all right?

[Terry McKay]

Oh, yes, I'm just resting.

[Michel Marnay / Andre (Painter)]

Oh, good.

[Terry McKay]

It's been a long time.

[Cecil B. DeMille]

Yes.

[Michel Marnay / Andre (Painter)]

Yes, that's right.

[Terry McKay]

It's good to see you.

[Michel Marnay / Andre (Painter)]

You said that. Well, I bet you're wondering how I got here. I was looking the telephone book for a man named McBride, and I saw the name of Terry McKay. So I said to myself, could that be Terry McKay, my old friend?

[Terry McKay]

And it was?

[Michel Marnay / Andre (Painter)]

Yes. Then I said to myself, I haven't been very nice to Ms. McCain. After all, I had an appointment with her one day, and I didn't keep it.

[Terry McKay]

You didn't keep.

[Michel Marnay / Andre (Painter)]

Oh, well, that's not a very nice way to treat an old friend, is it? So I said to myself, I must apologize. So here I am.

[Terry McKay]

That's sweet of you.

[Michel Marnay / Andre (Painter)]

I thought so.

[Terry McKay]

I've often wondered about you and how you were.

[Ken (Terry's fiancé)]

Really?

[Michel Marnay / Andre (Painter)]

I've often wondered about you Doom. So you did not get angry because I wasn't there? Oh, now, now, you must have been at first.

[Terry McKay]

Yes, I was. First I was furious. I said, he. He can't do this to me. Who does he think he is?

[Michel Marnay / Andre (Painter)]

How long did you wait? I mean, did you wait long?

[Terry McKay]

Let me see. I. I waited till about midnight.

[Michel Marnay / Andre (Painter)]

Oh, then what did you do?

[Terry McKay]

Then I really got mad. Just imagine standing up there.

[Michel Marnay / Andre (Painter)]

Yeah. In a thunderstorm.

[Terry McKay]

Yes.

[Michel Marnay / Andre (Painter)]

Then what did you say to yourself?

[Terry McKay]

Then I said, why don't you go home and get tight?

[Michel Marnay / Andre (Painter)]

But you didn't do that.

[Terry McKay]

Didn't I?

[Michel Marnay / Andre (Painter)]

No. Well. Well, maybe you. Maybe you took a little one every hour for about a month.

[Terry McKay]

Can you blame me?

[Michel Marnay / Andre (Painter)]

I should say not. The least I could have done was to send you a note.

[Terry McKay]

Maybe by the time you thought of it, you. You didn't know where to reach me.

[Michel Marnay / Andre (Painter)]

Well, you swore that if you ever saw him again, you would ask, didn't you?

[Terry McKay]

No, no. I remember. We said if we could make it, we'd be there. And if one of us didn't show up, there must have been a darn good reason.

[Ken (Terry's fiancé)]

Like what?

[Terry McKay]

So there'll be no more questions asked, I hope. Cigarettes.

[Michel Marnay / Andre (Painter)]

All right. Thank you.

[Terry McKay]

Thank you, Michelle.

[Michel Marnay / Andre (Painter)]

You know, I walked all the way here 10 blocks to Wring your beautiful neck. And instead I promised not even to ask you why you were not there. You knew that was the reason I came.

[Terry McKay]

Uh huh. How's everything with you, Michel?

[Narrator/Announcer]

Oh, I see.

[Michel Marnay / Andre (Painter)]

You can ask questions.

[Terry McKay]

I guess so.

[Michel Marnay / Andre (Painter)]

Well, I thought everything was fine until I saw you last night. And then I knew there must be something between us, even if it is only the ocean. So I bought myself a ticket.

[Terry McKay]

You're sailing?

[Michel Marnay / Andre (Painter)]

Yes. Tonight. You're happy, aren't you?

[Terry McKay]

Yes. And you?

[Michel Marnay / Andre (Painter)]

I don't know. You see, I'm worried about the future. What will people think of me? They will say, there goes Andre, the mad painter. Oh, there must be something the matter with him. He doesn't like women.

[Terry McKay]

He won't even speak to them.

[Michel Marnay / Andre (Painter)]

Oh, yes, yes. He sails the seven seas. And to every woman he meets, he says, where will you be in six months?

[Terry McKay]

And they're there.

[Michel Marnay / Andre (Painter)]

Everywhere. Tall buildings, pyramids everywhere. Waiting, waiting, waiting.

[Terry McKay]

And where is he waiting?

[Michel Marnay / Andre (Painter)]

Sorry. Want to change the subject?

[Terry McKay]

Uh huh. Merry Christmas, Michelle.

[Michel Marnay / Andre (Painter)]

Merry Christmas Day. Well, well. Six months ago, who would have thought we would be spending Christmas together. Oh, before I go, I brought you present.

[Terry McKay]

Oh, I'm sorry I haven't one for you. I. I didn't know I'd be seeing you.

[Michel Marnay / Andre (Painter)]

But it isn't really Casema's present. It's a shawl.

[Terry McKay]

A shawl? Her shawl. Then that's why my letters to her came back.

[Michel Marnay / Andre (Painter)]

Yes. She died five months ago. I would have sent it to you, except I didn't know your address until today.

[Terry McKay]

It's beautiful.

[Michel Marnay / Andre (Painter)]

Put it on. She wanted you to have it. Well, goodbye, Terry.

[Terry McKay]

Goodbye, Michelle.

[Michel Marnay / Andre (Painter)]

You know, the way you look now. I painted you like that. With a shawl.

[Narrator/Announcer]

I wish you'd seen it.

[Michel Marnay / Andre (Painter)]

Kobe said it was my best. I didn't think I would ever part with it. But you know, was no particular reason for keeping it anymore. And then a girl came into Kirby's shop about a week ago. He told me about her. She saw in the painting. Well, what I hoped you would see. So I told Courbet to send it to her. Because he said she was poor. And not only that, he said she was. Well, anyway, I told him to send it to her. She declares my season and she can't afford to leave. You know me, Big hearted Michelle.

[Terry McKay]

Yes, yes.

[Michel Marnay / Andre (Painter)]

What's behind the screen?

[Terry McKay]

No, don't. No, no, it's nothing. Really, it's nothing.

[Michel Marnay / Andre (Painter)]

My picture. The lady with a shawl.

[Terry McKay]

Michelle.

[Michel Marnay / Andre (Painter)]

You know, there is one thing more. Kobe told me about the girl. You know, the girl he gave my picture to. She was. She had been hurt. She couldn't walk.

[Terry McKay]

Oh, please don't say anymore.

[Michel Marnay / Andre (Painter)]

Why didn't you tell me, Terry? If anything had to happen to either one of us. Why did it have to be.

[Terry McKay]

Darling, don't look at me like that. It was nobody's fault but my own. I was looking up at the 102nd floor, you see. It was the nearest thing in the world to heaven because you were there, dear.

[Michel Marnay / Andre (Painter)]

Darling, I'm not going. I'm never going. You will be well again.

[Terry McKay]

Oh, darling, of course I will. If you can paint, I can walk.

[Narrator/Announcer]

Our stars will be back for a curtain call in just a moment. Now, how can it be that two pretty girls come back from the same vacation with two such different reports? Mary says it wasn't much fun.

[Terry McKay]

I don't know. I guess I just didn't fit in or something.

[Narrator/Announcer]

But Ruth tells a difference.

[Terry McKay]

Oh, I had a marvelous time. And I met the most wonderful man.

[Narrator/Announcer]

You see, the difference is that Ruth knows daintiness is the key to charm, to romance. And she knows how easy it is to be sure of freshness, especially with new, quick Lux to help you.

[Terry McKay]

It takes only a moment to lux under things every night.

[Narrator/Announcer]

Then you're sure you won't offend those rich, gentle suds. Take away every trace of perspiration quickly, thoroughly, safely, with no harmful alkali. No cake soap rubbing to injure fabrics or colors so pretty under things stay lovely longer too, to protect daintiness. To save pretty washables. Get the generous big box of luxe flakes tomorrow. And lux under things after every. Wearing dresses, blouses, sweaters, often. Now, here's Mr. DeMille with our stars.

[Cecil B. DeMille]

The charm of love affair will linger long in our memories. And Irene Dunn and Charles Boyer were certainly worth waiting for.

[Michel Marnay / Andre (Painter)]

Thank you, Sibi. It is worth waiting a very long time to play opposite Irene Dunn.

[Terry McKay]

I bet you say that to all your leading ladies, Charles, but I like it.

[Michel Marnay / Andre (Painter)]

Will you be my character witness, Siby?

[Cecil B. DeMille]

Indeed I will. If I were an actor again, I. I would have said the very same thing.

[Michel Marnay / Andre (Painter)]

Oh, I didn't know you were once an actor. Was it on the stage?

[Terry McKay]

Oh, yes, Charles, as a leading man. They say he made a lot of feminine hearts flutter back about. Well, he made them flutter.

[Michel Marnay / Andre (Painter)]

Excuse me. I didn't catch the date.

[Terry McKay]

I didn't mention it.

[Cecil B. DeMille]

Well, there's considerable doubt about the flutter of hearts. But it was 35 or 40 years ago.

[Michel Marnay / Andre (Painter)]

Well, I didn't know about this, but if I ever produce a picture myself, I'll try to try and depart for you.

[Cecil B. DeMille]

If you happen to have Irene Dunn as the star. Charles, I'd like to play the leading man or something like that.

[Terry McKay]

You're hired, Mr. DeMille. What are you playing next week?

[Cecil B. DeMille]

It's the Metro Goldwyn mayor hit H.M. fulham, Esquire. And we'll have two of the original stars of the picture. Hedy Lamar and Robert Young and Josephine Hutchinson. HM Pullum, Esquire Is the drama of a young man who must choose between the tradition of his family and the life he himself wants. A choice that's symbolized by two women played by Hetty Lamar and Josephine Hutchinson. That play closes our regular season so I hope you won't miss H.M. fulham, Esquire next Monday night.

[Michel Marnay / Andre (Painter)]

Well, you certainly have a very fine cast for it, Siby. Good night.

[Terry McKay]

Good night.

[Cecil B. DeMille]

Good luck. You both win well, these tonights. Now, before I say good night, I'd like to have you listen to an important war message just received from Mr. Donald Nelson of the War Production Board. Mr. Nelson writes, the War Production Board needs the cooperation of every American housewife in a waste fat collection program vital to the war effort. One of the important tools of war is explosives. Explosives to smash enemy tanks, ships and planes. We and our allies need enormous quantities of explosives and you women of America can help supply them right from your own kitchens.

[Narrator/Announcer]

How?

[Cecil B. DeMille]

Simply by saving used cooking fats and greases. The bacon grease, meat drippings and frying fats you've been throwing away for fats make glycerin and glycerin makes explosives. It's as simple as that. And now that our supply of fats and oils from the Pacific has been cut off, we must stop throwing away the valuable kitchen greases that we must have to produce glycerin. Here's what you do. Strain your waste kitchen fats into clean, wide mouth cans. Very soon your local salvage committee will give you instructions from the Conservation Division of the War Production Board telling you just what to do with these waste fats to get them into war production. Watch your local newspapers for instruction. This is a definite way in which you can help to win the war. Our soldiers and sailors on the fighting fronts need your help. Signed, Donald M. Nelson. Of course, we'll all do our part in this important undertaking. Mr. Nelson has described. 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 Hedy Lamar, Robert Young and Josephine Hutchinson in HM Fulham, Esquire. This is Cecil B. DeMille saying good night to you from Hollywood.

[Narrator/Announcer]

Irene Gunn will soon be seen in the Universal picture Lady in A Jam. Charles Boyer's next picture is the Warner Brothers production. The constant nymph heard in tonight's play were Tris Coffin as Kenneth, Dee Benedarrette as the grandmother, Ferdinand Minier as Courbet and Griff Barnett, Norman Field, Edwin Max and Doran, Bruce Payne, Dory Carlton, Eric Snowden, Charles Peck, Tony Martelli, Leo Cleary, Dick Davis, Barbara Jean Wong, Joe Panario and the Bryan sisters. Tune in next Monday night here Hedy Lamar, Robert Young and Josephine Hutchinson in HM Fulham Esquire. Our music was directed by Lewis Silvers and your announcer has been Melville Ruig. This is the Columbia Broadcasting System.

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