Lux Radio Theatre - Maytime

Summary

Podcast Summary: Harold's Old Time Radio

Episode: Lux Radio Theatre - Maytime

Aired: July 4, 2026
Original Airdate of Play: 1940s
Featuring: Jeanette MacDonald (Marcia Monet / Miss Morrison), Nelson Eddy (Paul Allison), Edgar Barrier (Nikolai Nazarov), hosted by Cecil B. DeMille

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Overview

This episode of Harold's Old Time Radio resurrects the grandeur and emotional drama of the Lux Radio Theatre’s production of Maytime. Hosted by Cecil B. DeMille, the broadcast features the beloved pairing of Jeanette MacDonald and Nelson Eddy in a sweeping romantic story that intertwines themes of love lost, sacrifice, art, and remembrance. Set against backdrops of Paris and Virginia, and moving between past and present, Maytime is a poignant meditation on “the one that got away,” on chasing dreams, and on how memory and music can keep love alive even across decades. The episode also showcases classic Hollywood radio-era conventions, such as live musical performances, soap endorsements, and audience interaction.

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Key Discussion Points and Plot Breakdowns

1. Opening and Framing (00:31 – 01:01)

• Cecil B. DeMille introduces the evening and reflects on the liberation of France as a symbolic moment, connecting the bonds between America and Paris through music.
• The audience is encouraged to participate by sending in play and star suggestions for Lux’s anniversary.

Quote:
“At every opening night in the theater... there’s a breathless feeling of expectancy, a sense of new adventure.” — Cecil B. DeMille (01:01)

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2. Present Day in Virginia — The Elderly Miss Morrison (03:46 – 06:25)

• In the small Virginia town of Shelby, Miss Morrison (once Marcia Monet) looks fondly on the young, particularly a soldier named Kip and a girl named Barbara, whose budding romance and conflict echo her own history.
• Kip is distraught over Barbara’s ambitions to be a singer, fearing their romance is doomed.
• Miss Morrison reveals her own past as the famous Marcia Monet, setting up a flashback.

Quote:
"Sometimes May Day seems almost the same as any other day now. It’s been so long, so many years. Paul.” — Miss Morrison (Marcia) (04:36)

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3. Flashback: Paris and the Birth of a Star (06:27 – 11:13)

• Marcia (young Miss Morrison) narrates her rise to stardom in Paris: singing before the President, fulfilling childhood dreams, and her relationship with her teacher/mentor Nikolai Nazarov.
• Nikolai proposes, and Marcia agrees to marry out of gratitude but is emotionally restless.

Quote:
“All I know is that whatever I am, I owe to you. If there’s any way I can repay you..." — Marcia to Nikolai (10:53)

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4. Fateful Meeting: Marcia and Paul (11:26 – 18:13)

• By chance, Marcia’s carriage horse breaks down, leading her into a lively café, where she is drawn into Paul Allison’s circle of friends.
• Paul, a charismatic American baritone, is instantly smitten and relentlessly charming, winning a luncheon date through persistence and the lure of “Virginia ham.”

Quote:
“Not only an American voice, but an American girl. And not only an American girl, but a beautiful, glorious, radiant, indescribable vision of perfected loveliness.” — Paul (15:23)

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5. Their Brief Romance (23:13 – 29:16)

• Marcia keeps her distance but is drawn to Paul. They sing together, sharing music and humble meals. She resists further meetings, haunted by her existing commitment to Nikolai.

Quote:
“I can’t explain. It’s been wonderful meeting you, but it’s all over. Finished. And now I—” — Marcia, denying Paul (28:51)

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6. The Consequence of Choices: Maytime Festival and Separation (33:28 – 38:35)

• Despite their strong feelings, Marcia intends to honor her engagement to Nikolai.
• They steal one idyllic day at the Saint Cloud May Day Fair—a day that becomes a lifetime memory.

Song Highlight:
“Sweetheart, sweetheart, sweetheart, will you love me, will you remember the day when we were happy and may, my dearest one…” — Paul & Marcia (35:19)

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7. Years Pass: Careers and Longing (42:49 – 45:18)

• Marcia marries Nikolai and builds a stellar career; her marriage is loving but emotionally unfulfilling.
• Returning to America, Marcia is cast opposite Paul in the opera “Tsaritsa,” reigniting old passions.

Quote:
“All I regret is it’s made me love you too much.” — Nikolai (43:54)

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8. Reunion and Tragedy (46:12 – 54:18)

• Marcia and Paul work together again, professional interactions laden with unspoken feelings.
• Their love is rekindled during the opera, leading Marcia to ask for release from her marriage.
• Nikolai initially agrees, but his heartbreak leads to a tragic confrontation, resulting in Paul’s death.

Quote:
“One day to last us all the rest of our lives." — Paul (38:32)
“I told you I’d always be close to you. Come, darling, come.” — Paul’s spirit (55:42)

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9. Return to Present — Lessons for the Young (54:23 – 55:42)

• Back in the present, Miss Morrison urges Barbara not to repeat her mistake of postponing love for ambition.
• Barbara, changed by the story, is encouraged to find and reconcile with Kip.

Quote:
“I found Paul too late. But you and Kip have the whole world ahead of you...” — Miss Morrison (54:23)

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Notable Quotes and Memorable Moments

• Cecil B. DeMille’s opener:
  “With the liberation of France, the torch of freedom burns again in Europe…” (01:01)

• Paul’s bold courtship:
  “You’re just the most beautiful, gorgeous, sparkling…” (15:41)

• Marcia’s revelation:
  "Because I was Marcia Monet. Marcia Monet? You Ms. Morrison?" (06:05 – 06:25)

• Ultimate heartbreak:
  “After Paul died, I came here where no one knows me, except Ellen. And now you, Barbara.” (54:23)

• Bittersweet ending:
  “It’s May Day, dearest. Remember? …And it always will be May Day, darling. From now on, always.” — Paul and Marcia’s posthumous reunion (55:47)

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Important Timestamps

| Segment | Time | |--------------------------|---------------| | DeMille’s Opening | 01:01 | | Kip & Miss Morrison | 03:46 | | Marcia’s Paris Past Begins | 06:27 | | First Meeting with Paul | 11:26 | | Paul’s Luncheon Pursuit | 15:03 | | Singing Together | 24:21 | | May Day Festival | 33:28 | | The Farewell | 38:32 | | Married Life/Nikolai’s Anguish | 43:15 | | Opera Reunion | 46:12 | | Final Duet & Confrontation | 50:27–54:18 | | Barbara’s Lesson | 54:23 | | Afterlife Reunion Scene | 55:42 |

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Tone and Style

The episode combines lush romanticism with a touch of nostalgia, reflecting both the drama of the stage and the intimate regrets of later life. The dialogue is heartfelt, poetic, and often tinged with the grand emotional registers of Golden Age Hollywood performances. Musical interludes reinforce the emotional core, particularly the recurring song about Maytime love.

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Additional Highlights

• The broadcast doubles as a period piece, complete with Lux Toilet Soap endorsements and star interviews.
• Cecil B. DeMille’s interactions with Jeanette MacDonald and Nelson Eddy after the play reveal industry camaraderie and offer behind-the-scenes glimpses:
  “Well, you ought to hear me in the bathtub with a cake of luxe toilet soap.” — DeMille (59:04)
• MacDonald hints at her upcoming live performances and new operetta.
• The play closes with a reminder about World War II-era fat recycling for explosives—a small window into the era.

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Conclusion

This Lux Radio Theatre adaptation of Maytime weaves timeless themes of first love, regret, and the joy and pain of remembrance, brought to life by iconic screen voices and a poignant script. The episode is a loving tribute to both the artistry of radio drama and the enduring power of a heart’s “May Day”—a metaphor for fleeting happiness that echoes through the years. For listeners old and new, it captures a sense of nostalgic yearning—making the story, the music, and the emotional lessons of its characters resonate long after the curtain falls.

Transcript

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[Narrator/Announcer]

Lux presents Hollywood. Deluxe radio theater brings you jeanette macdonald and nelson eddy in may time with edgar barrier. Ladies and gentlemen, your producer, Mr. Cecil b. Demille.

[Cecil B. DeMille]

Greetings from Hollywood, ladies and gentlemen. At every opening night in the theater for a thousand years, there's been a breathless feeling of expectancy, a sense of new adventure. And tonight, as the lights go on again in our Lux radio theater, there's the added thrill of knowing that the lights are going on again all over the world. With the liberation of France, the torch of freedom burns again in Europe. And tonight we have a play that expresses something of the bond between song loving America and music loving Paris. Metro Goldwyn Mayer's screen hit May Time with Sigmund Romberg's unforgettable music. And for our stars, those all American favorites, Jeanette MacDonald and Nelson Eddy. They made their first appearance for us in a radio play together just last June. Your many letters which have asked us to bring them together again are answered in tonight's premiere with May Time. We hope you'll continue to have a real part in all of our Monday night performances, not just by purchasing luxe toilet soap, because I think you do that anyway in recognition of a truly fine product, but by helping us select the plays and stars you want most to hear. For our 10th anniversary on October 16, we'll particularly welcome your suggestions. Just send me a postcard telling me the name of the play or stars you'd like to hear. Mail it to me at Post Office Box 9, Hollywood 8, California. And now, the thrill of another opening night as the curtain goes up on the first act of May time. Starring Jeanette MacDonald as both the old and the young Marcia. And Nelson Eddy as Paul. With Edgar Barrier as Nezarov. You probably never heard of the little town of Shelby. It's in Virginia, on the broad shelves of the Shenandoah Mountains. Old Miss Morrison lived there and a fine white house just across from the park. Shelby never saw much of old Ms. Morrison, and most of the year they'd forget about her. But never in the spring, for on the first Day of May. Every year she'd see that there was a wonderful fair in the park. A May Day fair. This year she couldn't go because she'd been pretty sick. She just sat in her chair on the lawn under the big elm and watched the folks enjoy themselves. She was there when one of the boys passed by. He was home on leave. A private in the army. His name was Kip.

[Kip]

Hello, Miss Morrison. Say, why aren't you there at the fair?

[Marcia Monet / Miss Morrison]

The doctor won't let me, Kip. But why aren't you there with Barbara?

[Kip]

I guess Barbara and I are just about ready to bust up Miss Morrison. I thought I'd stop in next door and say goodbye to her, though.

[Marcia Monet / Miss Morrison]

Oh, what's wrong, Kip?

[Kip]

Oh, that's singing business. When she went to New York, they all told her she could be an opera star in six or seven years.

[Marcia Monet / Miss Morrison]

She has a wonderful voice, Kip. But you don't want her to go?

[Kip]

No, I don't. Not if it means what I know it's bound to mean. I had some terrific plans for Barbara and me, like. Like getting married and everything. And if she goes to New York, I'll never see her again.

[Marcia Monet / Miss Morrison]

Don't worry too much about it, Kip. It'll all work out.

[Kip]

Are you kidding, Miss Morrison?

[Marcia Monet / Miss Morrison]

You'll see. You'll see.

[Kip]

Well, sorry to be such a sour puss. Goodbye.

[Marcia Monet / Miss Morrison]

Goodbye, Kip. Miss Marcia. Oh, yes, Ellen. You feel all right, Miss Marcia? Oh, yes. This is the first May Day I've missed. Ellen. I'm glad the doctor's keeping you home, especially today. Because it's May Day. Yes, well, sometimes May Day seems almost the same as any other day now. It's been so long, so many years. Did I leave you alone, Miss Marsha? You call if you need anything. Yes, yes, yes. It's been so long. So many years. Paul.

[Supporting Female]

Paul, will you remember the day when we were happy and made.

[Marcia Monet / Miss Morrison]

My dear Harlow, we don't have to slam the door. There are a lot of things I

[Kip]

don't have to do.

[Supporting Female]

Go ahead.

[Marcia Monet / Miss Morrison]

Go to New York via Big Shot. See how far it gets you. And what about you? I've been telling you. What about me?

[Kip]

I'm through.

[Marcia Monet / Miss Morrison]

And I'm through too. Okay, that's fine. Goodbye, chip. Barbara. Oh, Ms. Morrison. I didn't want her here, child, but I couldn't help it. But I was right, wasn't I? He won't even try to understand. Perhaps it's because he's in love with you, Barbara. Oh, if he loved me, then he'd want me to have that chance. The chance to be a great singer.

[Barbara]

Like.

[Marcia Monet / Miss Morrison]

Like Jenny Lind was. Or Tetrazini. Or Marcia Monet. Marcia Monet? No, no, not like her. Why do you say that? Because. Because I was Marcia Monet. Marcia Monet? You Ms. Morrison?

[Barbara]

Yes.

[Marcia Monet / Miss Morrison]

It was many, many years ago in Paris. I had three dreams, Barbara. To star in the Paris Opera, to have an opera written especially for me by Bagliano, and to sing at a command performance in the President's palace. And all my dreams came true. What thrilled me most, I think, was that wonderful night I sang before President Campnell.

[Paul Allison]

Messieurs.

[Patino]

Madame. Messieurs.

[Supporting Female]

Madame.

[Patino]

The leading soprano of the Opera di Paris, Mademoiselle Marcia Monet.

[Marcia Monet / Miss Morrison]

Sam. Sa. Sam. Oh, tell me, Nikolai, tell me.

[Nikolai Nazarov]

When you curtsy to the president, much too stiff.

[Marcia Monet / Miss Morrison]

Oh, I know.

[Nikolai Nazarov]

But at the aria you sang very well. Marcia. Marcia. Come with me out here to the garden.

[Marcia Monet / Miss Morrison]

But an encore later, perhaps.

[Nikolai Nazarov]

If the president wishes. And if we wish. This way, my dear. You are happy, Marcia?

[Marcia Monet / Miss Morrison]

Happy? Oh, how can you speak so calmly when you know I'm. I'm bursting.

[Nikolai Nazarov]

Sit down, my dear. Do you know what tonight means? My share of the work is over. As your teacher, there's nothing more I can do. Nikola, you've worked very hard. You deserve everything.

[Marcia Monet / Miss Morrison]

All I know is that whatever I am, I owe to you. If there's any way I can repay you.

[Nikolai Nazarov]

There is. Poor Marcia. I'm asking a very high price. I want to marry you, Nicolas. I love you, Marcia, so much that the thought of losing you is the thought of death. Marcia, tell me. Tell me.

[Marcia Monet / Miss Morrison]

I should be very happy to marry you. Nikolai.

[Nikolai Nazarov]

Oh, darling. Darling.

[Marcia Monet / Miss Morrison]

Nikolai took me home, but I couldn't sleep. My head whirled, and I longed for the calm of a soft spring night. I called a carriage. The air was like champagne. And like champagne, it put me to sleep. But a few moments later, I had a sudden awakening. Cabby's horse had broken the harness and run away. Oh, please do not be angry, mademoiselle. I find Eloise will bring her right back. And what would you suggest I do?

[Supporting Female]

If you'd please wait, mademoiselle, There is

[Marcia Monet / Miss Morrison]

a cafe there across the street. Oh, very well, but please hurry. Oh, I am an antelope, mademoiselle. I am an antelope. I slipped quietly into the cafe. No one noticed me at first. It was someone's party. And the wine was gaily mixed with music and singing. On your feet. Come, we sing it again.

[Supporting Female]

Singing.

[Paul Allison]

Sing like that again, or we'll wake up in jail.

[Opera Critic]

Oh.

[Marcia Monet / Miss Morrison]

And has the great baritone any suggestions?

[Paul Allison]

Certainly. I'll sing alone. No assistance, please.

[Supporting Female]

Oh, no.

[Patino]

Not again.

[Supporting Female]

Help. Help.

[Paul Allison]

Ingrates. Who paid for this supper?

[Spinquest Announcer]

Oh, you did.

[Paul Allison]

I did. And that gives me certain privileges. I can kiss any girl, insult any man or sing any song. And looking this rabble over, the only cause worth my attention is music. So I'll sing again.

[Marcia Monet / Miss Morrison]

Capitalist pirate Jack.

[Paul Allison]

Music.

[Patino]

Paul. What? What number?

[Paul Allison]

Oh, something sad. Something full of tears. Let me see if they, uh. Oh, we have company. Look. They're by the door. Well, mademoiselle, greetings. You're a little late, aren't you?

[Marcia Monet / Miss Morrison]

I'm sorry. I'll see.

[Paul Allison]

Oh, no, no, no, no, no. We'll talk about you in a minute. First, let's welcome you with music.

[Patino]

Paul, what number?

[Paul Allison]

The ballad, stupid. The ballad. No, no ballad. Le regiment de sombre meuse. Sombre meuse. On your feet, Frenchman. Here's your country song.

[Supporting Female]

On your feet, Rajokuri sa.

[Paul Allison]

And now, mademoiselle, we shall talk.

[Marcia Monet / Miss Morrison]

Thank you. That's a wonderful song. But why did you choose it instead of a ballad?

[Paul Allison]

Well, to be perfectly honest, sir, you'd have to stand up. Oh, and I could get a much better look at you.

[Marcia Monet / Miss Morrison]

Are all Frenchmen so frank?

[Paul Allison]

I don't know. I'm an American.

[Marcia Monet / Miss Morrison]

Oh, that explains it. So am I.

[Paul Allison]

Say that again. You're what?

[Marcia Monet / Miss Morrison]

American.

[Paul Allison]

Oh, don't you realize? Don't you realize what this means? I've been starved. Starved for the sound of one good, healthy American voice. And then suddenly you come into my life. Not only an American voice, but an American girl. And not only an American girl, but a beautiful, glorious, radiant, indescribable vision of perfected loveliness.

[Patino]

Shake.

[Paul Allison]

Did anyone ever tell you that before?

[Marcia Monet / Miss Morrison]

Not all at once, no.

[Paul Allison]

Well, I'll get my breath back and tell you again. You're the most beautiful, gorgeous, sparkling mother.

[Marcia Monet / Miss Morrison]

I have a good memory.

[Paul Allison]

Who are you? Will you be in Paris long? Can I see you tomorrow?

[Marcia Monet / Miss Morrison]

No, no, I'm afraid not.

[Paul Allison]

Why not?

[Marcia Monet / Miss Morrison]

I'll be working.

[Paul Allison]

Oh. And then tomorrow night?

[Marcia Monet / Miss Morrison]

Well, tomorrow night I'm going to the opera.

[Paul Allison]

I see. Well, the least you can do is have some supper with me now.

[Marcia Monet / Miss Morrison]

No, I can't do that either. I've already had something.

[Kip]

But I.

[Paul Allison]

As lavish as this? Sausage, omelette, cheese.

[Marcia Monet / Miss Morrison]

Oh, yes. President Carnot is something of a gourmet.

[Paul Allison]

President Carnot. Mademoiselle. I've seen you before, haven't I? Yeah. The posters. The posters in front of the opera house.

[Marcia Monet / Miss Morrison]

You're observant.

[Paul Allison]

I'm observant. And you're. You're Marcia Mornay.

[Marcia Monet / Miss Morrison]

Yes.

[Paul Allison]

You think I'm drunk?

[Marcia Monet / Miss Morrison]

Of course not.

[Paul Allison]

Well, I have had a sip of wine. Other couple of bottles. And you have very light wine. It hasn't affected me really, but I. I'm glad I had two bottles. Because if I hadn't, I wouldn't dare talk to you the way I'm talking now.

[Marcia Monet / Miss Morrison]

How are you talking now?

[Paul Allison]

Like a man in love. Like a slave. A worshiper. Oh, but you must be accustomed to that.

[Marcia Monet / Miss Morrison]

So?

[Paul Allison]

So. Won't you have supper with me tomorrow night after the opera?

[Marcia Monet / Miss Morrison]

I can't.

[Paul Allison]

Well, then lunch. You could have lunch with me. You can't shake your head at that too.

[Marcia Monet / Miss Morrison]

But I can and I do.

[Paul Allison]

Oh, you're just don't like me.

[Marcia Monet / Miss Morrison]

But I like you very much. And your voice too.

[Paul Allison]

You do?

[Supporting Female]

Mademoiselle.

[Marcia Monet / Miss Morrison]

I have caught her.

[Patino]

Eloise.

[Marcia Monet / Miss Morrison]

Her little fling is over. Oh, thank you. Good night.

[Paul Allison]

Good night. Who?

[Marcia Monet / Miss Morrison]

I don't know.

[Paul Allison]

My name is Allison. Paul Allison. You have to leave?

[Marcia Monet / Miss Morrison]

Of course.

[Paul Allison]

Then I'll go with you. You were saying you liked my voice.

[Marcia Monet / Miss Morrison]

Yes, I also said I liked you. But I'd like you lots better if you stayed in the cafe and let me go home.

[Paul Allison]

Then tell me when. I can't see you.

[Marcia Monet / Miss Morrison]

Never. I can't see you again.

[Paul Allison]

We're gonna have lunch tomorrow. I live right upstairs. There.

[Narrator/Announcer]

See?

[Paul Allison]

Fourth floor.

[Marcia Monet / Miss Morrison]

Driver, Rouvre La Tour, number 17.

[Supporting Female]

Louise, dear, you heard the lady.

[Paul Allison]

And I have a ham all the way from home. A Virginia ham.

[Marcia Monet / Miss Morrison]

Goodbye, Mr. Allison.

[Paul Allison]

What about my ham and my broken heart?

[Marcia Monet / Miss Morrison]

You'll have a broken leg if you don't let go of the carriage.

[Paul Allison]

Oh, I'll be careful. And I have tremendous endurance, Ms. Monet.

[Marcia Monet / Miss Morrison]

That I can see. Oh, please let go.

[Paul Allison]

Not until you promise to come to lunch.

[Marcia Monet / Miss Morrison]

Driver, hurry. Hurry.

[Paul Allison]

Ham, Ms. Monet. Virginia ham.

[Marcia Monet / Miss Morrison]

But it's impossible. Oh, look out. You're going to fall.

[Paul Allison]

I have fallen. Shall we say one o'? Clock?

[Marcia Monet / Miss Morrison]

Oh, Mr. Ellison. I may get into terrible trouble through all of them.

[Paul Allison]

Then you'll come?

[Marcia Monet / Miss Morrison]

Will you let go?

[Paul Allison]

The second you promise me.

[Marcia Monet / Miss Morrison]

All right, I promise. I'll be there.

[Patino]

You will?

[Paul Allison]

A la Bonheur.

[Marcia Monet / Miss Morrison]

Good night.

[Paul Allison]

She'll be there. Everybody, wake up. Wake up.

[Patino]

Listen.

[Supporting Female]

She'll be there.

[Paul Allison]

She's coming.

[Narrator/Announcer]

In a few minutes, Mr. DeMille. And our stars, Jeanette McDonald and Nelson Eddy will return in act two of Maytime. And now, a late summer garden, a

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[Nikolai Nazarov]

Your mother said I'd find you out here, Betty.

[Paul Allison]

I guess maybe I'm a little.

[Marcia Monet / Miss Morrison]

Oh, hello Jim.

[Barbara]

No, you're not.

[Marcia Monet / Miss Morrison]

A bit too early. I was just cutting a few roses for the dinner table.

[Nikolai Nazarov]

Gosh, you really have some beauties there.

[Barbara]

Aren't they gorgeous? We're so proud of our roses this year.

[Marcia Monet / Miss Morrison]

Oh, Jim, look at this one. Such a delicate, exquisite shade. Did you ever see such coloring?

[Nikolai Nazarov]

I guess I have.

[Cecil B. DeMille]

I know I have.

[Nikolai Nazarov]

I'm looking at you. Right at you, Betty.

[Narrator/Announcer]

Girls with lovely luxe complexions do get compliments like that. For there's something about fresh flower like skin that seems to inspire pretty speeches. Screen stars say no other feminine charm is more important. Lovely Rita Hayworth tells you.

[Marcia Monet / Miss Morrison]

A luxe girl. Indeed I am. Here's my daily active lather facial. I cover my face generously with luxe soap's creamy lather, working in gently but thoroughly. Then I rinse with warm water, splash with cold and pat dry with a soft towel. This luxe soap care really makes skin lovelier. Leaves it feeling so soft and smooth.

[Narrator/Announcer]

In recent tests of luxe toilet soap facials, actually three out of four complexions improved in a short time. Women everywhere are discovering that gentle white luxe toilet soap is a real beauty soap. If you haven't tried it, see what its creamy, abundant lather can do to make your skin lovelier. Ask for Lux Toilet soap tomorrow. If your dealer is out of stock due to wartime conditions, he's sure to have more soon. Hollywood's beauty soap is worth waiting for. And now Mr. DeMille returns to the microphone.

[Cecil B. DeMille]

Act two of May Times. Starring Jeanette MacDonald as Marcia and Nelson Eddy as Paul. With Edgar Barrier as Nazarov. It's again the present time. And Marcia Mornay, the glorious singer of another century, becomes Ole Miss Morrison again as she continues her story. Barbara, the pretty girl from next door listens in silence while a love affair is reborn after 50 years of memories.

[Marcia Monet / Miss Morrison]

Eloise did not run away again that night. We clattered down the cowboy streets and I thought, out of the life of poor Allison forever in front of My apartment. And I found I had come without my purse. I left the cabby in the hall and hurried to my room. Ellen, I'm back. I need some money.

[Nikolai Nazarov]

I told Ellen to go to bed. Marcia.

[Marcia Monet / Miss Morrison]

Nikolai.

[Nikolai Nazarov]

I came back. As you can see. Our opera Bagliano score. I left it here.

[Marcia Monet / Miss Morrison]

You found it?

[Nikolai Nazarov]

Yes, but not you.

[Marcia Monet / Miss Morrison]

I'm sorry, Nikolae. I've been foolish. Forgive me.

[Nikolai Nazarov]

Where have you been?

[Marcia Monet / Miss Morrison]

I went for a drive.

[Nikolai Nazarov]

With whom?

[Marcia Monet / Miss Morrison]

With no one.

[Nikolai Nazarov]

With whom?

[Marcia Monet / Miss Morrison]

Nikolai, please understand. I was so excited, so happy. I couldn't sleep. I intended to drive only a little while, but the horse broke loose and I had to wait until the driver caught him. Marcia, the driver's in the hall. I didn't pay him. Ask him. Nikola.

[Nikolai Nazarov]

Marsha. Forgive me, Marcia. It's just that I love you so much.

[Marcia Monet / Miss Morrison]

You mustn't talk like that. You had every right to be angry.

[Nikolai Nazarov]

I had no right whatsoever. And I'll go and settle with the cabby. Good night, my darling.

[Marcia Monet / Miss Morrison]

Good night, Nikolai.

[Patino]

Hey, Paul. Come on. Come on. Open her up. Open her up. Come on. All right, here I am. Where was you?

[Paul Allison]

Sorry, Pattino.

[Patino]

Oh, you. Sorry, my dear Maestro, you say quarter past 12, you kindly meet me Cafe Rene. We have lunch. We discussed some new areas. Yes.

[Paul Allison]

Yep.

[Patino]

You know. What time is it now?

[Paul Allison]

20 minutes past one. I had to break the date.

[Patino]

Had to break at the date. What's all about, huh? Look at you. You best to close your rooms or clean up. A span and a speak.

[Paul Allison]

Yeah, span and a spic. English is the way I taught you.

[Patino]

Quarter past 12, 20 minutes past 1.

[Paul Allison]

I met a lady.

[Patino]

Oh, that's a different.

[Paul Allison]

She said she'd have lunch with me here at one o'. Clock. Marcia Monet.

[Patino]

Hey, Marquet. Marcia Monet. La cantatrice.

[Paul Allison]

So I cleaned up the place, went to the barber, put on my best clothes. And then it dawned on me. I'm the biggest fool in Paris. Oh, she promised to come, but she had to promise I wouldn't let go of the carriage. But I believed her. I thought she meant it.

[Patino]

A nicer girl, huh?

[Paul Allison]

Nice. But Tino, she's. Well, she's. She's the.

[Patino]

She is, huh? Well, come on. Fill up with the stomach and light

[Supporting Female]

up with the heart.

[Paul Allison]

How can I eat? But go ahead. On the table, my beautiful Virginia ham.

[Patino]

Smells pretty good. And speaking of smells. Come on, singer. We do some practicing.

[Paul Allison]

No, no, not. Not now. Tonight, maybe.

[Patino]

Tonight, maybe. Listen, now I get mad. I say you practice all right, but.

[Paul Allison]

But no opera. Something light, something easy.

[Patino]

All the Time. Easy, easy, easy. If Marcia Monet was here, you would sing her a pretty song. No, Ma. All you got for company is a beautiful Virginia ham. So you sing it to her. Come on. Carry my becket to old Virginia.

[Paul Allison]

You talk too much, Pattino.

[Supporting Female]

Carry me back to. Oh, please.

[Patino]

With the feeling from the heart the heart. All right. We start again.

[Supporting Female]

Carry me back to all Virginia and ask where the CO Throws the corn

[Marcia Monet / Miss Morrison]

until it is grown Marcia.

[Paul Allison]

It is you. You're. You're here.

[Marcia Monet / Miss Morrison]

I heard singing. Your door was open, so I walked in.

[Paul Allison]

Oh, sit down. Oh, Patino. Mademoiselle. Senor Patino, my maestro. We were just.

[Patino]

Oh, mademoiselle, I can only say what a privilege.

[Marcia Monet / Miss Morrison]

I didn't mean to interrupt anything.

[Paul Allison]

Interrupt?

[Marcia Monet / Miss Morrison]

Wait, wait.

[Patino]

Mademoiselle, would you. Would you do it, please?

[Marcia Monet / Miss Morrison]

Do what?

[Patino]

Well, you. You started to sing.

[Nikolai Nazarov]

Would you?

[Patino]

With Paul. Would you sing with Paul now? Oh, such an honor, mademoiselle.

[Marcia Monet / Miss Morrison]

I'd like to sing with Paul.

[Patino]

Oh, mademoiselle

[Supporting Female]

Carry me back. All the peace but long ago that's where I labored so hard for on my soul.

[Patino]

Oh, what an experience, mademoiselle. What an experience.

[Paul Allison]

Tell the truth, Pattino. All you really like is opera. You know, he wants to make an opera singer out of me. Sell me into slavery.

[Patino]

I want to put him where he belongs. Will he work? No. No ambition, no application. Mademoiselle, please. Say something to make him work. Please.

[Paul Allison]

Oh, Pattino. I'm sorry to have kept you so long. I know you have to go now, all those other pupils waiting.

[Patino]

I got it plenty of times.

[Paul Allison]

That's just what I thought. So rush off. Goodbye, Patino.

[Supporting Female]

Ma.

[Patino]

Paula, listen. All right, I go. Goodbye, mademoiselle. Goodbye, loafer.

[Marcia Monet / Miss Morrison]

So we're alone.

[Paul Allison]

That's what I had in mind.

[Marcia Monet / Miss Morrison]

Well, you're going to be still more alone. I have to leave too.

[Paul Allison]

Leave? You said you'd have lunch.

[Marcia Monet / Miss Morrison]

I only came here because last night I made a promise. And I don't like to break promises. Goodbye, Paul.

[Paul Allison]

Oh, please. I have everything ready, Virginia. Ham from Virginia for me? Of course. Eggs too?

[Marcia Monet / Miss Morrison]

Ham and eggs. And it's all ready.

[Paul Allison]

Take me two minutes.

[Marcia Monet / Miss Morrison]

Even less if I fry the eggs.

[Paul Allison]

Then you'll stay?

[Marcia Monet / Miss Morrison]

Well, I don't know whether it's you or the ham, but I'll stay.

[Paul Allison]

Thanks. You know, you're wonderful.

[Marcia Monet / Miss Morrison]

Well, your dishes are dried, Mr. Allison.

[Paul Allison]

Makes you kind of homesick, doesn't it? That song?

[Marcia Monet / Miss Morrison]

Virginia, I don't have time to get homesick.

[Paul Allison]

You like to go back to the State sometime, wouldn't you?

[Marcia Monet / Miss Morrison]

Well, yes, sometimes.

[Paul Allison]

Well, I'll tell them about you when I get back.

[Marcia Monet / Miss Morrison]

Oh, but you mustn't. I mean, with a voice like yours, you really should stay here and. Oh, look, the clock. It's nearly three o'. Clock.

[Paul Allison]

You can't go yet.

[Marcia Monet / Miss Morrison]

But I must, Paul. Goodbye. And promise me something.

[Paul Allison]

Anything.

[Marcia Monet / Miss Morrison]

Don't ask to see me again. Ever.

[Paul Allison]

But why?

[Marcia Monet / Miss Morrison]

I can't explain. It's been wonderful meeting you, but it's all over. Finished. And now I.

[Paul Allison]

You're. You're singing tonight. The opera?

[Marcia Monet / Miss Morrison]

Yes.

[Paul Allison]

I could see you there.

[Marcia Monet / Miss Morrison]

Well, then, just be sure you stay in the audience. Goodbye. Goodbye, Paul.

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[Supporting Female]

Sa. K.

[Opera Critic]

Never a better performance, mademoiselle. Never.

[Marcia Monet / Miss Morrison]

Thank you. Ms. Marshall. Oh, yes, Ellen. Mr. Nazarovas, can you receive the critics in three minutes? If he wishes, I'll be right in here in my dressing room. Thank you, Miss. Hello, Pa. How did you get in here?

[Paul Allison]

Walked in.

[Marcia Monet / Miss Morrison]

Well, then get out, please. If you don't, I'll have to call someone.

[Paul Allison]

Tomorrow is Mayday. There's a fair not far from Paris. It's Saint Cloud. May I take you?

[Marcia Monet / Miss Morrison]

No.

[Paul Allison]

Please. You're a girl who has to be persuaded. I found that out last night in front of the cafe.

[Marcia Monet / Miss Morrison]

This is entirely different. You simply can't be found here.

[Paul Allison]

I'll go if you come to Cycloo tomorrow.

[Marcia Monet / Miss Morrison]

I can't. I don't want to. Oh, Won't anything make you leave?

[Paul Allison]

Mm.

[Marcia Monet / Miss Morrison]

What?

[Paul Allison]

Come to Saint Cloud.

[Marcia Monet / Miss Morrison]

The cricket's missing. Monsieur Nazaroff. Just a minute, Paul. Get out.

[Paul Allison]

Can you come with me?

[Marcia Monet / Miss Morrison]

Yes, yes, anything.

[Paul Allison]

I'll call for you at 10. Now, where do you want to go?

[Marcia Monet / Miss Morrison]

Oh, for heaven's sake, don't try to call me. I'll meet you there.

[Paul Allison]

10 o'?

[Marcia Monet / Miss Morrison]

Clock? Yes, anytime. 10 o'?

[Patino]

Clock?

[Marcia Monet / Miss Morrison]

Yes. Only go, go.

[Paul Allison]

Oh, certainly.

[Nikolai Nazarov]

If you'll wait a moment, monsieur, I'll see if.

[Paul Allison]

Oh, pardon me, please. Excuse me, monsieur.

[Nikolai Nazarov]

Not at all. I'm afraid I was in your way. Who was the Visitor, Marcia.

[Marcia Monet / Miss Morrison]

Oh, no one troublesome. But I wish they'd be more careful about letting strangers come backstage.

[Nikolai Nazarov]

Well, Marcia, the critics are scratching at the door. Shall I let them in?

[Marcia Monet / Miss Morrison]

Well, I.

[Nikolai Nazarov]

And remember, darling, these critics are the people who count in your life. From now on, they fill the orchestra seats for us young men who come backstage, fill only the gallery.

[Marcia Monet / Miss Morrison]

Yes, send the pretty skin.

[Barbara]

Paul.

[Marcia Monet / Miss Morrison]

Paul.

[Paul Allison]

Marcia, while you're here, you did come one time too. How about from the way you talked last night? Oh, how can I thank you?

[Marcia Monet / Miss Morrison]

By not reminding me that I'm doing something I have no right to do.

[Paul Allison]

Then forget who you are and what you are and everything else.

[Cecil B. DeMille]

Agreed?

[Marcia Monet / Miss Morrison]

Oh, yes. It's May Day. The sun's shining, the hills are beautiful, and I. Oh, look. Jugglers and maid dances and tightrope walkers

[Paul Allison]

and Punch and Judy music and gypsies and all.

[Marcia Monet / Miss Morrison]

Paul, it's so beautiful, I. I could cry.

[Paul Allison]

Well, that's the one thing you'll not do today. Come on, now. First, our fortunes from the gypsies so we'll know just how to conduct ourselves. Right?

[Marcia Monet / Miss Morrison]

Wonderful.

[Paul Allison]

Happy.

[Marcia Monet / Miss Morrison]

So happy.

[Supporting Female]

Good.

[Paul Allison]

Me too.

[Marcia Monet / Miss Morrison]

Paul. Let's sit down. I'm tired.

[Paul Allison]

Just. Just 10 more steps. You see a brook, a bridge, a tree. And down there, in between, the hills. There it is. The fair and all the people. Now, wasn't it worth the walk?

[Marcia Monet / Miss Morrison]

Oh, Paul, it's beautiful. But while I'm looking at this, I know that in four hours I'll have to be back on the stage in Paris. By tomorrow, this will all be as though it had never happened.

[Paul Allison]

You want to forget it?

[Marcia Monet / Miss Morrison]

No.

[Paul Allison]

Well, songs make memories. And there are lots of songs about May Day.

[Marcia Monet / Miss Morrison]

Sing them to me. All of them.

[Paul Allison]

Oh, if I did, you wouldn't be back in four hours.

[Marcia Monet / Miss Morrison]

Then the one you like best, sing that one.

[Paul Allison]

Well, that one. But it's about more things than May Day.

[Marcia Monet / Miss Morrison]

I know. It's about sweethearts and remembrance and what's in my heart at this moment. And what, senor?

[Paul Allison]

Oh, you know it. The song.

[Marcia Monet / Miss Morrison]

Oh, I know it so well. But not the words, not the music. Sing it for me, Paul. Please.

[Supporting Female]

For love is so sweet in the springtime when blossoms are fragrant in May no years that are coming can bring time to make me forget Dear, this day I love you in light's gray December the same as I love you today My heart ever yawn Will remember Remember the thrill it knew that day in May. Sweetheart, sweetheart, sweetheart, will you love me? Will you remember the day when we were happy and may, my dearest One. Sweetheart, sweetheart, sweetheart. All may serve who light last faint and will you remember. Springtime, Love time?

[Paul Allison]

I love you, Marcia. I always will.

[Marcia Monet / Miss Morrison]

Oh, darling, please.

[Paul Allison]

There's someone else. The one they say you're seen with so much. Nazarov?

[Marcia Monet / Miss Morrison]

Yes.

[Paul Allison]

You love him?

[Marcia Monet / Miss Morrison]

I'm going to marry him. Oh, Paul. Paul. Now you understand, don't you, why I have no right to be here. I knew it was wrong, but I wanted to be with you so much that I.

[Paul Allison]

Do you love him?

[Marcia Monet / Miss Morrison]

Everything I am, I owe to him. Even being here today, meeting you the other night. He made all those things possible for me. All of them.

[Paul Allison]

But if you talk to him. If I talk to him?

[Marcia Monet / Miss Morrison]

Oh, no. Nikolai has never failed me. And I can't fail him now, even for something I want far more.

[Paul Allison]

I've met you too late. No. I can't believe it.

[Marcia Monet / Miss Morrison]

Pa, please, let's just remember this day.

[Paul Allison]

One day to last us all the rest of our lives.

[Marcia Monet / Miss Morrison]

It will. It will.

[Paul Allison]

I'll always love you, Marcia.

[Marcia Monet / Miss Morrison]

And I'll always remember you and your song.

[Supporting Female]

Sweetheart, Sweetheart, Sweetheart.

[Cecil B. DeMille]

Because.

[Narrator/Announcer]

Now for station identification, this is cbs, the Columbia Broadcasting System. In a few moments, Mr. DeMille and our stars, Jeanette McDonald and Nelson Eddy will bring us act three of May time. And now I see our young friend sally before me.

[Barbara]

Mr. Kennedy, I've got a new game.

[Narrator/Announcer]

And I have a premonition. Sally. You want to show me how to play it?

[Marcia Monet / Miss Morrison]

It's fun.

[Barbara]

Mr. Kennedy. It's called cliche, and here's all there is to it. Cliche, you know, often used familiar expressions that everyone recognizes. We each have to think of some. Let's try comparisons first, like green as grass or warm as toast. Now you think of some.

[Narrator/Announcer]

Fresh as a daisy, bright as a button.

[Barbara]

That's it. Now it's my turn. White as snow, brown as a berry,

[Narrator/Announcer]

smooth as silk, fair as a flower,

[Barbara]

soft as satin, smooth as cream, fresh

[Narrator/Announcer]

as a breeze, pretty as a picture. Say, how's this one, Sally? Lovely as a luxe complexion.

[Barbara]

Of course, lovely as a luxe complexion. Why, that's a comparison everyone's familiar with, Especially right here in Hollywood, where there

[Narrator/Announcer]

are so many lovely, luxe complexions. You know, Sally, when nine out of ten famous stars use luxe toilet soap regularly, why, it just has to be good.

[Barbara]

It has to be a real beauty soap, Mr. Kennedy, and it is. Any woman who uses luxury toilet soap every day for a while will find that out for herself. She'll discover that Lux soap's rich, creamy lather helps skin to be softer Smoother, truly lovelier.

[Narrator/Announcer]

And any woman who hasn't tried this fine white soap owes it to herself to do so. Why not let the velvety rich lather give your skin gentle cherishing care every day? You'll find luxe toilet soap is right for delicate skin. And now Mr. DeMille returns to the microphone.

[Cecil B. DeMille]

After the play, we'll meet our stars for a brief, informal chat. But now here's the curtain for Act 3 of Maytime. Starring Jeanette MacDonald as Marcia and Nelson Eddy as Paul. With Edgar Barrier as Nazarov.

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[Cecil B. DeMille]

Twilight is falling over the little Virginia town as old Miss Morrison leads Barbara down a highway of memories into the times and places of her past. Her weary heart unfolding secrets never told before.

[Marcia Monet / Miss Morrison]

And so Paul Allison went out of my life. I married Nikolai. My career flourished. Over five years passed, I heard nothing but from Paul. Nothing about him. And then Nikolai said it was time to leave Europe and return to New York. Return to home. There was a great reception the day we arrived. And later in our hotel.

[Nikolai Nazarov]

Marcia, the directors from the opera will be here any minute. But you won't have to see them. I'll tend to everything. You're tired, aren't you? Very glad to be back in America.

[Marcia Monet / Miss Morrison]

Oh, yes.

[Nikolai Nazarov]

You don't exactly show it.

[Marcia Monet / Miss Morrison]

Oh, I guess I don't. I'm just not awfully excited about anything.

[Nikolai Nazarov]

Come here, my dear. I love you so very much. I. I'm sorry, Marcia. I should have remembered that my kissing you excites you less than anything else.

[Marcia Monet / Miss Morrison]

Nikolai, why do you say things like that?

[Nikolai Nazarov]

I don't know. You've been the perfect wife, Marcia. And yet, never once in all the years we've been married have I ever felt that I've completely possessed you.

[Marcia Monet / Miss Morrison]

You have no right to feel like that.

[Nikolai Nazarov]

I know. All I regret is it's made me love you too much.

[Marcia Monet / Miss Morrison]

Excuse me. Oh, yes, the gentleman from the opera here, monsieur.

[Nikolai Nazarov]

Oh, have them come in, Alan.

[Marcia Monet / Miss Morrison]

I'll be in my rooms. Don't worry about me, Nikolai.

[Nikolai Nazarov]

The contracts are all very satisfactory, monsieur. Say for one thing, one thing. You have indicated that we Open with Traviata. My beautiful opera, monsieur, worthy of Madame Mornay's extraordinary talent.

[Cecil B. DeMille]

You'll be delighted to know the opening night already is sold out.

[Nikolai Nazarov]

The fact remains you have gone to great trouble to prepare an opera that Madame Mornay has no intention of appearing in.

[Marcia Monet / Miss Morrison]

Not Traviata.

[Nikolai Nazarov]

Not Traviata, monsieur. The opera will be Tsaritsa. Oh, but it was composed by Bagliano especially for Madame Mornay. What could be more perfect? But Tsaritza needs a baritone. We've none important enough. That's not completely accurate, Aldous. There's Paul Allison. Oh, yes. I've never met Alison, but I've heard him spoken of to his credit. Yes. Madame Mornay will be quite satisfied to have Alison sing with her. But he's not well enough known, monsieur. The public comes to hear Madame Mornay. I assume our wishes will be respected. And so there's nothing further to discuss. Thank you, monsieur. We shall see you Tuesday at rehearsal. Oh, Marsha. Yes, Everything is arranged. Tsaritsa. 4 weeks rehearsal starting Tuesday.

[Marcia Monet / Miss Morrison]

Oh, and who do they have to sing Petrov?

[Nikolai Nazarov]

Paul Allison.

[Marcia Monet / Miss Morrison]

Paul Nikolai. Couldn't he get someone well better known?

[Nikolai Nazarov]

Why, I understand he has a very adequate voice. Now, try to get some sleep. We're having dinner with the French consul. I'll call you in plenty of time.

[Opera Critic]

Prima donnas. I hate all prima donnas.

[Paul Allison]

No, no, no, no, no. Take it easy, Alex. You'll be here. Where's your patience?

[Opera Critic]

Patience. Our first rehearsal and already she's a half hour late. The great Madame Mornay. Drown all prima donnas, I say. Drown it.

[Paul Allison]

Look, they're coming in now. Madame Mornay and her husband.

[Opera Critic]

Oh, excuse me. Excuse me. Ladies and gentlemen of the cast, your attention. Attention, please. I enjoy a great privilege. May I introduce Madame Mornay and Monsieur Nazarov?

[Marcia Monet / Miss Morrison]

Thank you. I hope we shall all be good friends.

[Barbara]

Thank you.

[Nikolai Nazarov]

Thank you.

[Opera Critic]

Madame, permit me. Our baritone, Mr. Paul Alison.

[Marcia Monet / Miss Morrison]

How do you do?

[Paul Allison]

How do you do? It's an honor to sing with you, madame.

[Marcia Monet / Miss Morrison]

Thank you very much.

[Opera Critic]

Monsieur Nazarov. Mr. Allison.

[Paul Allison]

Monsieur Nazarov.

[Nikolai Nazarov]

Monsieur.

[Patino]

Wait, wait. Why not forget the patino? Oh, madame, you remember patino? No, Me patino.

[Marcia Monet / Miss Morrison]

Oh, yes, of course, I remember.

[Patino]

Oh, madame, all these years I've been saying little prayers for you. You gave Paul everything. Ambition, application. It's been such a long time since that day in Parisama.

[Paul Allison]

Excuse me. Monsieur Nazarov. My maestro. Senor Patino. When I was a student in Paris, monsieur, several years ago, madame was generous enough to encourage me in my career.

[Patino]

Oh, not only that.

[Nikolai Nazarov]

Mr. Rudyard. We are ready anytime you wish to start the rehearsal.

[Opera Critic]

Yes, yes. Quiet, please. Your attention, ladies and gentlemen. Chorus must be arranged.

[Nikolai Nazarov]

I'll be in the wings, Marshall.

[Patino]

Me too. Oh, I'm so glad. It is Zarita Juicy. The chance Paul has been waiting for.

[Nikolai Nazarov]

So perhaps you're right.

[Marcia Monet / Miss Morrison]

I saw Paul at rehearsals almost every day for the next four weeks. And not a word passed between us except as one performer to another. But his eyes held me and frightened me. Then came the opening of Tsaritsa. It was thrilling beyond any premiere I had ever known. But as Paul and I were on stage for our final duet, his arms around me, I knew we would never sing Tsaritsa again.

[Supporting Female]

Samurai.

[Paul Allison]

Paul. I love you, Marshall. I love you, Paul.

[Marcia Monet / Miss Morrison]

Don't ever leave me again.

[Cecil B. DeMille]

Ever.

[Paul Allison]

You're not going back to him. I'll take you away tonight.

[Marcia Monet / Miss Morrison]

Paul, let me speak to him first, please. If you wish, I'll send Aaron to you in the morning with the message.

[Nikolai Nazarov]

I told you at the Opera House that I wished to talk to you.

[Marcia Monet / Miss Morrison]

Marcia and I asked you to wait until we were back at the hotel. Well, we are back, Nikolai.

[Nikolai Nazarov]

Yes. You know, you surpassed even yourself tonight. Critics are referring to your performance as a living emotion. Look at me, Marcia. There's a great deal that you never thought important enough even to mention to me, isn't there? Or too important.

[Marcia Monet / Miss Morrison]

Yes, Nikolai.

[Nikolai Nazarov]

Something that has stood between us for five years. I know what it is now, who it is. And I'm the one who brought you two together again. Now, suppose we find out exactly how we stand.

[Marcia Monet / Miss Morrison]

Nothing could have stopped this happening. Nikolai. I tried to forget Paul. I never could. I know now that I can't go on without him.

[Nikolai Nazarov]

You wish to be set free, is that it?

[Marcia Monet / Miss Morrison]

Yes. Yes.

[Nikolai Nazarov]

Very well. I won't stand in your way. Good night, Marsh.

[Marcia Monet / Miss Morrison]

About 10 minutes later, I heard a heavy door close.

[Barbara]

Hey, everybody.

[Lady Luck]

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[Marcia Monet / Miss Morrison]

I called to Nikolai, but there was no answer. I went to his room. He was gone. And on his table with a leather gun case. The case was Open. And the gun was gone. And next to it was a slip of paper. Paul Allison's address. I rushed into the street shouting for a cab.

[Paul Allison]

Of it. Monsieur Nazarov, I. Well, come in, please.

[Nikolai Nazarov]

I had no chance at the opera to congratulate you upon your performance.

[Paul Allison]

Thank you. Forgive me, but surely you didn't come here just to tell me that.

[Nikolai Nazarov]

No. My purpose requires no conversation at all.

[Paul Allison]

Sit down. I don't know quite what to say except that I'm glad you're here. And I'm glad you know. You do know, don't you? Marcia has told you.

[Nikolai Nazarov]

She's told me.

[Paul Allison]

We can talk then like reasonable people.

[Nikolai Nazarov]

There is nothing to discuss. I'm giving Marcia her freedom and you yours.

[Marcia Monet / Miss Morrison]

Paul. Paul. Paul. Oh, no.

[Patino]

No.

[Marcia Monet / Miss Morrison]

Goodbye, Marcia. Marcia, darling. Darling.

[Paul Allison]

That that day did last me all my life.

[Nikolai Nazarov]

Pa,

[Paul Allison]

you won't be lonely?

[Patino]

Please.

[Supporting Female]

No.

[Paul Allison]

I'll always be close.

[Narrator/Announcer]

Always.

[Marcia Monet / Miss Morrison]

No.

[Kip]

No.

[Marcia Monet / Miss Morrison]

After Paul died, I came here where no one knows me except Ellen. And now you, Barbara. Oh, Ms. Morrison, I've told you all this only to help you decide about Kip. I found Paul too late. But you and Kip have the whole world ahead of you to show if you want to take it. Oh, I do. I do. Then run along and find him and tell him so. How can I? I want to thank you, but I don't know how. Just come and see me once in a while. You and Kip. Goodbye, Miss Morrison. Goodbye, children. Child, It's getting chilly. Miss Marsha, don't you want to come in? Miss Mara, are you sleep? Come now, wake up. We'll go inside and. Miss Marsha. Oh, Miss Mar. Paul? Paul, is that you?

[Paul Allison]

I told you I'd always be close to you. Come, darling, come.

[Marcia Monet / Miss Morrison]

It's May Day, dearest. Remember?

[Paul Allison]

And it always will be May Day, darling. From now on, always sweeter, sweeter, sweeter

[Marcia Monet / Miss Morrison]

Will you love me ever

[Supporting Female]

Will you remember night when we were happy in May My dear one Sweetheart, Sweetheart sweetheart. Springtime la.

[Cecil B. DeMille]

Tonight's performance certainly puts us on our metal for the rest of the season. Trying to live up to it. For that inspiring challenge, we can thank Jeanette MacDonald and Nelson Eddy.

[Paul Allison]

Well, you've sort of put me on the spot, too, CB well, certainly you

[Cecil B. DeMille]

aren't worried about your new radio show, Nelson. It's one of the most promising events of the season.

[Paul Allison]

But in. In tonight's introduction, CB you expressed the hope that the lights were going on again all over the world.

[Cecil B. DeMille]

Well, how does that put you on the spot?

[Paul Allison]

Well, you see, my sponsors are 160 leading electric, light and power companies.

[Cecil B. DeMille]

I think you'll shine in your own right, Nelson. Jeanette, I have a clipping from a New York paper calling you Hollywood's beauteous contribution to grand opera.

[Marcia Monet / Miss Morrison]

Well, the grand opera part is right, CB In November, I'm singing Romeo and Juliet and Faust with the Chicago Civic Opera Company. And then my concerts. And then in January, I start rehearsals for my new operetta in New York.

[Cecil B. DeMille]

I understand it's a hitherto unpublished work by Victor Herbert.

[Marcia Monet / Miss Morrison]

Mm. That's what makes it so exciting.

[Cecil B. DeMille]

I hope these. These separate paths that you and Nelson are following won't keep you from making a picture together before too long.

[Paul Allison]

We'd like to make a picture, C.B. wouldn't we, Jeanette?

[Marcia Monet / Miss Morrison]

You bet we would, if we could find a story we'd do justice to.

[Cecil B. DeMille]

You know, Jeanette, Well, I hate to say this in front of Nelson. I've always thought that you and I should do a musical together.

[Marcia Monet / Miss Morrison]

Well, do you. Do you sing, CB Do I sing?

[Cecil B. DeMille]

Well, you ought to hear me in the bathtub with a cake of luxe toilet soap.

[Marcia Monet / Miss Morrison]

Well, I can say I found luxe toilet soap has helped my singing, CB but it certainly is a wonderful complexion care. I wouldn't be without it.

[Cecil B. DeMille]

What I really meant was you could do the singing and I could do the producing.

[Paul Allison]

Yeah, and I could hold a cake of soap.

[Marcia Monet / Miss Morrison]

Well, you may have an idea there, but right now, CB I think we'd all like to hear about your play for next week.

[Cecil B. DeMille]

For our Lux Radio Theater play, next Monday night, we have the RKO screen hit Break of Hearts. And our stars will be Rita Hayworth and Orson Welles. It's the moving and romantic story of a sensitive musician and his beautiful wife, whose temperamental natures make their romance one of touch and go until love brings them into a final understanding.

[Marcia Monet / Miss Morrison]

Sounds like a full house at the Lux Radio Theater. CB Good night.

[Paul Allison]

Good night.

[Cecil B. DeMille]

Good night. Good night. Now, I thanks to you both for a thrilling evening. Our sponsors, the makers of Lux Toilet Soap, and we of the Lux Radio Theater, want all of you to have a real part in our 10th anniversary celebration on October 16th. So help us select the play and the stars that you'd like most to hear. Send your suggestions to me on a Postcard addressed to CB DeMille, Post Office, Office Box 9, Hollywood 8, CA. Or use the ballot which your Lux Toilet Soap dealer will be glad to give you. And be with us again next Monday night when the Lux Radio Theater presents Orson Welles and Rita Hayworth in Break of Hearts this is Cecil B. DeMille saying good night to you from Hollywood.

[Narrator/Announcer]

And now here's a reminder. From Uncle Sam to the housewives of America. Waste fats and greases from your kitchen are more urgently needed now than ever for use in the making of explosives and medicinal supplies. Every drop will contribute to saving American lives by ending this war sooner. Put your waste fats in a clean can and rush them to your butcher. He'll give you two free meat ration points besides 4 cents for every pound. May Time was presented through the courtesy of Metro Goldwyn Mayer, producers of the Technicolor hit Kismet. Edgar Barrier will shortly appear in the 20th Century Fox production Knob Hill. Our music was directed by Louis Silvers. Next Wednesday evening on these same stations, same time, hear the new Frank Sinatra program with Eileen Barton, Axel Stordall and his orchestra, the Vims, vocalists and guest star Orson Wells. This is your announcer John M. Kennedy reminding you to tune in again next Monday night to hear Break of Hearts with Rita Hayworth and Orson Wells.

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