Lux Radio Theatre - Intermezzo

Summary

Podcast Summary: Harold's Old Time Radio | Lux Radio Theatre – "Intermezzo"

Date: June 26, 2026
Host: Harold's Old Time Radio
Featured Play: Lux Radio Theatre’s adaptation of "Intermezzo"
Notable Cast: Herbert Marshall (Holger Brandt), Ingrid Bergman (Anita Hoffman), Gail Patrick (Margot Brandt)
Producer/Narrator: Cecil B. DeMille

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Episode Overview

This episode presents the classic Lux Radio Theatre adaptation of "Intermezzo," a poignant love story originally brought to Hollywood by producer David O. Selznick. Most notably, this radio drama features Ingrid Bergman in her American radio debut, reprising her celebrated film role and performing alongside Herbert Marshall and Gail Patrick. Directed by Cecil B. DeMille, "Intermezzo" is a tale of forbidden love, artistic ambition, temptation, and the costs of personal happiness.

Lux Radio Theatre’s production captures the emotional depth of the story through memorable performances, elegant language, and evocative sound design. The episode transports listeners to the romance and drama of pre-war Europe, centered on the conflicted life of a renowned concert violinist.

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Key Discussion Points & Story Highlights

1. Introduction & Star Announcements

(00:50 – 03:53)

• Cecil B. DeMille introduces the play, its stars, and shares the story of securing Ingrid Bergman for the role all the way from Sweden.
• DeMille acknowledges listener demand for the return of Herbert Marshall and introduces the unique qualities of Gail Patrick’s character, Margot.
• Quote: “Tonight a new star comes to the stage of the Lux Radio Theater... Ms. Ingrid Bergman... makes her American radio debut in our drama Intermezzo.” (00:53, Cecil B. DeMille)

2. Holger Brandt’s Return Home

(03:53 – 09:50)

• World-renowned violinist Holger Brandt, after a successful tour in America, returns to his home and family in Sweden.
• Holger's reunion with his wife Margot and children is heartfelt, but reveals a growing distance due to his frequent absences.
• Introduction of Anita Hoffman, the children’s vibrant music teacher.
• Quote: “There’s better air to breathe in this room than anywhere else on earth. I can hardly believe I’ve been away.” (08:04, Holger Brandt)

3. Initial Attraction & The Beginning of Temptation

(10:00 – 21:20)

• Holger is charmed by Anita’s musical skill and youthful enthusiasm.
• A chance evening after a concert cements their connection—Holger proposes Anita become his new accompanist after his long-term colleague retires.
• Anita hesitates, torn between her studies and the magnetism of Holger’s offer.
• Intimate conversation reveals Anita’s long-standing admiration for Holger.
• Quote: “I had only one idea. For years I saved every penny I could to be able to buy some kind of a seat in the concert hall whenever you play.” (19:29, Anita Hoffman)

4. Emergence of the Affair and Emotional Turmoil

(26:22 – 33:39)

• Spring deepens the undercurrent of longing and heartbreak. Anita decides she must leave for Denmark, overwhelmed by her feelings and shame.
• In an emotionally fraught encounter, Anita and Holger try to end their meetings, both recognizing the destructiveness of their feelings.
• Quote: “All along, I’ve been miserable, hating this kind of thing—always meeting you like this, in out-of-the-way places, sneaking about in fear of being seen.” (29:19, Anita Hoffman)

5. The Consequences & The Fracture of a Family

(33:40 – 37:37)

• Margot, Holger’s wife, intuits the shift in Holger and suggests reviving their relationship through travel together; Holger’s reticence exposes cracks in their marriage.
• Holger and Anita continue their partnership, becoming an acclaimed musical duo and traveling Europe.
• Their love brings creative fulfillment but also deepening dependency and existential unease.
• Quote: “You surpassed yourself, too... That was what they heard tonight when I played.” (37:03, Holger Brandt to Anita)

6. Turning Point: The Letter and the Decision

(41:37 – 48:29)

• In the Mediterranean, a letter arrives: Anita is awarded the prestigious scholarship she once dreamed of.
• Thomas Stenborg, Holger’s thoughtful friend, arrives and voices the irreconcilable realities of love built on the suffering of others.
• Anita decides to leave Holger, recognizing the damaging consequences of their relationship.
• Quote: “You must make your own decision. Whatever it may be, I know it will be the right one.” (47:39, Thomas Stenborg to Anita)

7. Resolution, Loss, and Hope

(49:50 – 55:15)

• Holger returns home, seeking only to see his daughter Anne Marie. A car accident gravely injures her, leading to a poignant family bedside reunion.
• Holger's son, Eric, confronts him with the pain of his absence.
• Holger’s confession: “You know, when we are young, we expect the people we love to behave like gods. Tragedy is, we’re all human, and all of us make mistakes...” (53:52)
• Anne Marie survives, and Margot offers Holger forgiveness and a chance for renewal.
• Quote: “Life renews itself, Holger. Things die and are born again in the spring. Our love can live again if we want it to.” (55:33, Margot Brandt)

8. Curtain Call & Reflections

(58:30 – 60:50)

• DeMille reflects on Bergman’s debut and her experience in Hollywood.
• The cast exchanges warmth and mutual admiration.
• Discussion about American traditions for newcomer Bergman, including baseball, and a nod to upcoming Lux Radio Theatre plays.

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Notable Quotes & Moments

• Cecil B. DeMille (00:53): “It was really you who cast Herbert Marshall in the co-starring role.”
• Holger Brandt (08:04): “He doesn’t think very much of me... there’s better air to breathe in this room than anywhere else on earth.”
• Anita Hoffman (19:29): “For years, I saved every penny I could to be able to buy some kind of a seat in the concert hall whenever you played.”
• Anita Hoffman (29:19): “I am ashamed. And I hate being ashamed.”
• Holger Brandt (53:52): “We’re all human—tragically human—and we all of us make mistakes right up to the very end of our lives.”
• Margot Brandt (55:33): “Life renews itself, Holger. Things die and are born again in the spring. Our love can live again if we want it to.”

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Key Timestamps for Important Segments

• 00:53 – DeMille introduces the play, cast, and Bergman’s debut.
• 03:53 – Holger returns home; family dynamics established.
• 17:17 – Holger and Anita’s intimate café conversation.
• 26:22 – Anita’s heartbreak and decision to leave.
• 33:00 – Margot suggests accompanying Holger on tour—emotional strain in the marriage surfaces.
• 37:37 – Holger and Anita’s professional triumph as a duo.
• 42:09 – Anita receives the scholarship letter; Thomas urges reflection.
• 47:39 – Thomas urges Anita to make her own decision.
• 49:50 – Child’s accident brings family crisis and possibility of reconciliation.
• 53:52 – Father-son confrontation; Holger’s recognition of human frailty.
• 55:33 – Margot’s expression of forgiveness and hope for renewal.
• 58:30 – Curtain call and actors' warm reflections with DeMille.

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Tone & Original Language

The performance is elegant, earnest, and rich with understated passion. The characters express themselves with the eloquence and restraint characteristic of 1930s drama, using poetic, metaphorical language—“A Viennese waltz, smiling with melancholy...”—and heightened emotional candor.

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Summary Statement

This broadcast of Lux Radio Theatre’s "Intermezzo" is a masterfully acted, emotionally nuanced radio drama, spotlighting Ingrid Bergman’s talent and exploring timeless themes of love, longing, loyalty, and forgiveness. Anchored by sensitive writing and tender performances, it stands as a superb artifact of the golden age of radio and a moving story for all generations.

Transcript

[Grainger Announcer]

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[Narrator / Cecil B. DeMille]

Lux PRESENTS Hollywood. The lux radio theater brings you herbert marshall, ingrid bergman and gail patrick in

intermezzo, a love story.

Ladies and gentlemen, your producer, Mr. Cecil b. Demille. Greetings from Hollywood, ladies and gentlemen. Tonight a new star comes to the stage of the Lux Radio Theater. And our date with her was made by a telephone call to Sweden. Ms. Ingrid Bergman, who was one of the Hollywood finds of the year, makes her American radio debut in our drama Intermezzo. Because we couldn't imagine anyone else in the role she played so powerfully on the screen. Intermezzo is a love story. A story both old and new. Old because it's a love story. New because it represents a distinct improvement on a familiar theme. Just as the new quick Lux is an improvement on a tried and true product. Science is constantly bettering things for us. And Lux Flakes keeps pace with the march of science. Ms. Bergman was discovered by David O. Selznick and brought here from Sweden to make Intermezzo. After finishing the picture, she went back home. That's where our telephone call comes in. We reached her at Stockholm and made arrangements for tonight's play when she returned to resume work at the Selznick studio. But it was really you who cast Herbert Marshall in the co starring role. We received so many letters asking when are you going to have Herbert Marshall again? That we've seized this opportunity to have him play Holger Brandt. And let me congratulate you on a job of perfect casting. To complete the triangle of our love story. We have Gail Patrick as Holger Brandt's wife, Margot. She's a very different character from the wife in a conventional dramatic triangle. But as I told you before, this is a new love story. Even though our lazier playwrights had been insisting for years that there was no such thing as a new love story. Intermezzo, of course, is a musical term meaning an interlude or intermission. A time to relax. So I suggest that you relax now and listen as we ring up the curtain on our play Intermezzo. Starring Herbert Marshall as Holger Brandt. Ingrid Bergman as Anita and Gail, Patrick as Margot with Ann Todd and Douglas Scott of the screencast as the children Anne Marie and Eric. In New York City's famous Carnegie Hall, a violin recital nears its close. It's the second encore and the audience, breathless with excitement, has crowded into the aisles and as close to the stage as possible, where Holger Brandt is playing for the first time his own composition, Intermezzo. From his magic bow, the music soars to the high dome of the hall, whispers along the walls. And then, all too soon, the concert.

[Holger Brandt]

Ladies and gentlemen, first let me say how much I appreciate the reception you have given us here. On our last concert in New York, my accompanist Thomas Kainberg and I leave America for our home in Sweden. With the deepest gratitude for the warmth of your response to our performances here. Now I should like to say a few words about something that for me, saddens this happy evening, as I'm afraid it.

[Thomas Stenborg]

Will you.

[Holger Brandt]

Mr. Steinberg, will you come out here, please? Thomas, come out.

[Thomas Stenborg]

Oh, God.

[Margot Brandt]

What are you thinking of?

[Holger Brandt]

Don't be a fool, man. It's time you took some of the vows. Ladies and gentlemen, Mr. Steinborg is more than my accompanist. He is my old friend. He is my collaborator, from whom I have learned much of whatever I know of music. It is therefore with the deepest regret that I must announce that after many years of travel and adventure together, I must henceforth go my way alone. Mr. Steinberg is abandoning me to settle down to a well earned retirement. Will you join me in paying tribute to one of the finest musicians and more important, one of the finest men it has ever been my privilege to know. Thank you. Thank you, Hoga.

[Margot Brandt]

You shouldn't have done this, Pooh.

[Holger Brandt]

Thomas. Every word of it. But I. I thank you. Thank you.

[Thomas Stenborg]

I'll meet you in the wingies.

[Holger Brandt]

And now, if you'll permit us, we must run. You see, like so many of you, we are family men. And tonight a boat sails that will take us back to Stockholm. A boat that will take us home. Thomas.

[Thomas Stenborg]

Yes?

[Holger Brandt]

Thomas. Is your decision final? You really mean to leave me and retire?

[Thomas Stenborg]

Yes. The time's come, Holger.

[Holger Brandt]

Won't you miss it all? The work, the crowds, the applause. All the world as we've had it.

[Thomas Stenborg]

Perhaps a little. But there's a great difference between us, Holger. You are indispensable to the world, and the world to you.

[Holger Brandt]

Let's have a drink.

[Thomas Stenborg]

Your flame leaps, Holger. At every breath of life, some of us glow a while and aren't too regretful. When the spark dies out and allows us to rest.

[Holger Brandt]

We'll have memories in common. Always, Thomas.

[Thomas Stenborg]

Memories from the same old friends. Bach and Beethoven.

[Holger Brandt]

Old Thomas sitting by the fire with his slippers and his pipe.

[Thomas Stenborg]

And my wife.

[Holger Brandt]

Yes, of course, your wife. I should be glad to see Margaret again, too. And the children. Seems years since I left them. You know, Thomas, you're right. The crowd's applause. They're like a drug. Like a habit that gets a stranglehold on your life. And you can't break it, except by total abstinence. Stay home, away from it all, and you'll find peace. I wish I could believe it with the same conviction I say it. Well, Anyway, Thomas, for 20 years of comradeship in the art we both love. And for your flawless friendship. Thank you.

[Thomas Stenborg]

Thank you, Olga.

[Anita Hoffman]

So nice having your home.

[Announcer (Crowd Health)]

Dad.

[Carvana Customer]

Come in.

[Carvana Announcer]

Holger.

[Anne Marie Brandt]

Emma.

[Margot Brandt]

Our wondrous home at last.

[Anne Marie Brandt]

Welcome home, Mr. Brown.

[Holger Brandt]

Thank you, Emma. You've taken good care of everybody, I see.

[Margot Brandt]

It's good to have you back, sir.

[Anne Marie Brandt]

Look, Daddy. Look who's here.

[Holger Brandt]

Who's that?

[Anne Marie Brandt]

His name is Angus, Daddy. He's my dog.

[Holger Brandt]

So the family's grown since I've been away. How are you, Angus? Very happy to meet you, I'm sure. He doesn't think very much of me. You know, Margaret, there's better air to breathe in this room than anywhere else on earth. I can hardly believe I've been away. Nothing's changed.

[Anita Hoffman]

If anybody ever moved anything in here, even an inch. Mother always moved it right back again

[Holger Brandt]

where you like it.

[Margot Brandt]

You had your own room. To upset Eric. Eric's building a railroad upstairs, Holger.

[Anita Hoffman]

Not a railroad, Mother. A rope hall for carrying magnesite from the mines to the factories. Really?

[Holger Brandt]

I'd like to have a look at it.

[Anita Hoffman]

Well, it's not finished yet, sir.

[Holger Brandt]

Maybe I could help.

[Anita Hoffman]

No, I don't think so, sir.

[Holger Brandt]

I don't blame you, Eric.

[Anne Marie Brandt]

Daddy, I play the piano, Daddy. I take lessons.

[Holger Brandt]

Do you?

[Anne Marie Brandt]

Do you want to hear me?

[Margot Brandt]

A little later, darling. Daddy has so much to do.

[Anne Marie Brandt]

Will you play your violin with me, Daddy?

[Holger Brandt]

I should say I will.

[Margot Brandt]

Darling, take Angus upstairs, please.

[Anne Marie Brandt]

All right, but I'm coming straight back.

[Holger Brandt]

Well, Margot.

[Margot Brandt]

Welcome home.

[Holger Brandt]

Holger, darling. If you knew how often I've thought of this moment. Home with you. There you are, young lady. What do you think of that?

[Anne Marie Brandt]

You played some wrong notes.

[Holger Brandt]

What? I did nothing of the kind.

[Anne Marie Brandt]

Yes, you did. It made me dizzy indeed.

[Holger Brandt]

You mean this?

[Anne Marie Brandt]

Yes, it's terrible.

[Holger Brandt]

Those Are called dissonant chords, Danny. You learn to play them, too.

[Anne Marie Brandt]

No, I don't want to.

[Holger Brandt]

Then you'll just be a very old fashioned musician.

[Anne Marie Brandt]

That's what I want to be.

[Anita Hoffman]

Good morning, Anne Marie.

[Anne Marie Brandt]

Ms. Hoffman.

[Anita Hoffman]

Oh, I. I hope I haven't interrupted anything.

[Holger Brandt]

Not at all.

[Anne Marie Brandt]

Daddy, this is Ms. Hoffman. She's my music teacher.

[Holger Brandt]

How do you do?

[Anita Hoffman]

How do you do?

[Holger Brandt]

I've been hearing a great deal about you, Ms. Hoffman. Now, there's one thing I know for certain.

[Anita Hoffman]

Yes?

[Holger Brandt]

You've been teaching your pupil plenty of self confidence. She's been correcting me. She says I play false.

[Anita Hoffman]

Oh, Ann Marie. I wouldn't take that Criticism too hard, Mr. Brandt. Anne Marie's very talented, but she may have been mistaken.

[Holger Brandt]

Well, let's hope so anyway. How long have you been teaching her?

[Anita Hoffman]

Oh, a little under a year. I hope it's been satisfactory. I'm hardly more than a pupil myself.

[Holger Brandt]

With whom?

[Anita Hoffman]

With several teachers. But now that Mr. Stenbo has returned, I'm hoping he'll take me.

[Holger Brandt]

Stenbo? You couldn't find anyone better. I'll see that he does take you.

[Anita Hoffman]

You will? Oh, thank you, mister. Brandy?

[Holger Brandt]

Not a bit. Now run along, Anne Marie. It must be time for your lesson.

[Anita Hoffman]

Yes, it is. Come, Anne Marie.

[Anne Marie Brandt]

Bye, Daddy.

[Holger Brandt]

Bye.

[Margot Brandt]

Olga.

[Anita Hoffman]

Mm?

[Margot Brandt]

What are you thinking of?

[Holger Brandt]

Oh, nothing. Except Margaret. It strikes me I'm something of a stranger here.

[Margot Brandt]

How can you say such a thing?

[Holger Brandt]

Little things. The children make me realize it. But then it's natural that it should be that way.

[Margot Brandt]

You've been away from us so much. And this last time. It's been so long.

[Holger Brandt]

I know. Margot, I'm going to do what Thomas has done. Settle down, my darling.

[Margot Brandt]

When you're ready for that, you won't say it so desperately with that determined look in your eye.

[Holger Brandt]

I suppose you're right. But, Margot, you're coming away with me.

[Margot Brandt]

But don't.

[Holger Brandt]

We're going away together again, and everything will be just as it was in the beginning. We'll make life rich and gay and exciting again.

[Margot Brandt]

How wonderful it was. Missing trains and boats, losing all our belongings and never caring.

[Holger Brandt]

Do you remember the first time we went away like that? It was winter here when we left. We crossed the Alps and suddenly it was spring. You said that the blossoming locust in Capri was what made everyone sing there. Remember?

[Margot Brandt]

Yes. It's as if you were telling me a fairy tale once upon a time. But things are different now, Holger.

[Holger Brandt]

How?

[Anita Hoffman]

We have a home.

[Holger Brandt]

It won't run away. And we'll come back to it and appreciate it all the more.

[Margot Brandt]

But the children.

[Holger Brandt]

Oh, they can get along without you for a while. It's good for children to learn to take care of themselves.

[Margot Brandt]

Now really, Holger and Marie's only six. Please, her dear, don't think that I wouldn't love to go. But you don't realize that these things are my responsibilities just as well. Just as concerts and practice are yours.

[Holger Brandt]

Yeah, I suppose you're right.

[Anne Marie Brandt]

Come on, Ms. Hoffman.

[Anita Hoffman]

Anne Marie, you mustn't.

[Anne Marie Brandt]

Mommy, I've just thought of something.

[Anita Hoffman]

Oh, Ann Marie.

[Anne Marie Brandt]

Something important, Mommy.

[Margot Brandt]

What is it, dear?

[Anne Marie Brandt]

May I invite Ms. Hoffman to my birthday party?

[Anita Hoffman]

Oh, but anne Marie.

[Margot Brandt]

Tell Ms. Hoffman that she's very welcome to your birthday party.

[Anne Marie Brandt]

Ms. Hoffman, you're very welcome to my birthday party. We're going to have ice cream and cake.

[Anita Hoffman]

Well, I. I didn't really mean to.

[Margot Brandt]

Mrs. Brand and Marie will be very disappointed if you don't come. And so will we.

[Anita Hoffman]

Very well. Thank you.

[Anne Marie Brandt]

That's settled. Now we can go on with the lesson. Come on, Ms. Hoffman. You like the ice cream and cake, Ms. Hoffman?

[Anita Hoffman]

Oh, I'm sure I would.

[Margot Brandt]

You see, Holger, all these world shaking problems that keep me here. I'm content to stay. To make this the place you'll come back to always. And that spring you spoke of. That sort of thing comes only once in a lifetime. Let it be what it is. A memory. And who knows, we might perhaps have another spring.

[Narrator / Cecil B. DeMille]

How many cans?

[Anita Hoffman]

Seven.

[Thomas Stenborg]

No, eight.

[Holger Brandt]

One to grow on. Ladies and gentlemen, we are very privileged people. Our hostess was told that she would invite whom she liked for her birthday. And she asked for an entirely grown up party. Her father and mother, whom I think she felt she couldn't very well leave out. Her brother, the rising young engineer. Her godfather, Uncle Thomas. Her other godfather, Uncle Charles Muller. My worthy business manager.

[Thomas Stenborg]

Thank you.

[Holger Brandt]

And her new friend and teacher, Ms. Anita Hoffman. Whom we are happy to welcome to the family circle. Ladies and gentlemen, I give you the health of our hostess with 70 times 7. Ms. Anne Marie Brand.

[Thomas Stenborg]

Thank you. Thank you. Olgare, may I have a word with you? Well, Charles Olgar Thomas is determined not to travel again.

[Holger Brandt]

I told you that.

[Thomas Stenborg]

So I have been very busy. I've been combing the continent for a new accompanist. And I believe I found one.

[Holger Brandt]

You have?

[Thomas Stenborg]

I want you to come to a concert with me next week. He's marvelous.

[Holger Brandt]

Very well.

[Thomas Stenborg]

The man is exactly the thing you want. I heard him last.

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[Holger Brandt]

What quiet can that be, Ms. Hoffman?

[Thomas Stenborg]

Well, I imagine so.

[Holger Brandt]

Well, she's good. I didn't realize.

[Thomas Stenborg]

Holgar, she's only a pupil. Wait till you hear the man that.

[Holger Brandt]

Please, I want to listen.

[Thomas Stenborg]

Well, Horgan, what did you think of the recital? Wouldn't he make a good accompanist?

[Holger Brandt]

I tell you he won't do. That's all there is to it.

[Thomas Stenborg]

Oh, Lord.

Well, I will keep looking.

[Anita Hoffman]

I'm sorry.

[Narrator / Cecil B. DeMille]

I beg your par.

[Holger Brandt]

Why, Miss Hoffman.

[Anita Hoffman]

Oh, Mr. Brandt. Good evening, Mr. Miller.

[Thomas Stenborg]

Good evening.

[Holger Brandt]

How are you this evening, Miss Hoffman?

[Anita Hoffman]

Well, thank you. Isn't Mrs. Brandt with you?

[Holger Brandt]

No, we had social obligations. I'm a fugitive for medulled in the perfect. Well, what should we do now? What would you say to a glass of wine somewhere?

[Anita Hoffman]

Well, I. I was just going home.

[Holger Brandt]

So was I. But what about you, child? No, no, no, no. Leave me out.

[Thomas Stenborg]

I'm ready for bed after all that highbrow music. Good night. Good night, Miss Hoffman.

[Holger Brandt]

Oh, but let him go. Music wears him out. There must be a cafe nearby.

[Anita Hoffman]

Yes, there's a funny, stuffy little place down the street, always crowded, where they

[Holger Brandt]

have to put out the lights to get rid of the customers.

[Anita Hoffman]

Oh, you have been there.

[Holger Brandt]

Not in a long time. It's just what we want. Come along.

[Anita Hoffman]

Oh, I adore the concert.

[Holger Brandt]

You did like it, didn't you? You have the look in your eye of someone who's made a feast of music.

[Anita Hoffman]

How I envy that pianist.

[Holger Brandt]

You'd like to do that, wouldn't you? Be on that concert stage.

[Anita Hoffman]

Oh, yes, yes.

[Holger Brandt]

I'll tell you something. I'd rather it have been you up there playing.

[Anita Hoffman]

Oh, you are not serious?

[Holger Brandt]

Certainly I am. Good Lord, I'm stupid. Why, of course. Why don't you accompany me?

[Anita Hoffman]

Accompany you? Esther's on tour.

[Holger Brandt]

Take Thomas's place.

[Anita Hoffman]

Oh, you don't mean it.

[Narrator / Cecil B. DeMille]

But I do.

[Holger Brandt]

Why didn't I think of it the moment I heard you play? Well, what are you thinking? What do you say?

[Anita Hoffman]

No. No, I couldn't do it.

[Narrator / Cecil B. DeMille]

Even if you meant it, why couldn't you?

[Anita Hoffman]

Oh, Mr. Steenberg would never forgive me if I gave up my studies.

[Holger Brandt]

Thomas would approve completely. He knows how desperately I need an accompanist. And he'd be delighted that you'd taken his place.

[Anita Hoffman]

No, but please try to understand. Don't you think it's best for me to stay and work as hard as I can for a scholarship?

[Holger Brandt]

Scholarship?

[Anita Hoffman]

Yes, in the Royal Academy. There is a chance.

[Holger Brandt]

Oh, I didn't know. But of course you should stay and continue your studies.

[Anita Hoffman]

That you would even consider me?

[Holger Brandt]

Yes, yes. You're profoundly honored and all that.

[Anita Hoffman]

I am, really.

[Holger Brandt]

I understand. We'll say no more about it. Ah. You know, I've forgotten about places like this. The haven of the rising musicians. The look one sees in all these faces. And yet it seems scarcely any time at all since I sat here with just such boys and girls, remaking the world to suit ourselves as they're doing now.

[Margot Brandt]

I do.

[Anita Hoffman]

I would like to have known you then.

[Holger Brandt]

Would you? Probably not. I was poor and awkward, much too earnest and worked too hard. All in all, not a very fetching fellow.

[Anita Hoffman]

I don't believe you.

[Holger Brandt]

Everyone here, each of these boys and girls expects to set the world on fire.

[Anita Hoffman]

Yes. And perhaps one or two may do it.

[Holger Brandt]

Perhaps it'll be you.

[Anita Hoffman]

Please don't laugh at what I'm going to say.

[Holger Brandt]

Why should I?

[Anita Hoffman]

Well, since I first began to care about music. Oh, it does seem so strange.

[Holger Brandt]

Tell me what?

[Anita Hoffman]

I had only one idea. For years I saved every penny I could to be able to buy some kind of a seat in the concert hall whenever you play.

[Holger Brandt]

It's nice of you to tell me that.

[Anita Hoffman]

Nice of me? Think of my being able to tell it to you. Oh, that's what I can't get over. Here I am talking to you as if. As if you were an old friend.

[Holger Brandt]

I am a friend.

[Anita Hoffman]

But just a little while ago I looked at you from such a distance. And now. Oh, you don't know how fantastic it seems to me to be here at this Moment. Well, wait.

[Thomas Stenborg]

No, no, no.

[Holger Brandt]

Don't drink that. Just ordinary wine. Waiter, a bottle of your best vintage

[Thomas Stenborg]

champagne

[Holger Brandt]

for that st state of mind described as being in awe of someone. There's no quicker corrective than good champagne. Two glasses and in 20 minutes. Strangers have shared a rich and happy past. You know, Anita, there comes a night each year when one senses that winter is suddenly over.

[Anita Hoffman]

Yes, that spring has come. Oh, I look forward to it through the dreary months.

[Holger Brandt]

Look down there at the river, the ice. There's the winter all broken, rushing out to sea. A wonderful final journey. Don't you feel when spring comes that the world is yours for the asking? That there's nothing that you couldn't be tonight?

[Anita Hoffman]

Tonight I would dare anything. Oh. Oh, perhaps it's only the champagne.

[Holger Brandt]

Do you know what you remind me of?

[Anita Hoffman]

Tell me.

[Holger Brandt]

A Viennese waltz. Smiling with melancholy. A melody of the days when Vienna was a happy city. What a poet you are at twilight in the spring. And music poured through the cafe doors. Melodies of carefree youth. It was there that I saw you for the first time.

[Anita Hoffman]

Phantom of the Viennese wars.

[Holger Brandt]

No, I'm wrong. It wasn't there at all I met you. It was in Budapest on a summer night. They were playing the rustle of Spring. That was you.

[Anita Hoffman]

What are you thinking of?

[Holger Brandt]

I'm listening. There's something coming. I don't know what.

[Anita Hoffman]

Spring, perhaps. Spring.

[Holger Brandt]

Yes, perhaps.

[Anita Hoffman]

I. Oh, it's getting cold now.

[Holger Brandt]

It's coming. The spring storm.

[Anita Hoffman]

I. I must go home. Good night. Thank you,

[Holger Brandt]

Anita. Anit.

[Narrator / Cecil B. DeMille]

In just a moment, Mr. DeMille brings you Act 2 of Intermezzo with Herbert Marshall, Ingrid Bergman and Gail Patrick. Have you ever thought of the various words that express speed? If you'll take a look at your dictionary sometime, you'll find most of them contain the letter S. Like swift. Yes, and sprint and scurry and scamper.

[Sally (Lux Radio Theater)]

Why, I know a whole sentence of fairly shout speed has got so many S's.

[Narrator / Cecil B. DeMille]

Well, let's hear it, Sally.

[Sally (Lux Radio Theater)]

New quick lux is so speedy and swift it suds in a second.

[Narrator / Cecil B. DeMille]

You never said a truer thing in your life, Sally. An added ingredient makes new quick lux burst into suds at the touch of water. In water as cool as your hand, it dissolves three times as fast as any of 10 other leading soaps tested New quicklux suds so fast it's thrilling women all over the country. For example, there's Ms. Kay Dickerson of East Orange, New Jersey. Will you read what you wrote, Sally?

[Margot Brandt]

Of course.

[Sally (Lux Radio Theater)]

She says I've been using Luxe for years for all my washables. I always thought it was so wonderful it couldn't be improved. But somehow, some way, you've done it. New Quick Luxe is simply astounding. It's so amazingly fast.

[Narrator / Cecil B. DeMille]

New Quick Lux is fast, but it's more than that. It goes further. Gives you more suds ounce for ounce than any of 10 other soaps tested.

[Sally (Lux Radio Theater)]

That makes it thrifty to use for sweaters, blouses, stockings under things. That reminds me, Ms. Dickerson said something about that.

[Anita Hoffman]

Let me see. Oh, here it is.

[Sally (Lux Radio Theater)]

It's so easy to freshen undies with New Quick looks. The colors look lovely and they stay new looking longer too.

[Narrator / Cecil B. DeMille]

You better make a note of that. All you ladies who want your things to stay new looking longer. And make a note on your shopping list to buy the big box of New Quick Luxe tomorrow. Your grocer has it now in the same familiar box at no extra cost to you. I know you'll like New Quick Luxe. It's so amazingly fast, so thrifty, and so very safe for everything safe in water alone. Now, our producer, Mr. DeMille.

Act two of Intermezzo. Starring Ingrid Bergman as Anita, Herbert Marshall as Holger and Gail Patrick as Margot. With Douglas Scott as Eric and Ann Todd as Anne Marie.

[Announcer (Crowd Health)]

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[Carvana Customer]

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. Unbelievable. 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, give it a whirl. Love ya.

[Carvana Announcer]

So good you'll want to leave a voicemail about it. Sell your car today on Carvana. Pick up. Fees may apply.

[Narrator / Cecil B. DeMille]

The weeks pass and the friendship of Anita and Hauga has ripened into a far deeper emotion. Now the spring has really come at Last. In Thomas Stenborg's home, Anita sits at the piano. All the hopelessness of her love is expressed in the only way she knows. Through music. Stenborg comes quietly into the room and stands behind her, a worried frown on his face.

[Thomas Stenborg]

Aren't you giving it too much importance? You were going at it as if it were the climax of a tremendous symphony.

[Anita Hoffman]

I. I wasn't conscious of it. Mr. Steinberg. I'm thinking of going away.

[Thomas Stenborg]

Are you really for long?

[Anita Hoffman]

I am. I've been invited to visit relatives in Denmark. I can stay as long as I want.

[Thomas Stenborg]

I see. They won't divert you too much. You'll be able to study if I like. Don't talk as if that weren't important. You've applied for that scholarship, you know.

[Anita Hoffman]

Yes, of course. I'll try to study by myself.

[Thomas Stenborg]

Little Anne Marie will have to find someone else to teach her.

[Anita Hoffman]

Yes.

[Thomas Stenborg]

And so you're running away from it all. From him.

[Anita Hoffman]

I thought you must have known.

[Thomas Stenborg]

Yes, well, perhaps it's best that way. Life sometimes moves in strange ways to give us experience. And often this experience is gained only through our greatest mistakes.

[Anita Hoffman]

I thought I was going straight to my goal, thinking of nothing but my work. And now I can't explain it to you.

[Thomas Stenborg]

Don't try. Nothing is altogether dependable. Not the weather, destiny, nor ourselves. Will this be our last lesson?

[Anita Hoffman]

Yes. If you'll excuse me, I think I ought to go and see Mrs. Brandt.

[Thomas Stenborg]

Certainly. Do that, Anita. You're waiting for me to say something very wise and helpful. But I'll say to you only what I say to myself when things seem too difficult. Courage, my friend.

[Holger Brandt]

Courage. Anita. Here I thought you were never coming. You see, you spoiled me by always being on time.

[Anita Hoffman]

There was someone I had to see. Holder.

[Holger Brandt]

That sounds very serious. Someone I had to see. Anything wrong, Anita?

[Anita Hoffman]

Nothing. May I have a glass of wine?

[Holger Brandt]

Something has gone wrong.

[Anita Hoffman]

Tell me, please.

[Holger Brandt]

No. You're frightening me.

[Anita Hoffman]

Oh, but I'm frightened. You must realize how I feel. It can't go on like this. Oh, it simply can't go on.

[Margot Brandt]

Don't you see that?

[Holger Brandt]

Why have you upset yourself now?

[Anita Hoffman]

All along I've been miserable, hating this kind of thing. Always meeting you like this. In out of the way places. Little dark corners. Sneaking about in fear of being seen.

[Holger Brandt]

It's not the way I'd like it to be.

[Anita Hoffman]

How else could we go unseen each other? Oh, I am ashamed. And I hate being ashamed.

[Holger Brandt]

We've had so many hours of happiness. Gay, friendly hours. They've been beautiful. Nothing to be ashamed of.

[Anita Hoffman]

Oh, girl. Look in the mirror. There on the wall. How do we look to you?

[Holger Brandt]

Don't be so dramatic.

[Anita Hoffman]

You don't like it any more than I do. We. Look what we feel. Two guilty people.

[Holger Brandt]

Is it a crime for me to love you, Anita?

[Carvana Customer]

Why?

[Anita Hoffman]

Why did it have to be the way it is? If only we hadn't met.

[Holger Brandt]

Do you really wish we hadn't?

[Anita Hoffman]

Yes. Now I do. I haven't any right to be happy the way I am. Happy when I am with you.

[Anne Marie Brandt]

No.

[Anita Hoffman]

No, I can't. Listen, you will go on justifying us both. I know. And I'm fighting to be sensible.

[Holger Brandt]

Sensible? That's a word seldom used in love. Love isn't sensible.

[Anita Hoffman]

Oh, Holger, there are some things I can't bring myself to say.

[Holger Brandt]

I know, I know. I have a home. I have children. I'm a respected, responsible man. But as I sit here looking at you, I know only one thing.

[Anita Hoffman]

I do too. We must end here. We've got to stop seeing each other.

[Holger Brandt]

Can we?

[Anita Hoffman]

We must. We can't go on lying to ourselves and to people who trust us. It's impossible, unbearable.

[Holger Brandt]

We just say goodbye and stop seeing each other. That's very simple, isn't it?

[Anita Hoffman]

We've got to find the strength for it.

[Holger Brandt]

You're right. Goodbye, Anita.

[Anita Hoffman]

Who knows? Not here. I'm not sitting like this.

[Holger Brandt]

No. Let's get out. Let's walk, Anita.

[Anita Hoffman]

The days are so long now, aren't they?

[Holger Brandt]

Yes.

[Anita Hoffman]

You know that there used to be a shop near here. I always stopped to look in all kinds of funny lost things in the window. Oh, here it is.

[Holger Brandt]

What a strange collection of things. Anita, look. Look at that curious clock.

[Anita Hoffman]

Holger, I'm going. I'm going now. Quickly, as if it didn't matter. Oh, don't kiss me. Don't say anything. Don't turn around.

[Holger Brandt]

No.

[Anita Hoffman]

Goodbye, Holger.

[Holger Brandt]

Goodbye, Anita.

[Margot Brandt]

Would you like something, Holger? A brandy or coffee?

[Holger Brandt]

No, thank you.

[Margot Brandt]

Are things going along well?

[Holger Brandt]

Yes, quite well.

[Margot Brandt]

I had a rather difficult time with Anne Marie today. She's very upset about Ms. Hoffman leaving.

[Holger Brandt]

Leaving?

[Margot Brandt]

Didn't you know she was here today to tell us. She's going to Denmark. She won't be back for a long time.

[Holger Brandt]

I see.

[Margot Brandt]

Have you found an accomplished yet?

[Holger Brandt]

No, no, it's all not definite yet.

[Margot Brandt]

But you're leaving on another tour soon?

[Holger Brandt]

Yes, I shall be leaving soon.

[Margot Brandt]

Will you be away long?

[Holger Brandt]

I don't know. I can't say.

[Margot Brandt]

Holger, I want to go along this

[Holger Brandt]

Time to go along.

[Margot Brandt]

Yes, yes. I can arrange everything here. I want to be with you on the tour as you suggested before. We will go back, have some of those lovely, irresponsible days. Be together in strange places as we used to be. I still want something of life. I don't want to be left behind. Does that sound vain and frivolous coming from me? Holger? Can't we do it? Wouldn't you like it? I see you're answering me. You might just as well be saying it. I know what it is.

[Holger Brandt]

Margaret, I must talk to you.

[Margot Brandt]

No, never mind. Forget what I say.

[Holger Brandt]

Margaret, we must talk now. Listen to me.

[Anita Hoffman]

Hello, dad.

[Sally (Lux Radio Theater)]

Hello, Mother.

[Margot Brandt]

Come in, Eric.

[Anita Hoffman]

Did you ask him for me, Mother?

[Margot Brandt]

No, I forgot. Eric wants to go to see a picture this evening.

[Anita Hoffman]

Holger, I've done all my lessons. Is it all right, dad? It's a good movie.

[Holger Brandt]

Certainly.

[Anita Hoffman]

Could you let me have some money?

[Holger Brandt]

Yes.

[Anita Hoffman]

Thanks.

[Holger Brandt]

Margaret. I'm sorry. More than I can tell you.

[Anita Hoffman]

Mother, something's wrong with dad. Yes. What is it, Mother? You were talking when I came in.

[Margot Brandt]

What's the matter? Eric? Go upstairs, darling. There's nothing we can do. Nothing.

[Holger Brandt]

Anita. Oh, wait. You can't. You mustn't go.

[Margot Brandt]

Oh, how could you do this? I could.

[Holger Brandt]

I can't face it. I can't face being without you.

[Anita Hoffman]

But we promised each other.

[Holger Brandt]

Is it as easy as that? Can you just get on a train and ride away from life?

[Anita Hoffman]

How pleased.

[Holger Brandt]

What you would leave would haunt you. Haunt us both the rest of our days.

[Margot Brandt]

All aboard.

[Anita Hoffman]

Oh, you are not being fair.

[Margot Brandt]

It's no easier for me.

[Holger Brandt]

This very moment, my fate is being decided. A life with you or a life alone?

[Anita Hoffman]

You are not alone, Holger. It's I who. I'm alone.

[Holger Brandt]

We're both alone, Anita. I've broken with my past, with everything. I have no home any longer. Oliver.

[Margot Brandt]

Olga. You couldn't.

[Anita Hoffman]

Oh, what did you say to her? To your wife?

[Holger Brandt]

She couldn't have borne the lies any more than I could. I know her. And anyway, she already knew the truth. She knew me first. Really?

[Anita Hoffman]

Oh, Uncle. How could you hurt her like that? And what will happen now?

[Anne Marie Brandt]

Mom, can you tell me a story?

[Carvana Announcer]

Sure. Once upon a time, a mom needed a new car.

[Anne Marie Brandt]

Was she brave?

[Carvana Announcer]

She was tired mostly. But she went to Carvana.com and found a great car at a great price. No secret treasure map required.

[Anne Marie Brandt]

Did you have to fight a dragon?

[Carvana Announcer]

Nope. She bought it 100% online. From her bed, actually.

[Anne Marie Brandt]

Was it scary?

[Carvana Announcer]

Honey, it was as unscary as car buying could be.

[Anne Marie Brandt]

Did the car have a sunroof?

[Carvana Announcer]

It did, actually.

[Anne Marie Brandt]

Okay, good story.

[Carvana Announcer]

Car buying you'll want to tell stories about. Buy your car today on Carvana. Delivery fees may apply.

[Narrator / Cecil B. DeMille]

Albert hall, london, may 3rd.

[Thomas Stenborg]

Holger brandt, violinist.

[Narrator / Cecil B. DeMille]

Accompanist.

[Holger Brandt]

Anita hoffman.

[Thomas Stenborg]

Kunstedhollen, vienna. Holga brandt, accompanist. Oylein. Anita hoffman.

[Holger Brandt]

Holga brandt.

[Narrator / Cecil B. DeMille]

Mademoiselle. Anita hoffman.

[Holger Brandt]

Well, come now.

[Thomas Stenborg]

What do you think?

[Holger Brandt]

Four encores?

[Margot Brandt]

Oh, I think the audience told.

[Anita Hoffman]

You play better than I have ever heard you play before.

[Holger Brandt]

I wonder why. And you. You surpassed yourself, too.

[Anita Hoffman]

Oh, but that's no mystery. Oh, Holger, I love you.

[Holger Brandt]

That was what they heard tonight when I played.

[Anita Hoffman]

I hope it's true that I've helped you a little. But it's not only that.

[Holger Brandt]

Only what?

[Anita Hoffman]

Oh, what am I? Your shadow? I don't exist without you.

[Holger Brandt]

You're not a shadow, my dearest. Don't talk nonsense.

[Anita Hoffman]

Oh, but it's. And, yes, let me be with you like this. That's all I ask.

[Holger Brandt]

And will that be enough? Always?

[Anita Hoffman]

Yes, always.

[Holger Brandt]

Our last concert. We can rest a while now.

[Anita Hoffman]

Oh, it's been the greatest happiness I've ever known. The greatest I'll ever know, I'm sure.

[Holger Brandt]

How can you be sure of that?

[Anita Hoffman]

Such happiness couldn't come more than once in one's life. I know it couldn't. Could it, Parker?

[Holger Brandt]

Anita, let's not speculate on happiness. Here we are, and work is over for a while.

[Anita Hoffman]

I was forgetting. We must go home now.

[Holger Brandt]

Home? Without a holiday? I thought a few weeks on the Riviera, away from the crowds, the noise. Oh, Anita, the place I know. On a hill overlooking the sea.

[Anita Hoffman]

No, no, no. We. We can't.

[Holger Brandt]

Dearest, listen to me. You asked only to be with me, to be near me. Well, that's all I ask, too. To know that I can see you, that I can call your name and you'll be near. That's all.

[Anne Marie Brandt]

Oh, holy crow.

[Narrator / Cecil B. DeMille]

Mr. DeMille brings you Act 3 of Intermezzo with Ingrid Bergman, Herbert Marshall and Gail Patrick. In just a moment. During this brief intermission, we bring you a little scene that might happen anywhere later this evening.

[Margot Brandt]

Oh, I'm so sleepy. Let's go to bed.

[Anita Hoffman]

Okay.

[Margot Brandt]

Soon as I untangle myself in this chair.

[Anne Marie Brandt]

Oops.

[Margot Brandt]

There goes another run. Gosh, I'm sick of them. Well, I don't wonder you get them, the way you treat your stockings. Well, what do you mean? It isn't my fault. It certainly is. It's Simply scandalous the way you rub your stockings with cakes and. Well, what can a girl do? You can cut down on runs with new quick lucks the way I do. Come along to the bathroom and I'll show you. Now, look, I'll just pour a few of these flakes into the basin and

[Anita Hoffman]

turn on the water.

[Margot Brandt]

My goodness, those suds certainly bubbled up fast. Mm, suds in a second. That's new quick looks for you. Now I'll just swish my stockings through the suds like this.

[Anne Marie Brandt]

See?

[Margot Brandt]

There's no rubbing with new quick luxe.

[Anne Marie Brandt]

Get that?

[Margot Brandt]

No rubbing. Yes, I get it. Gosh, it's certainly easy doing stockings this way. I guess I'll lux mine every night after this. You'd better if you want to cut down on those runs of yours.

[Narrator / Cecil B. DeMille]

Yes, it takes almost no time to do your stockings every night with new quick luxe costs almost nothing too, because such a few flakes give you such rich suds. And this luxe habit saves you many a dollar because it saves you many a run. And that's important. Your stockings stay nice and elastic so they give under strain instead of breaking into runs easily. Now, why don't you do this? Ask your grocer for the big box of new quick lux tomoco. He has it now in the same familiar box at no extra cost to you. Use it for your stockings and other nice things to keep them new looking longer. It's so fast, so thrifty, so wonderfully safe for all your washables. We pause now for station identification. This is the Columbia Broadcasting System.

We continue with Act 3 of Intermezzo. In a tiny town on the shore of the blue Mediterranean, a rustic inn overlooks the sea. In this place of enchantment, Holger and Anita are happier than they've ever been in all their lives. But now a letter comes for Anita from far off Sweden. A letter from Thomas Stenborg.

[Anita Hoffman]

My dear Anita, the Royal Academy of Music has awarded you the Jenny Lind Scholarship for 1939. This is a great achievement. I hope you will not let anything interfere with the fulfillment of the bright future now within your reach. Faithfully, Thomas Stenberg Holger.

[Anne Marie Brandt]

Holger Holger.

[Holger Brandt]

What's all the excitement?

[Anne Marie Brandt]

This look.

[Holger Brandt]

What is it? If it's an invitation, don't think I'll let you out of my sight. Not for a single moment. Oh, well, aren't you going to tell me?

[Anita Hoffman]

No, no, not now. Anyway, it's nothing to get excited about. Oh, I'm starving. Dinner's ready.

[Holger Brandt]

Isn't it, Anita? Is the letter important? Of course, if you'd rather be mysterious.

[Anita Hoffman]

I don't want to make you jealous. Oh, it's from Thomas.

[Holger Brandt]

From Thomas? Oh, and filled with recriminations, I suppose. What did he have to say?

[Anita Hoffman]

He was just writing to me.

[Holger Brandt]

Yes. Not about the weather?

[Anita Hoffman]

No. Oh, Holger. It's only that I was awarded the scholarship.

[Holger Brandt]

Only? Were you going to hide it from me? Why, I don't.

[Anita Hoffman]

I don't want the scholarship now, Holger. I'm not taking it.

[Holger Brandt]

I see. And what does Thomas advise?

[Anita Hoffman]

Oh, please, let's forget it. Oh, it's so pleasant out here. What's that fragrance? Mimosa.

[Holger Brandt]

Anita.

[Anita Hoffman]

Yes?

[Holger Brandt]

Where's the letter? Let me read it.

[Anita Hoffman]

No, no, Holger. Let's pretend it never came.

[Holger Brandt]

Look, Anita, don't.

[Anita Hoffman]

There. It's all gone. That's how I feel about the letter. About any word or thought that will come between us.

[Holger Brandt]

Anita, Where's your brain? Monsieur Brandt? Yes? There's a gentleman here to see you, monsieur. Where? Who? Who is it?

[Thomas Stenborg]

It's I. Holgar.

[Holger Brandt]

Chalmers. Where did you come from?

[Thomas Stenborg]

I took the chance of finding you. I.

[Holger Brandt]

Good to see you, Thomas. You must stay, of course. I'll see you're made comfortable.

[Thomas Stenborg]

It'll be very pleasant for. Overnight, I'm sure.

[Holger Brandt]

Overnight? You can't run off like that. Tomorrow we're planning to have a picnic on the mountain. You must join us, Thomas.

[Thomas Stenborg]

Holgar. Your enjoying it here?

[Holger Brandt]

Yes, it's perfect. Cut off from the world. The kind of life I never thought I'd have. What news of my family, Thomas?

[Thomas Stenborg]

That's what I've come about.

[Holger Brandt]

They're all well?

[Thomas Stenborg]

Oh, quite well. I have a message for you. From Anne Marie? Yes. She'd like you to bring her a camera when you come home.

[Holger Brandt]

Yes, Yes, I. I will, Holga.

[Thomas Stenborg]

I. I have some papers with me.

[Holger Brandt]

Papers?

[Thomas Stenborg]

Divorce papers.

[Holger Brandt]

Oh, yes, yes, yes, of course.

[Thomas Stenborg]

I asked Margaret to let me bring them. I thought I might prevail on you to sign them.

[Holger Brandt]

Certainly. I'll sign them later.

[Thomas Stenborg]

Why not do it now, Holger, and get it over with?

[Holger Brandt]

Thomas, you're my best friend. You don't have to use welded gloves with me. Speak your mind. You think I've acted pretty badly, don't you?

[Thomas Stenborg]

It's easier to criticize. I don't pretend I can account for someone else's feelings. Won't you sign these now?

[Holger Brandt]

Do you think it's as easy as all that, Thomas? To cut off the best part of Your life. Tear out the last roots.

[Thomas Stenborg]

I thought you'd done that long ago.

[Holger Brandt]

Yes, perhaps I did.

[Anita Hoffman]

Hunter, Is it you? I've been Mr. Stone.

[Thomas Stenborg]

Hello, Anita.

[Anita Hoffman]

Oh, but this is wonderful. When did you get here? Have you seen Holger?

[Thomas Stenborg]

Yes. How well you look. How are you, my dear? Happy.

[Anita Hoffman]

Oh, but of course. I'm divinely happy.

[Thomas Stenborg]

This country is very beautiful.

[Sally (Lux Radio Theater)]

Yes.

[Anita Hoffman]

You must come with us tomorrow and see the sunrise, Holger and I. And perhaps we'll bring Marianne.

[Thomas Stenborg]

Marianne?

[Anita Hoffman]

Yes, she's a little girl here. Innkeeper's daughter. Holger's grown very fond of her. You see him? He misses Anne Marie.

[Thomas Stenborg]

Did you think he wouldn't?

[Anita Hoffman]

I've tried not to think of it at all. I've tried to pretend there was no

[Thomas Stenborg]

past and no future. It seems a very long time since I heard Holger play. Oh, by the way, let me congratulate you on your scholarship. You must be very happy about it.

[Anita Hoffman]

I don't want. Means nothing to me now.

[Thomas Stenborg]

But it meant everything to you once. Anita, my dear, you have great talent. It saddens me to think it will be wasted.

[Anita Hoffman]

If I only can be with Holger, nothing else matters.

[Thomas Stenborg]

And Holger? Does he feel the same way?

[Anita Hoffman]

Do you think he's unhappy with me? Do you think he can't forget the past?

[Thomas Stenborg]

A man's past is never past. His roots are twined deep in the things that have made him what he is.

[Anita Hoffman]

What he loves me. I know we can be happy.

[Thomas Stenborg]

Do you? I wonder if anyone has ever built happiness on the unhappiness of others.

[Anita Hoffman]

Oh.

[Margot Brandt]

Oh.

[Anita Hoffman]

Everything is wrong.

[Margot Brandt]

My whole life.

[Anita Hoffman]

Everything. What shall I do?

[Thomas Stenborg]

That's not for me to say. You must make your own decision. Whatever it may be. I know it will be the. The right.

[Carvana Customer]

Anita.

[Holger Brandt]

Soros. Hurry down here.

[Margot Brandt]

You've forgotten.

[Holger Brandt]

A picnic, Anita.

[Anita Hoffman]

In a moment, Holger. Mr. Steenborg. You are going on the picnic?

[Thomas Stenborg]

Yes. I thought perhaps I'd better stay another day.

[Anita Hoffman]

You must help me.

[Thomas Stenborg]

Of course, if I can.

[Anita Hoffman]

There's a train leaving here in an hour.

[Thomas Stenborg]

My dear.

[Anita Hoffman]

When you and Hulger come back, I shall be gone.

[Thomas Stenborg]

You're sure? It's best that way. You're not doing it only because of what I said.

[Anita Hoffman]

We both know where Holger belongs. I'm well. Say. I've been Anita Mezzo in his life. Anita, you gave me a good word once. Courage. I'm trying to remember it. I'm trying.

[Holger Brandt]

Anita.

[Thomas Stenborg]

Come along.

[Holger Brandt]

Aren't you ready yet, Holger?

[Anita Hoffman]

I'm not coming.

[Holger Brandt]

Not coming? Why not?

[Anita Hoffman]

I didn't sleep. I think I have a cold coming on.

[Thomas Stenborg]

I'll wait for you outside, dear.

[Holger Brandt]

Shall we postpone it?

[Anita Hoffman]

Oh, no, no. Don't do that. You go without me, please.

[Holger Brandt]

Sure you're all right?

[Anita Hoffman]

Oh, quite sure. Oh, really? Go along.

[Holger Brandt]

Well, I'll miss you. Au revoir, dear.

[Anita Hoffman]

Goodbye, Holger.

[Holger Brandt]

You don't like my French?

[Anne Marie Brandt]

Holger, wait.

[Holger Brandt]

What is it, Donnie?

[Anne Marie Brandt]

Oh,

[Anita Hoffman]

Your hat. Oh, you. You never wear that one properly.

[Holger Brandt]

Fix it now. Am I perfect?

[Anita Hoffman]

Yes, yes. Goodbye, Olga. Goodbye, darling.

[Holger Brandt]

You satisfied now, Paul?

[Thomas Stenborg]

Gone.

[Holger Brandt]

You knew it, didn't you? Why didn't you tell me?

[Thomas Stenborg]

It was she who decided. She alone Gone. You're not going after her, are you?

[Holger Brandt]

No. Perhaps she was right when she said she was only an intermezzo in my life. It's over.

[Thomas Stenborg]

Then. You'll come home with me?

Home?

[Holger Brandt]

Do you think I could crawl back to Margaret now just because I'm alone with nothing, Nobody? I haven't a home, a wife, children. I haven't any right to them after all the unhappiness I've caused them. That shall be my punishment, Thomas. My penance. You have been away so long. My friend Anne Marie keeps asking for you. I have said to her, when spring comes, he will surely return. Holger, come home. Your friend, Thomas. How are you, Thomas?

[Thomas Stenborg]

I knew you'd come. I knew it. Come along. I'll get a cab. You must stay with me.

[Narrator / Cecil B. DeMille]

Of course I'll.

[Holger Brandt]

Thomas, wait. Please. Don't be offended. You see, I haven't come home to stay. I just wanted to see Anne Marie. I brought the camera she wanted, but. Please, Thomas, let me go alone. If you wish it, Olga. Thank you.

[Thomas Stenborg]

Goodbye.

[Holger Brandt]

Thomas. Yes? Yes. There's a school on the Buxom Road. Take me there, please. Right over there, driver. Just wait.

[Thomas Stenborg]

Yes, sir.

[Holger Brandt]

Anne Marie. Anne Marie. Anne Marie.

[Thomas Stenborg]

Wait there.

[Holger Brandt]

I'll be right over. Don't cross the street, darling. Anne Marie, be careful. Look out for that car.

[Anne Marie Brandt]

Look out.

[Holger Brandt]

Anne Marie.

[Anne Marie Brandt]

Me?

[Thomas Stenborg]

Please.

[Anne Marie Brandt]

I told the children never cross the street. I told them.

[Thomas Stenborg]

Certainly not.

[Anita Hoffman]

Stand back.

[Holger Brandt]

Send a doctor to my house. I'm her father. Hoga Brand.

[Narrator / Cecil B. DeMille]

Hurry.

[Holger Brandt]

Margaret. Margaret. Tell me, how is she? What does the doctor say?

[Margot Brandt]

He doesn't know. She's very badly hurt.

[Holger Brandt]

She. She tried to run to me. I called, but. Margaret. I had no right to come here. But May I stay here for a while? Just till. Just till we know?

[Margot Brandt]

Yes.

[Anita Hoffman]

There are.

[Margot Brandt]

There are so many things I must do.

[Holger Brandt]

Anne Marie.

[Thomas Stenborg]

Emily.

[Holger Brandt]

Oh, God. Please.

[Carvana Customer]

Please.

[Holger Brandt]

Eric, look at me. Talk to me. I've been away so long.

[Narrator / Cecil B. DeMille]

You let mother and us. And I want you to know that I'll never forgive you.

[Holger Brandt]

Even if everybody else does. Eric.

[Narrator / Cecil B. DeMille]

You don't know what it's been like here all this time. You haven't seen Mother crying every night and hiding it well. Now we've learned to do without you. Why did you come back at all? We don't need you anymore.

[Holger Brandt]

Eric, listen to me, please. You know, when we are young, we expect the people we love to behave like gods. And most of all, our fathers. I suppose. Then as we grow older, we learn that none of us are gods. That we're all human. Tragically human. And that we all of us make mistakes right up to the very end of our lives. You learn that one day. And when you do, you also know what it is to forgive. Perhaps even your father. You see, Eric. It's I who need you now.

[Margot Brandt]

Who.

[Thomas Stenborg]

Dad.

[Holger Brandt]

Dad. Well, son. There, my boy.

[Narrator / Cecil B. DeMille]

Mr.

[Thomas Stenborg]

Brand.

[Holger Brandt]

Doctor, is she.

[Thomas Stenborg]

No.

[Holger Brandt]

Doctor. Tell me your little girl will recover. Say it again, please. She'll be well again after a long rest.

[Thomas Stenborg]

Thank you.

[Holger Brandt]

Thank you. You'd better rest too. The nurses will do everything. I'll be back with you. You'll live, Eric. You have your sister again. Goodbye, Eric. Goodbye, my son.

[Margot Brandt]

Holgar. I'll go. Wait.

[Narrator / Cecil B. DeMille]

Yes?

[Margot Brandt]

Don't go. Please.

[Holger Brandt]

Margot.

[Margot Brandt]

Anne Marie is asking for you. She wants you to stay. And so do I.

[Narrator / Cecil B. DeMille]

You?

[Holger Brandt]

After all the pain I've caused you?

[Margot Brandt]

Life renews itself, Holger. Things die and are born again in the spring. Our love is can live again if we want it to.

[Holger Brandt]

Will you let me try? Will you?

[Margot Brandt]

Welcome home, Hulk.

[Holger Brandt]

Welcome home, my darling Marget. Home. Home.

[Narrator / Cecil B. DeMille]

The curtain falls on Intermezzo, starring Herbert Marshall, Ingrid Bergman and Gail Patrick. While our stars are preparing to take their well deserved curtain calls. I'd like to ask every woman in our audience to look at her hands while you do this. Just suppose that your left hand look rough and red. While your right hand remains smooth and white.

[Sally (Lux Radio Theater)]

That would be simply awful, Mr. Ruig. No woman would like that.

[Narrator / Cecil B. DeMille]

You're quite right, Sally. And yet hundreds of women went around for weeks with just such a strange contrast between their two hands. Behind this remarkable fact, there's a story. The scene of the story lies in a well known scientific laboratory. Where these hundreds of women came every day for weeks in order to make what it's safe to call the most convincing test ever made of dishwashing soaps.

Here's what happened in the laboratory.

Each woman placed one hand in a dishpan full of luxe suds and her other hand in a pan full of suds from another soap. They all did this for 20 minutes, three times a day. Now, that's certainly an absolutely fair test, isn't it? One hand in each suds, exactly the same amount of time. Altogether, five leading soaps, including Lux, were tested. And now for the results. Experts examined the hands at the end of the test and said that there was no doubt about which soap was mildest. The verdict went to Lux. In case after case. The luxe hand looked smooth, soft, lovely, while the other hand looked rough, red, unattractive.

[Sally (Lux Radio Theater)]

Well, I'd expect the luxe hand to look smooth and soft, Mr. Ruig, because I've washed dishes with New Quick Luxe and I know how marvelous it is to your hands.

[Narrator / Cecil B. DeMille]

Yes, and every woman can prove this for herself if she'll just buy a box of New Quick Luxe and use it for her dishwashing. No woman wants rough red hands. The kind that embarrass her with her friends, make her seem unromantic to a man. Well, you needn't have hands like this. Use New Quick Lux for dishes. Buy the thrifty big box tomorrow. Your grocer has New Quick Lux now in the same familiar package at no extra cost to you. You'll like it. It's so fast, so thrifty and so very kind to hands. Now here's Mr. DeMille with our stars.

Tonight, as our stars return for a curtain call, we welcome two old friends, Herbert Marshall and Gail Patrick. And one new friend, Ingrid Bergman.

[Anita Hoffman]

I'm really an old friend of the Lux radio theatre too, Mr. DeMille. When I was here to make intermezzo, I was a very faithful member of your audience.

[Narrator / Cecil B. DeMille]

On Monday nights, we'll expect to see you on this side of the footlights frequently. Now that you're back in Hollywood, I

[Holger Brandt]

wish we had a key to the city to give you, Ms. Bergman. But we're all out of them at the moment. How do you like our town?

[Anita Hoffman]

Everyone has been so nice to me. Especially you and Ms. Patrick and Mr. DeMille in the Lux Radio Theater this week. I feel at home already.

[Margot Brandt]

You seemed right at home with a microphone, too.

[Anita Hoffman]

Well, I was at radio in Sweden a few times, but it was different there.

[Narrator / Cecil B. DeMille]

Doesn't the microphone look the same in any language?

[Anita Hoffman]

No, I. I mean, you rehearse your plays longer. It's more like making a picture.

[Holger Brandt]

CB's a hard taskmaster, but he's One of the few men I know who make people enjoy work.

[Margot Brandt]

I've always suspected he enjoyed it himself. Before the program, he was telling me about next week's play with a very

[Sally (Lux Radio Theater)]

happy gleam in his eye.

[Narrator / Cecil B. DeMille]

What is the play, CB Next Monday night, Bart, we have a four star bill. The play is the Young in Heart. And our stars will be Don Amici, Ida Lupino, Mae Robeson and Helen Wood. The Young in Heart is the story of a grand old lady who saved a whole family from failure and unhappiness. Of course, Mae Robeson is the grand old lady. And the romantic side of our play is in the hands of Don Ameche, Ida Lupino and Helen Wood, who next Monday night, bring us the Young in Heart.

[Holger Brandt]

Well, everyone will want to reserve some.

[Margot Brandt]

I'll put my order in right now, Mr. DeMille. And by the way, don't you think we should introduce Ms. Bergman to our good old American game of baseball?

[Narrator / Cecil B. DeMille]

I think it's our duty, Gail.

[Margot Brandt]

We think our Hollywood team's going to be wonderful this year, Ms. Bergman. In a week or two, spring practice will be starting.

[Anita Hoffman]

I'd like to see it.

[Holger Brandt]

These two are stockholders in the team, Ms. Bergman. And I warn you, their enthusiasm is contagious. CB Are you still burning the midnight oil over that new picture of yours? Northwest Mounted Police.

[Narrator / Cecil B. DeMille]

I cast a very important part just today, Bart. We've looked everywhere for the right personality to play the part of Lupet, the little half breed girl. And I decided today on Paulette Goddard. I think Gary Cooper, Madeleine Carroll and Paulette Goddard give Northwest Mounted Police a pretty good start.

[Holger Brandt]

Yes, indeed. We'll be looking forward to it, CB Good night.

[Sally (Lux Radio Theater)]

Good night. Night.

[Narrator / Cecil B. DeMille]

Good night. Your Inter Metro deserves an. 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 Don Amici, Ida Lupino, May Robeson and Helen Wood in the Young and Heart. This is Cecil B. DeMille saying good night to you from Hollywood.

Heard in tonight's play were Vernon Steele as Thomas Stenberg, Douglas Scott as Eric Brant, Ann Todd as Anne Marie, Lou Merrill as Charles Merlor, Kenneth Lawton as Dr. Clara Blandick as Emma and Charles Strait, Barry Steele and Ralph Sedan. Ingrid Bergman is appearing through the courtesy of David O. Selznick and is currently being seen in Intermezzo. Herbert Marshall has just finished the RKO picture Bill of Divorce. Bill, Gail Patrick is now working in the RKO picture My Favorite Wife. The screenplay of Intermezzo was written by George O' Neill from an original story by Gustav Stevens and Gustav Mullender. Our music was directed by Louis Silvers. And your announcer has been Melville Ruick.

This is the Columbia Broadcasting.