Lux Radio Theatre - Cavalcade

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: Lux Radio Theatre - "Cavalcade"
Date: June 20, 2026
Host: Harold's Old Time Radio

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Episode Overview

In this special rebroadcast from the Golden Age of Radio, Lux Radio Theatre presents Noël Coward's Cavalcade (originally aired in 1936), depicting the sweeping social and personal changes across three decades of British life. The play unfolds predominantly through the Marriott family, following their joys, sorrows, and resilience through wars, personal loss, and societal transformation. Star performances include Herbert Marshall, Madeleine Carroll, Una O’Connor, and David Niven, with Coward himself making a special guest appearance and Cecil B. DeMille as producer and host.

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Key Sections and Highlights

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1. Introduction and Cast Presentation

[00:37 – 02:10]

• The drama opens with classic radio flourishes: a live orchestra, a prestigious star cast, and Cecil B. DeMille’s signature welcome.
• DeMille details Cavalcade as a fitting farewell to 1936, heralding hopes for 1937 productions.
• He presents the principal cast and mentions their backgrounds, highlighting the international aspect fitting the England-centered story.
• Stars feature Herbert Marshall (Robert Marriott), Madeleine Carroll (Jane Marriott), Una O’Connor (Ellen), David Niven (Edward Marriott), and guest appearance by Noël Coward.

Cecil B. DeMille [02:10]:
“On time's eternal stage ... the Lux Radio Theater says farewell to 1936. A play, I think, that not only crowns a year of what we hope were notable productions, but sets a standard we shall strive to meet through 1937.”

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2. Setting the Scene: New Year’s Eve 1899

[04:00 – 13:00]

• The Marriotts and their staff prepare for the turn of the century, overshadowed by the Boer War.
• Themes of duty, fear of loss, and hope for a peaceful future ripple through conversations.
• Jane and Robert Marriott, married and happy, prepare to say goodbye as Robert departs for war.

Jane Marriott [08:54]:
“Oh, Robert, why must you leave me?”
Robert Marriott:
“It takes men to fight wars.”

• The new century is welcomed with both celebration and dread, as war pulls families apart.
• Toasts are made:
  • “Jane, Ellen, Bridges. 1900.” [10:33]
  • “Let's drink to the New Year and all it means to us.” [10:19]

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3. Waiting and War

[14:13 – 22:39]

• Four months into 1900, the Marriott women anxiously await news from the warfront; social and class lines blur in their mutual anxieties.
• Children play pretend-war games, reflecting the omnipresence of conflict in home life.
• Jane experiences a symbolic dream about her husband’s return; joy and relief as news arrives of Mafeking’s relief.

Fanny [22:21]:
“Wars will go on forever. Boys will grow and become men… Men must be born and live die.”
Bridges [22:40]:
“Quiet, please. Ladies and gentlemen, we have news from the front. Mafeking has been relieved.”

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4. Noël Coward’s Personal Reflections

[23:11 – 27:02]

• Coward joins live via broadcast, sharing creative origins and the serendipity of Cavalcade.
• He acknowledges the patriotism often ascribed to the play and touches on his favorite scenes.

Noël Coward [24:00]:
“All my life I had wanted to do a big play on a big scale ... In it was a picture of a troop ship leaving for the Boer War. The whole scheme seemed to take form in my mind.”

• Coward proposes a toast not only to England but to the listeners and their own countries.

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5. End of an Era & Societal Change

[27:02 – 35:38]

• The death of Queen Victoria signals seismic shifts; automobiles appear, customs and expectations evolve.
• Robert Marriott returns as a war hero, and the Marriotts’ status rises.
• Poignant moments: former staff, Ellen and Bridges, open a pub; Bridges’ fatal accident underlines the era’s rapid changes and class tensions.

Jane Marriott [30:35]: “The death of Queen Victoria signaled the passing of the old order. Times and customs changed, and the 20th century gathered speed with the dawn of each new day.”

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6. Family, Loss, and Historical Events

[38:03 – 55:29]

• The Marriotts’ sons mature amidst restless pre-WWI years.
• Edward’s marriage to Edith unfolds against the backdrop of the Titanic disaster. The happiness and innocence of the younger generation is shadowed by fate.

Edward [43:39]:
“This is the best sort. ... This is our own forever.”
Joe:
“A wireless message for us? ... Mr. and Mrs. Edward Marriott on board the steamship Titanic.”

• WWI erupts. The family’s hopes for swift victory unravel into bitter reality.
• Ellen brings news about her daughter Fanny’s relationship with Joe.
• The Armistice brings peace but also loss—news of Joe’s death in combat arrives by telegram.

Jane Marriott [55:03]:
“You needn’t worry about Annie and Joel. ... He won’t be able to come back anymore because he’s dead. Dead? Oh, God. Oh, dear God.”

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7. Reflection: The Cycle of Time

[55:37 – 58:11]

• Eighteen years later, New Year’s Eve 1936, Jane and Robert Marriott reflect on the decades of love, loss, and change.

Jane Marriott [57:03]:
“First of all, my dear, I drink to you, loyal and loving always.”

Robert Marriott [57:11]:
“Now let us couple the future of England with the past of England. The glories and victories and triumphs that are over. And the sorrows that are over, too.”

• The couple’s final toast symbolizes both endurance and hope for peace.

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8. Closing Remarks from Cast & Host

[58:11 – 61:46]

• Marshall, Carroll, and DeMille exchange lighthearted, nationalistic wit, and reflect on the universality of the play’s themes.
• Carroll credits Lux soap as a fixture in her dressing room, and Marshall lauds the dignity and hope expressed in Cavalcade.

Robert Marriott [60:40]: “Cavalcade is a play for the New Year. ... How splendid a thing is love of fellow men, of country and of peace ... May [the coming year’s bells] echo through a world a little closer to understanding itself ... a little nearer to the truth ... they serve their country best who serve the cause of peace.”

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Notable Quotes & Moments (with Timestamps)

• [08:54] Jane Marriott: “Oh, Robert, why must you leave me?”
• [10:33] Robert Marriott: Toasts: “Jane, Ellen, Bridges. 1900.”
• [22:39] Bridges: “Quiet, please. Ladies and gentlemen, we have news from the front. Mafeking has been relieved.”
• [24:00] Noël Coward: “All my life I had wanted to do a big play on a big scale...”
• [30:35] Narrator: “The death of Queen Victoria signaled the passing of the old order. Times and customs changed...”
• [43:39] Edward & Joe (Titanic): “This is the best sort. ... This is our own forever.”
• [55:03] Jane Marriott (grieving news): “He won’t be able to come back anymore because he’s dead. Dead? Oh, God. Oh, dear God.”
• [57:11] Robert Marriott (final toast): “To the future of England... And the sorrows that are over, too.”
• [60:40] Robert Marriott (Herbert Marshall): “How splendid a thing is love of fellow men, of country and of peace... they serve their country best who serve the cause of peace.”

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Episode Tone & Final Thoughts

Lux Radio Theatre’s Cavalcade is sweeping in scope and sentiment—a deeply emotional, patriotic, and sometimes humorous meditation on Englishness, change, and endurance. Coward’s writing and the all-star performances seamlessly blend kitchen-table intimacy with epochal history. The play ends on themes of remembrance and hope for enduring peace, resonating poignantly both in its original time and for modern listeners.

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Suggested Listening Timestamps for Key Segments

• Play begins: 04:00
• New Year’s at 1900: 07:00 – 13:00
• Noël Coward’s interview: 23:11 – 27:02
• Titanic scene: 42:41 – 44:29
• WWI Armistice & loss: 51:01 – 55:29
• Final New Year's reflections: 55:37 – 58:11
• Cast and host sign-off: 58:11 – 61:46

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Cavalcade’s journey from the Victorian age to the dawn of modern times reminds us that the arc of history is made of family moments, heartbreak, and hope—a true radio drama classic.

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Transcript

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[Bridges (Butler)]

CA Monday, December 28.

[Announcer]

The Lux Radio Theater presents Herbert Marshall and Madeleine Carroll in Cavalcade. With you know, o', Connor, David Niven and Douglas Scott. Lux presents Hollywood. Our stars, Herbert Marshall, Madeline Carroll, Yuna o', Connor, David Niven, Elsa Buchanan and Douglas Scott. Our guest, Noel Coward, author of Cavalcade. Our producer, Cecil B. DeMille. Our conductor, Louis Silvers. With this exceptional array of brilliant personalities, the makers of luxe toilet soap welcome you to another gala event in the Lux Radio Theater. Don't let cosmetic skin bar your road to romance. The active lather of luxe toilet soap removes staled cosmetics and all impurities that choke the pores, leaving your complexion smooth, soft and lovely. Yes, nine out of 10 Hollywood stars prefer luxe toilet soap. But you can use it too. Every day for this pure white soap costs only a few cents. Give your skin the care it deserves. Buy a few cakes tomorrow. And now our producer, ladies and gentlemen, Mr. Cecil B. DeMille.

[Cecil B. DeMille]

Greetings from Hollywood, ladies and gentlemen. On time's eternal stage, where scenes are marked by passing years, another curtain soon will fall. With Cavalcade. The Lux Radio Theater says farewell to 1936. A play, I think, that not only crowns a year of what we hope were notable productions, but sets a standard we shall strive to meet through 1937. As we turn to England for our story, so we turn to England for our stars. Herbert Marshall, Madeleine Carroll. Both natives of the mighty little island. Herbert Marshall turned actor by circumstances, for he began his career as a bookkeeper. After a year and a half of debits and credits, he was discharged. Needing a job, he became assistant manager and then actor in a musical comedy company. Today he is not only well known on the screen, but on the legitimate stages of the world. Madeleine Carroll, daughter of an Irish professor and French mother, became a schoolteacher to earn money enough to take her to London and the stage. Oddly enough, Madeleine's first Hollywood offer was to play in Cavalcade. But she refused it. To remain in England with her husband, Captain Philip Astley. She came here, however, two years ago Lending her distinction, beauty and ability to the case against Mrs. Ames. The general died at dawn and Lloyd's of London. Tonight she becomes Jane Marriott and Mr. Marshal Robert Marriott. Una O' Connor will be heard as Ellen, the same role she played in the film and on the London stage. David Niven, seen currently in Dodsworth and beloved enemy, is Edward Marriott. And the part of Edward as a boy is played by Douglas Scott, who was seen as Horatio Nelson in Lloyd's of London. Our play is by Noel Coward, the third drama from the nimble pen of this amazing writer, producer and actor to be performed in our theater in less than a year. So, on with the play. Deluxe Radio Theater presents Herbert Marshall and Madeleine Carroll in cavalcade. December 31, 1899. Despite the Boer War then raging in South Africa, all England celebrated the most momentous New Year's Eve in modern history. The turn of the 20th century. The beginning of a new era. In a charmingly furnished drawing room of a house in London, Ellen the maid is setting the table for a light supper. As she turns to the door, her husband, the butler, enters carrying a bottle of champagne.

[Ellen (Maid)]

Did the master say they'd have champagne? Two Bridges.

[Bridges (Butler)]

It's a celebration, ain't it? And it wouldn't be a celebration without champagne, would it?

[Ellen (Maid)]

Those hot punch.

[Bridges (Butler)]

It's wiser to be on the safe side.

[Announcer]

Is my way, Ellen.

[Bridges (Butler)]

If hot punch fills the bill, they have hot punch. If it's champagne, it's here, too.

[Ellen (Maid)]

I was cook when you come up.

[Bridges (Butler)]

Flighty. Running around the kitchen like a cat on a griddle. New Year's Eve's gone to her head and no mistake.

[Ellen (Maid)]

She's been queer all day.

[Bridges (Butler)]

Has she ever been quite right?

[Ellen (Maid)]

Less than an hour ago, she told me she feels like it was the end of everything. Oh, so do I, for that matter.

[Bridges (Butler)]

Oh, come, come now, Ellen. It ain't necessary to start that all over again.

[Ellen (Maid)]

Well, you ain't losing a husband.

[Bridges (Butler)]

Oh, you ain't losing me, Ellen.

[Ellen (Maid)]

A man's marching off to war ain't staying home with his loved ones, is it?

[Bridges (Butler)]

Well, no, not exactly.

[Fanny]

Oh, it's horrible, Bridges.

[Ellen (Maid)]

I can't bear to think what it's

[Fanny]

going to be like when you're gone.

[Bridges (Butler)]

Then don't think about it.

[Fanny]

I can't help think.

[Bridges (Butler)]

Bad habit, Ellen. You ain't no different from the missus Master Robert's going to. You know, you're in the same boat as all the other soldiers wives.

[Ellen (Maid)]

But you ain't cut out to be a soldier, Ellen. Well, what's Going to happen to me

[Fanny]

and Fanny, if anything happens to you.

[Bridges (Butler)]

Oh, you'll carry on.

[Jane Marriott]

Oh, dear old girl, you married me

[Announcer]

for better than a worse, didn't you?

[Fanny]

Oh, I did.

[Bridges (Butler)]

But, well, if it turns out for worse, so much the worse it'll be. And if it turns out for better,

[Ellen (Maid)]

that lot of comfort that is. And what's a war for anyhow?

[Bridges (Butler)]

We've got to have wars every now and then to prove we're top dog.

[Ellen (Maid)]

This one don't seem to be proving much.

[Bridges (Butler)]

How can you tell what our brave boys are suffering out there in darkest Africa giving their life's blood for their queen and country. Oh, if this wasn't New Year's Eve, I'd lose my temper and that's a fact.

[Ellen (Maid)]

Well, twouldn't be the first time. You better go and get the hot punch. They'll be here in a minute. Oh, listen, there they are now. Draw the curtains. Why, it's almost New Year's. At least they wants to be cheery. Hurry up now. Go on, get the hot punch.

[Bridges (Butler)]

You mark my words, Ellen. If we didn't give them boys a lesson, they'd be over near reeking havoc and carnage before you could say Jack Robinson.

[Ellen (Maid)]

Oh, get along with you.

[Fanny]

Good evening, Bridget.

[Cecil B. DeMille]

Your cloak, ma'.

[Noel Coward]

Am.

[Jane Marriott]

Thank you.

[Bridges (Butler)]

Your coat, hat and stick, sir.

[Robert Marriott]

Here you are. Very good, sir.

[Bridges (Butler)]

May I have the honor to wish you both a very, very happy New Year.

[Robert Marriott]

Thank you, Bridges. Same to you.

[Jane Marriott]

Ellen, how nice the table looks.

[Ellen (Maid)]

Oh, thank you. Mum.

[Jane Marriott]

Where do those flowers come from?

[Ellen (Maid)]

They're from me and Bridges, Mum. With our very best wishes, I'm sure.

[Jane Marriott]

That was sweet of you, Ellen.

[Ellen (Maid)]

Oh, not at all, mum. Why, it's a pleasure indeed. Well, I'll go and help Bridges with the ox huntsman.

[Jane Marriott]

It was sweet of them, Robert. I feel I want to cry.

[Robert Marriott]

Then by all means, cry. Dearest.

[Jane Marriott]

This evening was planned sentimentally to say hail and farewell.

[Robert Marriott]

It doesn't fare well yet.

[Joe]

Soon, Robert.

[Jane Marriott]

Dreadfully soon.

[Robert Marriott]

When it comes, then, we'll take it. You look so beautiful at dinner, Jane.

[Jane Marriott]

I'm glad.

[Robert Marriott]

You're beautiful now. No, I suppose only that dress. Really. Dresses can be very deceiving, darling.

[Jane Marriott]

Of course. That's perhaps how we wear them.

[Robert Marriott]

And that ornament in your hair.

[Jane Marriott]

Yes.

[Robert Marriott]

And the fact that I love you so dearly. You might be hideous and ill dispositioned and tedious and I would never know it.

[Jane Marriott]

You're a darling.

[Fanny]

And I'm going to believe every word

[Jane Marriott]

you say, even though I know I shouldn't. Kiss me, Robert.

[Robert Marriott]

Sweetheart.

[Jane Marriott]

A goodbye to the old year. I wonder if the boys are asleep.

[Robert Marriott]

Snoring, I expect.

[Jane Marriott]

Oh, no, Robert, not snoring. They both have perfect consoles. Dr. Harrison said so.

[Robert Marriott]

Inherited from their mother, my dear.

[Jane Marriott]

Oh, Robert, why must you leave me?

[Robert Marriott]

It takes men to fight wars.

[Jane Marriott]

What does it matter about the Boers?

[Robert Marriott]

It matters about your brother Jim, doesn't it? He's out there. That counts.

[Jane Marriott]

Yes. Give my love to him if you ever see him. If he's alive.

[Robert Marriott]

Of course he's alive. They're all alive. They're bound to be relieved soon. Baden Powell's a fine man.

[Jane Marriott]

How long will it last? The war, I mean. A few months, God willing. In a few hours you'll be sailing. You'll be going on board.

[Fanny]

Perhaps.

[Jane Marriott]

It'll be all over when you get there.

[Robert Marriott]

Perhaps.

[Jane Marriott]

I suppose you'd hate that, Robert.

[Robert Marriott]

Bitterly.

[Jane Marriott]

Edward and Joel want to see you off.

[Edward]

No.

[Robert Marriott]

No, they'd better be here.

[Jane Marriott]

They're your sons.

[Robert Marriott]

No, they're children. They'd better be here.

[Jane Marriott]

It's rather horrid even thinking about it, isn't it? Thank heaven for one thing. They won't have to fight. Peace and happiness for them. Oh, please, God. Peace and happiness for them.

[Joe]

Always.

[Jane Marriott]

A new year.

[Bridges (Butler)]

It started, chef.

[Cecil B. DeMille]

Just 12 o'.

[Joe]

Clock.

[Ellen (Maid)]

Happy New Year to you both.

[Robert Marriott]

Riches. Open the windows. Come over here, Ellen. Stay and drink with us.

[Ellen (Maid)]

What, me, sir?

[Robert Marriott]

Fill four glasses, Bridges. Champagne. Make it champagne. We'll be toasting the New Year and all it means to us.

[Jane Marriott]

The New Year.

[Robert Marriott]

Here we are. Now.

[Cecil B. DeMille]

Raise your glasses.

[Robert Marriott]

Jane Ellen Bridges. 1900.

[Fanny]

1900.

[Bridges (Butler)]

1900.

[Fanny]

Listen.

[Robert Marriott]

What is it?

[Fanny]

The children.

[Jane Marriott]

I thought I heard. I'd better go up and see.

[Ellen (Maid)]

Sounded like Master Joe.

[Robert Marriott]

Bring them down here, Jane. Bring them both down. How very impolite of the 20th century to waken the children. Well, I think I better be getting aboard.

[Jane Marriott]

Yes.

[Robert Marriott]

We're almost ready for sail, I imagine.

[Jane Marriott]

Yes. It's come at last, hasn't it, Robert? This moment.

[Robert Marriott]

You'll be very brave, darling, won't you?

[Jane Marriott]

I'll try to be. Take care of yourself, my dearest.

[Robert Marriott]

I shall probably be seasick.

[Jane Marriott]

Lie down flat on every possible occasion.

[Robert Marriott]

I'll try to remember.

[Fanny]

Bridges will look after you.

[Robert Marriott]

Perhaps you'll be lying down flat, too.

[Jane Marriott]

And you mustn't worry about me being unhappy when you've gone. I'm gonna keep myself very busy.

[Fanny]

I shan't give myself time to think

[Jane Marriott]

of anything except that I'm so proud. So proud of you, darling.

[Robert Marriott]

I'll write and telegraph Whenever it's possible.

[Jane Marriott]

Please do. Well, this. This is horrid, isn't it?

[Robert Marriott]

I really must go.

[Jane Marriott]

Not just for a minute.

[Robert Marriott]

Jane.

[Jane Marriott]

Yes, Robert?

[Robert Marriott]

I'm going to kiss you once more. Then I want you to turn away. Turn away and go right on talking. So you won't actually see me leave you.

[Jane Marriott]

Very well, my darling.

[Robert Marriott]

Now, Jane.

[Jane Marriott]

Edward and Joe were terribly anxious to

[Fanny]

come, but I'm glad I didn't bring them. Really joke it over excited Joe. He's had a very bad cold anyhow. Edward could have come, I suppose. But that would have upset Joe so dreadfully, being left alone.

[Jane Marriott]

Take care of yourself. My own dear. You're not here anymore though, so I

[Bridges (Butler)]

can break down a little.

[Jane Marriott]

I felt you go when I said about Joe being over excited.

[Fanny]

Robin. Robert.

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[Narrator]

First four months of the new century. Four months of fighting and bloodshed. In the beleaguered city of Mafeking in South Africa. The British troops fight desperately hoping for relief. It's the morning of May 18, 1900. All England waits for news.

[Fanny]

Bang. Bang. Bang.

[Ellen (Maid)]

Bang.

[Fanny]

Bang. Bang. Bang.

[Jane Marriott]

Bang. Dear Edward, how many bows did I kill that time?

[Fanny]

27.

[Jane Marriott]

Set them up again, cousin Edith.

[Fanny]

This one's got his leg knocked off. Then he's wounded.

[Jane Marriott]

You've got to put him back in the box. I wonder how many boars father has killed, Edward. Oh, hundreds, I expect. I wish these were real boars instead of tin ones.

[Fanny]

Bang. Bang. Bang. Dirty old Kruger. Bang. Shut up, Joe. How dare you fire without oars.

[Jane Marriott]

Excuse me, sir.

[Bridges (Butler)]

There.

[Fanny]

That is very much more like it?

[Jane Marriott]

Put your army up again, will you? Cousin Edith.

[Fanny]

Edward.

[Jane Marriott]

Well, what is it?

[Ellen (Maid)]

Need I always be the boars?

[Jane Marriott]

Yes. Why?

[Fanny]

Because you're ruining your bill. Watch out. Bang. Bang. Bang. Ah, Pichu, you mean little pigs. I have a cannon of my own, even though I am a boar. Bang. Bang, bang. How do you like that?

[Ellen (Maid)]

Bang.

[Fanny]

Take the old cannon. Don't throw it at it, Joe.

[Jane Marriott]

I'll smash all of his soldiers.

[Fanny]

It's not fair.

[Jane Marriott]

Stop walking alone. The nice soldiers.

[Ellen (Maid)]

Edith, that was cheating.

[Fanny]

I'm sick of being the boars. I'll never be the boars again so long as I live. I won't be the boars, Edith. I won't be. Children, why on earth are you making

[Jane Marriott]

such an awful noise?

[Fanny]

Aunt Margaret and I could hear you right down the hall.

[Jane Marriott]

It's Edith's mother. What's the matter with Edith? She doesn't like being the boys, Aunt Margaret. She's mutiny. I don't blame her.

[Fanny]

Bang. Bang. Bang. Here's your cannon thrown back, Joe. Ouch. Joe, you're a naughty, wicked little boy. You go upstairs this minute.

[Jane Marriott]

I only meant upstairs.

[Ellen (Maid)]

But, Mother, men fight.

[Jane Marriott]

I don't see why I can't. Come over here, Edith, and stop crying.

[Fanny]

He hit my knee with his cannon. Well, she got angry because we killed her soldier. Oh, stop it. Stop it, stop it. Can't you play any other game? But soldiers, soldiers, soldiers. Hurting each other, killing each other. Go away from me. Go away. Jane, don't.

[Jane Marriott]

Run along now, all of you. I'm sorry, Mom. All right, Run upstairs, dear. Yes, Mom. Come on, cousin Edith. Come on, Jo. I'm sorry, cousin Edith. I didn't mean to hurt you. Jane. I'm all right. It's just nerves.

[Joe]

Listen.

[Jane Marriott]

Soldiers of the Queen. There's no escape from it anywhere, is there?

[Fanny]

Shall I throw them some money and

[Jane Marriott]

ask them to go away? I don't care if it isn't them. It'll be somebody else. Oh, Margaret, will these days ever end? Robert said it'd be only a little

[Fanny]

while and then it'd be all over.

[Jane Marriott]

That was nearly four months ago. News will come soon. You must have courage, Jane. I don't believe I shall ever see Robert again. Be brave, dear.

[Fanny]

It's much easier to be brave when

[Jane Marriott]

there's something to hear, something definite. I can't go on smiling through long dragging weeks.

[Fanny]

I can't do it, Margaret.

[Jane Marriott]

You're not in it alone, Jane. Two people I love best in all the world down there suffering.

[Fanny]

I don't hear a word.

[Jane Marriott]

It's Dreadful.

[Fanny]

Matigan is bound to be relieved within

[Jane Marriott]

the next few days and then it's all over. All the papers say so. That's what they've said for months. But they're dying down there. Please, dear, Dying.

[Ellen (Maid)]

I care.

[Fanny]

Better yet.

[Jane Marriott]

I can't stop thinking I can see it at night. Come in.

[Ellen (Maid)]

Pardon me, Mama. I just thought that some nice old tea.

[Jane Marriott]

Splendid, Ellen.

[Ellen (Maid)]

Tea does help. Mom, has any news come?

[Jane Marriott]

Not yet, Ellen. No news. None. We've been standing outside the War Office for hours. Then we went to Fleet street to the newspaper offices.

[Ellen (Maid)]

Will you get a nice cup of tea and that'll make you feel better.

[Jane Marriott]

Thank you, Ellen.

[Ellen (Maid)]

Well, there ain't no cause to worry about the masterman.

[Jane Marriott]

He's all right.

[Ellen (Maid)]

He's got my Bridges with him. And if anything happened to either of them, we'd be bound to hear from one of them, if you know what I mean.

[Jane Marriott]

You must be fearfully worried too, Ellen.

[Ellen (Maid)]

Oh, well, on and off I am. But I says to myself that no news is good news. And what must be, must be. You'd never believe how that cheers me up, Mum.

[Bridges (Butler)]

Hyper. Hyper.

[Fanny]

Ellen, find out what the news is.

[Ellen (Maid)]

Yes.

[Fanny]

It's about Muricking or Margaret. Wait a minute, boy. Wait, wait. There's Ellen. She's down there.

[Jane Marriott]

She's speaking to him. Ellen, what news are the list of the wounded?

[Fanny]

Ellen, what is it?

[Ellen (Maid)]

Nothing but what we've been hearing, ma'.

[Edward]

Am.

[Jane Marriott]

Nothing. Always the same. Jane. Yes? You're going to rest.

[Fanny]

Rest?

[Jane Marriott]

How can I? Then we're both going out.

[Joe]

Out?

[Jane Marriott]

I'm going now to be back at a quarter to seven. Why?

[Fanny]

We're going to dine at the Cafe

[Jane Marriott]

Royal, Jane, and then go to the theatre. I couldn't.

[Fanny]

You could and you will.

[Jane Marriott]

Jane, it's senseless sitting at home by yourself, dressing and worrying. Doesn't do any good. Robert wouldn't want you to.

[Fanny]

What you need is life and music.

[Jane Marriott]

I can go. You ugly suggesture. Jane, you've got to make it. Be ready at a quarter to seven. I'll be here.

[Fanny]

Margaret, wait.

[Jane Marriott]

A gesture for men who are dying.

[Fanny]

Keep on. Go on playing. Play louder.

[Jane Marriott]

Soldiers of the Queen.

[Fanny]

Wounded and dying and suffering for the Queen. Play, loader. Play louder. Play louder.

[Jane Marriott]

Wait on, I say.

[Bridges (Butler)]

Come help me out.

[Robert Marriott]

Lastly, sir.

[Narrator]

Yes, sir.

[Jane Marriott]

Jane, darling, brace up. Yes. This is a party, isn't it?

[Fanny]

Of course. Let your mood fit your gown.

[Jane Marriott]

You are beautiful, Jane. Robert said the same thing. New Year's Eve. He said he'd be back soon. I. I slept after you left. Me this afternoon. Splendid. I dreamed. It wasn't as if it were a dream. It was so real that I. Margaret. Yes, Jane? I saw Robert. I was with him, Margaret. I don't know where it was. I couldn't tell somehow. It was a place I'd never been before. Lovely.

[Joe]

Peaceful.

[Jane Marriott]

And Robert was there. Come now, drink your wine. Robert spoke to me. Tossed his hat aside and came running to me as if he were a boy. Like Joe or Edward. He laughed.

[Fanny]

Called.

[Jane Marriott]

As he came running. He called me by name.

[Robert Marriott]

Jane.

[Jane Marriott]

Oh, Robert. You're safe.

[Robert Marriott]

Why, of course I am.

[Jane Marriott]

Jim. How is he?

[Robert Marriott]

As right as man can be. Let me look at you, darling.

[Jane Marriott]

Oh, sweetheart.

[Robert Marriott]

You look so tired. You haven't been worrying about me, have you?

[Jane Marriott]

No. Not too much.

[Robert Marriott]

You were never a good liar. I'm glad of that, though. Not to miss me. Not to care too much.

[Jane Marriott]

Oh, I've missed you so, dear. But you're here. And you're.

[Fanny]

Robert.

[Robert Marriott]

What's wrong, dear?

[Jane Marriott]

Your left arm.

[Robert Marriott]

It's all right, Dan.

[Fanny]

It's gone.

[Robert Marriott]

I do nicely without was just fooling about with some youngsters. We were making believe war. One of them became furious when I called her a boy and threw a cannon at me. Not so sporting, I thought.

[Jane Marriott]

But it wasn't an arm, Robert.

[Fanny]

It was the knee.

[Robert Marriott]

Was it? Very well. What's the difference? We'll stop playing before long. We will settle down at home. Drink a toast to the Queen.

[Jane Marriott]

Robert.

[Robert Marriott]

I saw Jim sent his love. Be back home before long.

[Jane Marriott]

Robert. Wait for me. Robert. I know what that dream means. Shadow. Jane, dear, don't be absurd now.

[Fanny]

I'm coming back.

[Jane Marriott]

Margaret.

[Fanny]

Wars will go on forever. Boys will grow and become men. And because it man serves to prove we're the master. Jane, what do you say? Bridget was right. He told Ellen the truth. We must prove we're top dog. Men must be born and live die.

[Jane Marriott]

What was that?

[Fanny]

Quiet.

[Bridges (Butler)]

Quiet, please. Ladies and gentlemen, we have news from the front. Maficking has been relieved.

[Fanny]

James. James, you hear? It's over, James. The world is over.

[Jane Marriott]

Oh, please God, let it be true.

[Cecil B. DeMille]

Our Lux Radio Theatre production this evening is a cavalcade indeed. From Hollywood the procession is headed by Herbert Marshall and Madeleine Carroll. In New York they are joined by the brilliant author of our play, Noel Coward. Famous in London and on Broadway as an actor, dancer, singer, composer, producer and playwright. Mr. Coward outdoes himself this year by offering and acting in nine one act plays entitled tonight at 8:30 we switch you now from Hollywood to the stars dressing room at the National Theater in New York City. We can have our distinguished guest for only a moment. His own audience is still applauding his first play and he must change his costume for the next. But here he is, ladies and gentlemen, Mr. Noel Coward.

[Noel Coward]

Thank you, Mr. DeMille. I am more honored than I can tell you. Not only by your very kind words of praise, but by your having selected three of my plays for production in your Lux Radio Theater. All this tribute is too much. You are taking an unfair advantage in delivering it from behind the protection of the Rocky Mountains. Yes, I have been active in the theater for many years. But this is the first time I've ever played two theaters all in one brief evening. I'm enjoying the experience very much. I would like you to know how fine I think the Lux Radio Theater is. And I'm particularly happy that I can salute my friends Herbert Marshall, Madeleine Carroll and Una o'. Connor. This last, a very old friend to Cavalcade as she created the part of Ellen in the original production. And I consider them perfectly cast in the principal roles. Many people have ascribed all sorts of motives to the writing of Cavalcade. Motives patriotic, political and financial. Some people make a career of motive, discovery. They search every word for a clue. Like old ladies peering under the bed for burglars. The real story behind Cavalcade is very different. All my life I had wanted to do a big play on a big scale. I had considered all periods and episodes. And one day I happened to pick up a back issue of the Illustrated London News. In it was a picture of a troop ship leaving for the Boer War. The whole scheme seemed to take form in my mind. Then and there. I made some tentative arrangements. But then I had to go off to America to play Private Lives. All of a sudden, early in April, Charles B. Cochrane wired me from London. I had to set an opening date for Cavalcade in order to get Drury Lane Theatre. So I took a chance. For the end of September. There I was. No play, no cast, no costumes or sets. Just an opening date. But we finally succeed in opening the show just two weeks after the original date. Then came the critics. One of the most amusing remarks was the reference of the press to my canny, shrewd political sense. A strong, patriotic play just two weeks before the general election. The truth is that I'd been so busy I had completely forgotten that there was to be an election at all. People have asked me what parts of Cavalcade I like best. My own choice is Queen Victoria's funeral scene and the outbreak of the war. In 1914. Tonight, we are all approaching another New Year's Eve. The first scene of Cavalcade, you remember, was on that same occasion. The last scene also takes place on New Year's Eve. At the close of that scene, a toast is proposed to England. As you hear it tonight, I should like you to feel that I am proposing a toast to each of you and to your country.

[Cecil B. DeMille]

Thank you, Mr. Coward. We're back in Hollywood now and Cavalcade goes forward. Starring Herbert Marshall as Robert Marriott, Madeleine Carroll as Jane Marriott, and featuring Una o', Connor, David Niven and Douglas Scott. January in the year 1901. Masking has been relieved and the soldiers of Queen Victoria start back to England and home. Robert Marriott and the butler Bridges were among the first to return. In the basement kitchen of the Marriott home, Bridges enters. He waves a newspaper excitedly.

[Bridges (Butler)]

Helen Cook, come here quick, quick.

[Jane Marriott]

What's the matter, Mr. Bridges?

[Fanny]

Look here.

[Announcer]

The newspaper.

[Ellen (Maid)]

Oh, don't yell so, Bridges. It can't be anything to concern her, Helen.

[Bridges (Butler)]

How can you say that? It concerns the old country. Look here.

[Robert Marriott]

The Queen.

[Bridges (Butler)]

It says she's sinking.

[Jane Marriott]

What?

[Joe]

The Queen.

[Bridges (Butler)]

There now. I told you so.

[Fanny]

Let's have a look.

[Jane Marriott]

She's very old, isn't she?

[Carvana User]

Old?

[Ellen (Maid)]

What's that got to do with it?

[Jane Marriott]

Well, I've never seen her, have I?

[Bridges (Butler)]

I have. Driving along Birdcage Walk once, years ago.

[Edward]

England won't be the same place without the Queen.

[Fanny]

The procession. It's coming, Mother.

[Jane Marriott]

Quiet, Edward. Stand back a little from the window. Edward is an Ellen. See too. Can you see, Ellen?

[Ellen (Maid)]

Oh, thank you, Mum. I can see.

[Jane Marriott]

Oh, the Queen.

[Fanny]

Oh, God bless her.

[Bridges (Butler)]

Easy, girl.

[Jane Marriott]

Easy now. Look, Mum, there's Father.

[Fanny]

There's Father down there in the procession. Shh.

[Jane Marriott]

Be quiet, darling. They're passing now. Stand absolutely still to attention like your father showed you. Yes, ma'.

[Joe]

Am.

[Jane Marriott]

Five kings riding behind us, Mum. She must have been a very little lady.

[Grainger Narrator 1]

When you're a maintenance engineer in a beverage manufacturing plant, you keep production lines moving and quality on track because there is no room for slowdowns. With Grainger's vast selection of high quality motors, sensors, belts and hard to find parts, you can get what you need fast and all in one place so nothing gets in the way of getting the job done. Call 1-800-GRAINGER clickranger.com or just stop by Grainger for the ones who get it done.

[Grainger Narrator 2]

Grainger knows. When you're a procurement manager for an office park, you're not managing one building, you're managing all of them. And to stay Ahead, you need to see through walls and around corners. Lights about to fail. Filters ready to clog H Vac on its last leg. If you wait until something breaks, you're already behind. Count on Grainger for quality products, easy reordering and 24. 7 support. Call 1-800-GRAINGER click grainger.com or just stop by Grainger for the ones who get it.

[Narrator]

The death of Queen Victoria signaled the passing of the old order. Times and customs changed, and the 20th century gathered speed with the dawn of each new day.

[Jane Marriott]

But, Robert. Robert, are you sure they're safe?

[Robert Marriott]

Safe? What Money?

[Fanny]

Those. What did you call them?

[Jane Marriott]

Those automobiles.

[Robert Marriott]

Oh, I imagine they're safe enough. Don't worry. I won't buy one yet for a while.

[Joe]

Here.

[Robert Marriott]

You better hurry and get dressed. We haven't much time.

[Jane Marriott]

I'm almost done. How's my gown?

[Robert Marriott]

Lovely, darling.

[Jane Marriott]

And the train?

[Robert Marriott]

If any lady at the court has one more perfect. I shall throw up my hands. I should probably throw them up anyway. I'm not very fond of these formal affairs, my dear. They make me nervous.

[Jane Marriott]

Oh, Robert, don't be silly.

[Robert Marriott]

I mean it. The going was far less difficult for those fellows in Africa.

[Jane Marriott]

Really, don't talk about that, please.

[Robert Marriott]

Now, now, what's the matter?

[Jane Marriott]

I'm happy tonight, Robert. I want to stay happy. War isn't happiness.

[Robert Marriott]

Ah, right.

[Jane Marriott]

Our sons, Joe and Edward. If war ever came again and took them.

[Robert Marriott]

It's not going to take them. Have a look at my tie, will you, darling?

[Joe]

Of course.

[Jane Marriott]

I'm sorry, Robert.

[Edward]

That's all right.

[Robert Marriott]

Well, I dressed up to please you.

[Jane Marriott]

You're perfect. Except where's your Victoria Cross?

[Robert Marriott]

Oh, here we are.

[Joe]

Wait.

[Jane Marriott]

I'll put it on for you. Some men are brave enough to win the VC But I've yet to meet one who knows how to wear it.

[Joe]

There.

[Jane Marriott]

Oh, I'm so proud of you, Robert. I mean, Sir Robert.

[Robert Marriott]

We've come a long way, Lady Jane,

[Jane Marriott]

A very long way. And in such a few years. It frightens me sometimes.

[Cecil B. DeMille]

Here.

[Jane Marriott]

Here, I mean, everything's so different.

[Robert Marriott]

Robert, you're happy, aren't you?

[Joe]

Of course, darling.

[Jane Marriott]

And yet. Oh, haven't you ever ached right down inside for. Well, for the other days.

[Joe]

Before the war, if you want.

[Robert Marriott]

Yes, I think I have. Things are different. Things have changed. But it isn't only us. It's the whole world. It's all England. There's a new spirit to things, a new thought, a new philosophy of existence. I don't know exactly what it is. I don't even know that I Care for it. But it's there.

[Jane Marriott]

Well, I sometimes wonder if we weren't just as happy then. In a small house with just Ellen and Bridges.

[Robert Marriott]

Oh, good old Bridges.

[Jane Marriott]

I miss them, Robert. I miss Ellen.

[Robert Marriott]

We must run down and see them sometimes. They opened a pub, you know, after they left us.

[Jane Marriott]

A pub? You mean a bar room?

[Robert Marriott]

Well, of course. Didn't I tell you? Bridges wrote me all about it.

[Joe]

A pub.

[Jane Marriott]

They've changed too.

[Robert Marriott]

Not Bridges. He couldn't. He'll be the same Bridges till the day he dies.

[Joe]

I hope so.

[Jane Marriott]

I don't know. She dances beautifully, Ellen.

[Ellen (Maid)]

Oh, thank you, Mom. Bridges and me has been giving her lessons now for two years.

[Robert Marriott]

Very talented, if you ask me.

[Ellen (Maid)]

Thank you, Sir Robert.

[Robert Marriott]

Come here, Fanny.

[Jane Marriott]

Yes, sir.

[Robert Marriott]

I don't suppose you remember me. You were just a baby when I knew you.

[Ellen (Maid)]

Yes, sir. Mama's told me how we used to live at your house, you know. That's enough now. Go and sit down, Fanny.

[Jane Marriott]

Yes, Mother.

[Ellen (Maid)]

I hear Master Robert is at Oxford College, my lady.

[Jane Marriott]

Yes. Mad about it, too. You must come and see us sometime when he's down on vacation, Ellen.

[Ellen (Maid)]

Oh, thank you, Mum.

[Bridges (Butler)]

Hello, Ellen.

[Ellen (Maid)]

Oh, hello, George.

[Bridges (Butler)]

I got the missus with me. Oh, I didn't know you had company.

[Jane Marriott]

Oh, please stay. Don't go on our account now.

[Ellen (Maid)]

Come in slow. We just got by, Ellen. We didn't know you had. This is Mr. And Mrs. George Snapper. Me lady. Sir Robert and Lady Marriott.

[Bridges (Butler)]

Oh, nice to meet you.

[Ellen (Maid)]

Sit down, Jo. Sit down. Sit down, George.

[Jane Marriott]

Well, thanks.

[Bridges (Butler)]

A nice day out, Sir Robert?

[Robert Marriott]

Yes, yes, it's really spring now.

[Bridges (Butler)]

Yes, sir.

[Robert Marriott]

By the way, Ellen, I'm sorry to hear Bridges is ill. Bridge is ill?

[Bridges (Butler)]

What's wrong with him, Ellen?

[Ellen (Maid)]

Well, before you and Flo come, George, I was explaining to Her Ladyship. Answer, Robert. About poor Bridge's bad legs.

[Jane Marriott]

He was so sorry to hear about it. Bad legs? Ellen explained that he's been in horrible agony ever since Sunday.

[Bridges (Butler)]

Where is he? Stop taking down my shins.

[Jane Marriott]

Where is he, Ellen?

[Ellen (Maid)]

Upstairs in bed.

[Bridges (Butler)]

I'll pop up and see him.

[Ellen (Maid)]

He's asleep now.

[Bridges (Butler)]

Well, my eye.

[Robert Marriott]

By the way, Ellen, you didn't tell us how he came to have the accident.

[Ellen (Maid)]

Oh, well, he was cycling, Sir Robert. He was cycling and he fell off.

[Bridges (Butler)]

I didn't know he had a cycle.

[Ellen (Maid)]

He hasn't anymore.

[Robert Marriott]

Will you tell him how sorry we were not to have seen him?

[Ellen (Maid)]

Yes, Sir Robert. I'll do that.

[Jane Marriott]

Goodbye, Ellen.

[Ellen (Maid)]

Oh, it was so kind of your mum to come all the way down here to see us. And to bring Fanny that lovely doll and everything.

[Jane Marriott]

I wanted to see you. Goodbye, Mrs. Snapper.

[Ellen (Maid)]

Happy to have met you, I'm sure.

[Robert Marriott]

Goodbye, Mr. Snapper.

[Bridges (Butler)]

Goodbye, sir.

[Robert Marriott]

Goodbye, Ellen.

[Jane Marriott]

Goodbye, Ellen. Again. Don't fail to remember me to Bridges. We missed you both. It seems as if it were only yesterday that you were with us.

[Ellen (Maid)]

We miss you too, Ma.

[Jane Marriott]

Time changes many things, but it can't change old friends, can it?

[Ellen (Maid)]

Oh, no, no. There's some things that.

[Bridges (Butler)]

Yeah, yeah. What's going on here?

[Jane Marriott]

Oh, my Lord.

[Bridges (Butler)]

My eye. Bridges, I thought you was in bed. Bed? Who said anything about bed?

[Jane Marriott]

Oh, you better go back, Bridges.

[Ellen (Maid)]

Oh, remember your leg, dear.

[Bridges (Butler)]

Ain't nothing wrong with my leg.

[Jane Marriott]

Oh, Bridges.

[Bridges (Butler)]

Oh, so you're. Why, she was trying to get me

[Jane Marriott]

out of the way.

[Robert Marriott]

Hello, Bridges.

[Bridges (Butler)]

Pleased to meet you again, Sir Robert. Welcome to our arvel.

[Robert Marriott]

I think we better go, Jane.

[Bridges (Butler)]

Oh, so that's how it stands, I see. Proud and naughty, are we?

[Fanny]

Oh, Bridget, stop it. Oh, please stop it.

[Jane Marriott]

Ellen, I'm so sorry and I quite understand. Please don't be upset and let me come and see you again.

[Robert Marriott]

Come along, dear.

[Bridges (Butler)]

Come along, dear. Come along. Who does he think he is?

[Fanny]

Are you drunk and brute?

[Bridges (Butler)]

Shut your mouth. You mind yours and I'll mind mine. Look here, old man, you better come

[Robert Marriott]

up and have a lie down.

[Bridges (Butler)]

Take your paw off my arm.

[Robert Marriott]

Lot of snobs, that's what.

[Bridges (Butler)]

Lot of bloody snobs. I'm not good enough to be home when equality comes. I'll see who's good enough who. Give Fanny that doll can. Noble ladyship.

[Ellen (Maid)]

Oh, you let it alone.

[Bridges (Butler)]

I'll look after the truck Quality brings to my home. I'll look after him, I will. I'll end it right back to him.

[Jane Marriott]

George.

[Bridges (Butler)]

I'll go and fetch him. Don't worry. He's a bit woozy, that's all.

[Fanny]

He's gone down the street. He may go up to their own.

[Bridges (Butler)]

Can't stop him, George.

[Fanny]

Let him go.

[Carvana User]

Bridges.

[Bridges (Butler)]

Come back here, you blind. Mind your own business. Come back out of the street. There's a bus making towards you. I'm not good enough for him. Schn, look out. Oh, shy movies.

[Jane Marriott]

He's been it.

[Ellen (Maid)]

Oh, he's run over.

[Fanny]

He's dead.

[Narrator]

The 20th century swings into its second decade. March 1912.

[Edward]

I say. Father?

[Robert Marriott]

Yes, Edward?

[Edward]

Father? You kind of sit up all night.

[Robert Marriott]

I hope not. Are you?

[Edward]

No, sir.

[Robert Marriott]

Well, I'm just. You're just sitting up waiting for Joe, aren't you, Edward?

[Edward]

Yes, sir.

[Robert Marriott]

So am I. Where is he?

[Edward]

I Don't know, sir. Sure, he said he was going out tonight, so that's all I know. And he said he'd be back early.

[Robert Marriott]

Three o'.

[Announcer]

Clock.

[Robert Marriott]

That's early enough. I suppose you're going to play the Good Samaritan again. Help him up to bed. Well, Father, you've done it before. Quite a few times. Or did you think I didn't know?

[Edward]

Father, don't be rough at him. Joe's just a kid. He doesn't know what it's all about.

[Announcer]

He's all right.

[Robert Marriott]

Of course he is. That's why I want to speak to him. By the way, how's Edith?

[Edward]

Oh, very well.

[Robert Marriott]

Separate eight yet?

[Edward]

Yes, it's the seventh.

[Noel Coward]

Good.

[Robert Marriott]

She's a splendid girl, Edith. You sailing to America on your honeymoon, eh?

[Edward]

Edith wants to. About Joe, Father. Oh, that must be Joe now.

[Robert Marriott]

I imagine so. He won't stay. Will you?

[Edward]

Oh, no, sir. That is, not unless you.

[Robert Marriott]

Thanks, Edward.

[Edward]

I say, Edward, is everything clear?

[Robert Marriott]

Yes, quite clear, Joe. Come in.

[Edward]

Oh. Oh, I say, Father, I didn't know that you were downstairs.

[Robert Marriott]

It's all right. How are you, Joe?

[Edward]

I. Oh, I'm quite well, thanks. But I. I think I'll say good night.

[Robert Marriott]

Yes, good night, woman. Sit down, Joe.

[Edward]

Have a good time tonight? Yes, sir.

[Robert Marriott]

Splendid.

[Edward]

I. I was out with some of the lads. We did the town a bit. You know how it is.

[Robert Marriott]

Of course. Of course. I used to go out with the lads myself. Oh, we had some gay old times. Used to stay out till all hours.

[Edward]

Really?

[Robert Marriott]

Yes, once in a while. Oh, you fellows go a good deal faster than we did. Of course, things have speeded up so. Only the other night, your mother and I went to a restaurant after the theater. First time I'd been for years. There were a lot of young people there. I was quite surprised.

[Edward]

Surprised?

[Robert Marriott]

The way they were carrying on. Oh, I wasn't shocked or anything like that. But it was so different, so utterly different from anything I'd ever known. It was unhealthy somehow. There was a young fellow off in the corner with a party. Fellow about. About your age. Joe. He had a girl with him. Very pretty girl, too. But they'd both been drinking quite a lot. Wasn't a very pleasant sight. Luckily, your mother had her back to them. But I didn't want to take any chances. I took her out of the place. On the way home, I got to thinking. I thought that. I'm glad that boy wasn't Joe. If it had been Joe, it would have hurt horribly.

[Edward]

What. What restaurant was it, sir?

[Robert Marriott]

Cafe Royal.

[Edward]

I see.

[Robert Marriott]

Ever been there? Joe?

[Edward]

Yes, sir. You say that you took Mother out. That's right. She. She didn't see? No.

[Robert Marriott]

Well, good night, Joe.

[Edward]

Good night, sir.

[Robert Marriott]

See you in the morning.

[Edward]

Yes, sir. And Father. Well, thank you for taking Mother out.

[Grainger Narrator 2]

Granger knows when you're a procurement manager for an office park, you're not managing one building, you're managing all of them. And to stay ahead, you need to see through walls and around corners. Lights about to fail, filters ready to clog H Vac on its last leg. If you wait until something breaks, you're already behind. Count on Grainger for quality products, easy reordering and 24. 7 support. Call 1-800-GRAINGER click grainger.com or just stop by Grainger for the ones who get it done.

[Grainger Narrator 1]

When you're a maintenance engineer in a beverage manufacturing plant, you keep production lines moving and quality on track because there is no room for for slowdowns. With Grainger's vast selection of high quality motors, sensors, belts and hard to find parts, you can get what you need fast and all in one place. So nothing gets in the way of getting the job done. Call 1-800-GRAINGER clickranger.com or just stop by Grainger for the ones who get it done.

[Narrator]

April 14, 1912 on the high seas off Newfoundland.

[Edward]

Edith?

[Joe]

Yes, Edward, Darling?

[Edward]

Stand here, close to the rail.

[Joe]

Oh, it's glorious. But it's too big, the Atlantic, isn't it?

[Edward]

Far too big.

[Joe]

Too deep.

[Edward]

Much, much too deep.

[Joe]

I don't care a bit, do you?

[Edward]

Not a scrap.

[Joe]

Wouldn't it be awful if a magician came to us and said, unless you count accurately every single fish in the Atlantic, you die tonight.

[Edward]

And we should die tonight.

[Joe]

How much would you mind? Dying, I mean.

[Edward]

I don't know, really. A good deal, I expect.

[Joe]

I don't believe I should mind so very much now. You see, we could never in our whole lives be happier than we are now.

[Edward]

Could we, darling? There are different sorts of happiness.

[Joe]

This is the best sort.

[Edward]

Oh, sweetheart.

[Joe]

Don't, darling. We don't want any more of the stewards to know we're on our honeymoon.

[Edward]

Why not? Most of them have forgotten what a honeymoon's like.

[Joe]

Did you ever think when we were children, going to the pantomime and going to the zoo and playing soldiers, that we should ever be married?

[Edward]

Of course I didn't.

[Joe]

Was I a nice child?

[Cecil B. DeMille]

Horrible.

[Joe]

So were you. So is Joe Vile. You always used to take sides against

[Edward]

me, and yet we all liked one another. Really?

[Joe]

I think I liked Joe better than you. But then he was younger and easier to manage. He was awfully funny at the wedding, wasn't he?

[Edward]

Yes. He has no reverence, I'm afraid. Absolutely none.

[Joe]

He's passing gallantly through the chorus girl phase now, isn't he?

[Edward]

Gallantly, but not quickly.

[Joe]

You had several love affairs before you married me, didn't you?

[Edward]

Light of my life, Please shut up.

[Joe]

You'd be awfully cross if I'd had, wouldn't you?

[Edward]

Did you?

[Joe]

Hundred.

[Robert Marriott]

Liar.

[Joe]

I rather wish I had, really. Perhaps I should have learned some tricks to hold you with when you begin to get tired of me.

[Edward]

I never shall, darling.

[Joe]

Oh, yes, you will. One day. The loveliness we feel now will fade and the guilt wear off. The gingerbread.

[Edward]

Tell me, have you ever seen gingerbread with guilt on it?

[Ellen (Maid)]

Never.

[Edward]

Then that settles.

[Jane Marriott]

Mm.

[Edward]

Anyway, look at Father and Mother. They're perfectly happy.

[Joe]

They had a better chance at the beginning. Things weren't changing so swiftly. Life wasn't so restless.

[Edward]

How long do you give us?

[Joe]

I don't know. I don't care. This is our moment, Edward. Complete and heavenly. This is our own forever.

[Noel Coward]

Wireless message for you, sir.

[Edward]

Oh, thank you, Stuart. I'll take it. Here.

[Joe]

A wireless message for us?

[Edward]

Nobody else? Darling, look here. Mr. And Mrs. Edward Marriott on board the steamship Titanic.

[Narrator]

The new century speeds on. On to a climax of love and hate, of fire and blood, of steel against steel. August 4, 1914.

[Jane Marriott]

Robert, help me off with these dust sheets. We'll get a woman in tomorrow and clean up.

[Robert Marriott]

All right, dear.

[Jane Marriott]

I shall never go on a holiday again, ever. It's horrid when you're there, and it's much worse when you come back.

[Robert Marriott]

Still, it is better to be here in London. Jane, if anything's going to happen, it's

[Jane Marriott]

going to happen all right. I'm afraid. There's no doubt about it now.

[Joe]

Oh, it's so hot, I can't breathe. Robert.

[Edward]

Hello, Mother.

[Jane Marriott]

Oh, Joe, darling, it's grand to see you back.

[Edward]

How are you, Father?

[Robert Marriott]

Fine, thanks.

[Jane Marriott]

Cigarettes?

[Robert Marriott]

No, son?

[Edward]

No. They're pretty exciting, all the things that are happening, aren't they?

[Announcer]

Yes.

[Edward]

Rather like Germans, don't you?

[Robert Marriott]

Enormously. There is the war.

[Edward]

How long do you think it will last?

[Robert Marriott]

3 months on the outside, I suppose.

[Edward]

We shall win, shan't we, Robert?

[Robert Marriott]

What's wrong, dear?

[Jane Marriott]

I'm going upstairs for a minute. I shan't be long.

[Robert Marriott]

All right, Danny.

[Edward]

I say, the war might last for six months, don't you think?

[Robert Marriott]

Oh, impossible. Have you any idea, Joe, what a war cost in actual money, I suppose.

[Edward]

Quite a lot, yes.

[Robert Marriott]

And the Germans can afford it even less than we can.

[Edward]

Are you glad you left the army or sorry?

[Robert Marriott]

Absolutely delighted.

[Edward]

Will you go back again?

[Robert Marriott]

I expect so.

[Edward]

I'll go too.

[Robert Marriott]

You want to?

[Edward]

Terribly. Why? I don't know. I just want to. I wish Edward was still here. We could have started off together.

[Robert Marriott]

Now don't be too impulsive, Joe. Think of your mother. Think of me. You're all we have left now, Piper.

[Bridges (Butler)]

War declared. A ninth Germany.

[Edward]

Do you hear?

[Fanny]

Robert. Robert, what is it?

[Robert Marriott]

England is at war, my dear.

[Jane Marriott]

War. It's.

[Joe]

It's hot, isn't it?

[Edward]

Don't look so sad, Mom. Won't last long. I say, Father, we ought to have some wine. You must drink to this.

[Robert Marriott]

We've only hot. We'll have to drink to the downfall of Germany in her own wine.

[Jane Marriott]

Hear, hear. Edward missed this.

[Joe]

I'm glad, Jane.

[Jane Marriott]

He died when he was happy.

[Fanny]

Before the world broke over his head.

[Robert Marriott]

Don't say that, Jane. We've had wars before without the world breaking.

[Jane Marriott]

Drink to war then, if you want.

[Fanny]

I'm not going to.

[Jane Marriott]

I can't.

[Fanny]

Rule Britannia Send us victorious Happy and glorious. Think, Joey, you're on your baby still, but you're old enough for war. Drink like the Germans are. Drinking to victory and defeat and stupid tragic sorrow. Leave me out of it.

[Announcer]

He calls for station identification. This is the Columbia Broadcasting System. Herbert Marshall, Madeline Carroll and our all star cast will be back in the Lux Radio Theater presentation of Cavalcade shortly. For the moment, let's drop in at Universal Studios. It's after closing time for Sally B. Secretary to a famous producer. But Sally won't go home. She's still hoping for that invitation out on New Year's Eve. The telephone rings. She picks up the receiver, hopefully.

[Jane Marriott]

Hello? Yes. Oh, hello, Alice. I thought it might be somebody else New Year's Eve. Guess I'll go to bed. What?

[Joe]

Oh, no.

[Jane Marriott]

I have something to wear. Just remade my old blue velvet.

[Ellen (Maid)]

Well, I can't dance alone, can I?

[Jane Marriott]

Oh, I'm sorry. It does seem everybody's going out but me. Oh, I'm not bitter. You'd be fed up too. What are you driving at? Oh, don't be silly, Alice. If you have something to say, say it. Complexion. What about it?

[Announcer]

And now, on the other end of the Wire, Alice is telling Sally, and truthfully, so that a girl is out of the picture where men are concerned, unless her complexion is lovely. Important to guard against cosmetic skin, its dullness, tiny blemishes enlarging pores spoil good looks, ruin your chances for romance. Begin the new year right. Use for your complexion the care screen stars use luxe toilet soap. Its active lather removes dust and dirt. Stale rouge and powder thoroughly prevents the pore choking that causes cosmetic skin. You can use powder and rouge as much as you like, but before you put on fresh makeup, always before you go to bed, remove your stale makeup the luxe toilet soap way. This year, luxe toilet soap has kept many thousands of complexions lovely. Next year, let your complexion grow soft

[Robert Marriott]

and smooth with this gentle care.

[Announcer]

Remember, nine out of ten screen stars

[Robert Marriott]

use Lux toilet soap.

[Announcer]

Once again, Mr. DeMille.

[Cecil B. DeMille]

Cavalcade continues. Starring Herbert Marshall, Madeleine Carroll with Una O', Connor, David Niven and Douglas Scott. Time swings in its orbit. Men battle, men die. The whole world roars in chaos. Once more. We're in the Marriott drawing room. It's the morning of November 11, 1918. Ellen has just entered. Jane goes to her with outstretched.

[Jane Marriott]

Ellen. Oh, I am glad to see you. I couldn't believe my eyes when you first walked in. Sit down.

[Ellen (Maid)]

I just thought I'd call, madam.

[Jane Marriott]

I'm glad you did. So glad. These are lonely days, aren't they, Ellen?

[Ellen (Maid)]

My call's rather important, as a matter of fact.

[Jane Marriott]

How's Fanny?

[Ellen (Maid)]

Oh, very well.

[Jane Marriott]

I'm never going to forget how she danced the last time we saw her.

[Ellen (Maid)]

She's dancing and over the moon now, you know.

[Jane Marriott]

Yes. I went the other night. She was splendid. I felt very proud to know her.

[Ellen (Maid)]

It's about her I've come to see you.

[Jane Marriott]

Is anything wrong?

[Ellen (Maid)]

Well, no, not exactly. What is it about her and Joe.

[Joe]

Joe?

[Bridges (Butler)]

Yes.

[Jane Marriott]

I don't understand, Ellen.

[Ellen (Maid)]

Well, they've been. They've been what you might call in love. Yes.

[Jane Marriott]

My Jo.

[Bridges (Butler)]

Yes.

[Fanny]

You're Joe.

[Jane Marriott]

His last two leaves, he spent a

[Ellen (Maid)]

lot of time with Annie.

[Joe]

Oh, I see.

[Ellen (Maid)]

I wouldn't come see about it at all, only. Well, now that the war's over, or almost over, that is any becoming home. I thought that.

[Jane Marriott]

What did you think?

[Ellen (Maid)]

Well, I thought they ought to get married.

[Jane Marriott]

Does Fanny want to marry him?

[Ellen (Maid)]

I haven't talked to her about it. She doesn't know I know.

[Jane Marriott]

And how do you know?

[Ellen (Maid)]

I found a letter he wrote.

[Jane Marriott]

And you read it? Of course.

[Ellen (Maid)]

I brought it with me. I knew you'd want to see it.

[Jane Marriott]

I do not wish to read it.

[Ellen (Maid)]

Oh, I see.

[Jane Marriott]

I think we better let the whole thing stand until Joe comes home. Then he and Fanny can decide what they wish to do.

[Ellen (Maid)]

I didn't wish to Upset you?

[Jane Marriott]

I'm not in the least upset.

[Ellen (Maid)]

It's been on my mind.

[Jane Marriott]

But you didn't tell Fanny before you came here. I think I know why. In any case, I never interfere with my son's affairs. Well, sure.

[Ellen (Maid)]

I'm very sorry.

[Joe]

That's all.

[Jane Marriott]

Goodbye, Ellen.

[Ellen (Maid)]

I suppose you imagine that my daughter isn't good enough to marry your son. Well, if that's the case, I can assure you that you're very much mistaken. Fanny's received everywhere. She knows all the best people.

[Jane Marriott]

How nice for her. I wish I did.

[Ellen (Maid)]

Things aren't what they used to be, you know.

[Jane Marriott]

Oh, no.

[Ellen (Maid)]

It's all changing.

[Jane Marriott]

Yes, I see it is.

[Ellen (Maid)]

Fanny's at the top of the tree now while she's having the most wonderful office.

[Jane Marriott]

Oh, Ellen, what is it? I'm so sorry. So sorry. Oh, yes, you do.

[Joe]

Inside.

[Jane Marriott]

You must understand, Ellen. Something seems to have gone out of all of us. Goodbye, Ellen.

[Robert Marriott]

Your pardon, my lady.

[Jane Marriott]

Yes, what is it, Belden?

[Edward]

A telegram.

[Jane Marriott]

Thank you.

[Robert Marriott]

It's all over, my lady.

[Jane Marriott]

The war's over. It's 11 o'. Clock.

[Carvana User]

Hey, sweetie. Your mother showed me this Carvana thing for selling the car. I'm gonna give it a try. Wish me luck. Me again. I put in the license plate. It gave me an offer.

[Bridges (Butler)]

Unbelievable.

[Carvana User]

Okay, I accepted the offer. They're picking it up Tuesday from the driveway. I haven't even left my chair. It's done. The car is gone. I'm holding a check anyway. Carvana.

[Jane Marriott]

Give it a whirl.

[Carvana User]

Love ya.

[Grainger Narrator 1]

So good you'll want to leave a voicemail about it. Sell your car today on Carvana. Pick UP FEES MAY apply.

[Edward]

M', lady.

[Jane Marriott]

There's. There's no answer. Belden. No answer. M', lady.

[Robert Marriott]

Is anything wrong?

[Joe]

Oh, man.

[Ellen (Maid)]

Oh, quick. What's happened? What's in that telegram?

[Jane Marriott]

You needn't worry about Annie and Joel. And he won't be able to come back anymore because he's dead. Dead? Oh, God. Oh, dear God.

[Narrator]

Eighteen more years roll by. December 31st, 1936

[Robert Marriott]

Jane. Jane, dear.

[Jane Marriott]

Oh, yes, Robert.

[Robert Marriott]

Were you asleep?

[Jane Marriott]

No, dear. I was just sitting here thinking. And watching the crowds go by in the street.

[Robert Marriott]

Did Franklin bring the champagne up?

[Joe]

There it is, by the table.

[Noel Coward]

Good.

[Jane Marriott]

Well, Robert, here we go again.

[Robert Marriott]

I believe you will laugh at me inside for my annual sentimental outburst.

[Jane Marriott]

No, dear, I don't laugh at you.

[Robert Marriott]

One more year behind us.

[Jane Marriott]

One more year before us.

[Robert Marriott]

Do you mind?

[Joe]

Oh, no.

[Jane Marriott]

Everything.

[Joe]

Parties, even time.

[Robert Marriott]

It seems incredible, doesn't it? Here we are in the same room.

[Jane Marriott]

Yes, I've hated it for years.

[Robert Marriott]

Do you want to move?

[Jane Marriott]

Of course not.

[Robert Marriott]

We might have some new curtains.

[Jane Marriott]

We have, dear.

[Robert Marriott]

And I never noticed.

[Jane Marriott]

They've only been up a week.

[Edward]

They look very nice, Robert.

[Jane Marriott]

What post have you in mind for the night? Something gay and original, I hope.

[Robert Marriott]

Just our old friend, the future. The future of England.

[Joe]

Quick, it's starting.

[Jane Marriott]

The champagne. Hurry.

[Robert Marriott]

I can't get the thing open.

[Jane Marriott]

Let me try.

[Robert Marriott]

There it is. Here. Jane.

[Jane Marriott]

First of all, my dear, I drink to you, loyal and loving always.

[Robert Marriott]

God bless you, Jane. Now let us couple the future of England with the past of England. The glories and victories and triumphs that are over. And the sorrows that are over, too.

[Jane Marriott]

Let's drink to our sons who made part of the pattern. And to our hearts that died with them.

[Robert Marriott]

Let's drink to the spirit of gallantry that made a strange heaven out of unbelievable hell. And let's drink to the hope that one day this country of ours, which we love so much, will find dignity and greatness and peace again.

[Cecil B. DeMille]

Herbert Marshall and Madeleine Carroll have a word for us in a few moments. But now her curtain slowly falls. The cavalcade is gone. Gone to the home of straight ascending smoke of distant melodies of white sails that vanish on a red horizon Gone to the home of all brave things that flourish, fade and disappear to live again in memories To England I give thanks thanks for showing the world how to muddle through. Thanks for her patriots and poets for roast beef and plum pudding For Trafalgar and tobacco for kippers and Kipling for bowler hats and bowling on the green and for performers like Madeline Carroll and Herbert Marshall, who now rejoin us, Ms. Carol.

[Robert Marriott]

Mr. Marshall.

[Jane Marriott]

Many thanks, Mr. DeMille. And to paraphrase the words of Gilbert and Sullivan's Mr. Gilbert, I might have been a Rooshin, a Frenchman, Turk or Prussian or perhaps Italian but in spite of all temptations to belong to other nations, I remain an English man.

[Cecil B. DeMille]

Then perhaps you, a Bart, can tell me why it is that only mad dogs and Englishmen go out in the noonday sun.

[Jane Marriott]

I refer to you, Mr. Marshall.

[Robert Marriott]

Putting me nicely on the spot? I can't answer that, Mr. De Bille. But I can tell you what happened when a mad dog bit an Englishman.

[Cecil B. DeMille]

That's hardly news, Bart, but go right ahead.

[Robert Marriott]

It's a tale related by another English poet, Oliver Goldsmith, and runs something like the dog and man at first were friends but when a peak began the dog, to gain some private ends went mad and bit the man. The wound, it seemed both sore and sad to every Christian eye. And while they swore the dog was mad, they swore the man would die. But soon a wonder came to light that showed the rogues they lied. The man recovered of the bite. The dog it was that died.

[Jane Marriott]

Proving perhaps that all Englishmen should be muzzled. But before that happens to me, I want to add just a word of appreciation of luxe toilet soap. To me, it's just as important in my dressing room as a mirror. It's really an international beauty care for. In England, too, actresses turn to luxe soap for keeping complexions of their loveliest. Just as we do here in Hollywood. In fact, I was using luxe toilet soap when I was teaching school. So you can see we're friends of long standing.

[Robert Marriott]

I want to thank you too, Mr. DeMille. For the opportunity to play Robert Marriott in what I think is one of the greatest dramas of our generation. Plays like this are characteristic of the Lux Radio Theatre. And bring to the air a dignity and prestige. Equaling the highest traditions of the legitimate stage. Cavalcade is a play for the New Year. Perhaps it's neither my place nor my talent to stand here and deliver a message. Cavalcade can do it so much better yet. How splendid a thing is love of fellow men, of country and of peace. A few days more, and in Hollywood, in Times Square, in London. And in all their counterparts the world over. There will be a sound of bells and celebration. Let's hope that when they ring again in another 12 months. They'll echo through a world a little closer to understanding itself. A little more tolerant, a little nearer to the truth. That it is a good old world and they serve their country best who serve the cause of peace. Good night.

[Jane Marriott]

Good night, Mr. DeMille.

[Cecil B. DeMille]

Good night, and thanks to you both.

[Announcer]

Ladies and gentlemen, this is your announcer, Melville Ruick. Mr. Marshall appeared through. Courtesy of RKO Studios and Columbia Pictures. Ms. Carol through Walter Wanger Productions. I refer you now to Mr. DeMille.

[Cecil B. DeMille]

Your season ticket in the Lux Radio Theatre is renewed next Monday night when we salute 1937 by starring Spencer Tracy, Virginia Bruce and Frances Farmer. Our play is one which met with tremendous enthusiasm on both stage and screen. The Pulitzer Prize play, Man in White. We shall hear Mr. Tracy in the role of Dr. George Ferguson. In turn, Ms. Farmer as Barbara Denon and Ms. Bruce as Laura Hudson, the girl whose love stands between Ferguson and his profession in this gripping story of clashing loyalties. Our sponsors, the makers of Lux Toilet Soap. Join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Spencer Tracy, Virginia Bruce and Francis Palmer in Men in White. High over Asia, the sun is racing westward, emblazoning the final days of a departing year. But a new sun shall rise with the new year. And may it make a brighter world for you.

[Jane Marriott]

You.

[Cecil B. DeMille]

This is Cecil B. DeMille wishing you a glorious new year. From Hollywood,

[Announcer]

This is the Columbia Broadcasting System.