Matinee Theater - Intermezzo

Summary

Matinee Theater - Intermezzo

Podcast: Harold's Old Time Radio
Date: June 17, 2026
Starring: Victor Jory (Holger Brandt), Gertrude Warner (Anita Hoffman)
Adapted from: David O. Selznick’s motion picture "Intermezzo"
Note: Ad sections and sponsor messages omitted from summary.

---

Episode Overview

This episode of Matinee Theater presents a radio adaptation of "Intermezzo"—a poignant love story about Holger Brandt, a world-renowned violinist, and Anita Hoffman, a gifted young pianist. The drama explores themes of passion, artistic connection, forbidden love, and the bittersweet consequences of choices between love and responsibility. The episode delivers all the hallmarks of classic radio theater: lush dialogue, sweeping emotion, and evocative music.

---

Key Discussion Points & Plot Highlights

1. Introduction to the Characters and Meeting (01:16–04:46)

• Holger Brandt, celebrated violinist, returns home to Stockholm after concert tours, welcomed by his wife Margaret and daughter Anne Marie.
• Anita Hoffman, Anne Marie’s music teacher, is introduced, and an immediate chemistry is felt between Holger and Anita, rooted in their shared passion for music.
• Memorable Moment:
  • Holger (Victor Jory):

    "Anything so lovely in a man's life should be without beginning and without end. … The first time I looked in her eyes was the beginning." (01:38)

2. Developing Artistic and Emotional Connection (04:46–07:18)

• Holger becomes enchanted by Anita’s talent and spirit; he invites her to be his accompanist, sensing a deep, unspoken bond through their music.
• They share an intimate late-night rehearsal, deepening their bond and crossing into forbidden territory.
• Notable Quote:
  • Anita (Gertrude Warner), after Holger kisses her:

    “You shouldn't have kissed me.” (07:18)

  • Holger:

    "I could no more keep from kissing you than I could keep from loving you." (07:19)

3. The Crisis and Decision to Leave (07:46–11:27)

• Anita, troubled by her growing feelings, decides she must leave to protect herself and Holger’s family, accepting an invitation to Denmark.
• Holger's wife, Margaret, reveals her awareness of the situation and confronts Holger, who admits his feelings.
• Holger pursues Anita to the train station.
• Emotional Moment:
  • Holger:

    "Didn't you know I'd come after you wherever you went?" (11:35)

  • Anita:

    "You must let me go, Holger." (11:40)

4. The Lovers' Tour and Illusion of Happiness (14:35–19:56)

• Holger and Anita embark on an international concert tour: Paris, Venice, Vienna—they experience global acclaim and romantic escapades.
• Their happiness is passionate but colored by impermanence and looming questions about the future.
• Romantic Highlights:
  • Holger:

    “Madame, behold. May one point out the sights to a stranger. You're standing now in the Eiffel Tower and below you is Paris. It's yours.” (15:35)

  • Anita:

    "When I'm very old. I shall love to remember how you gave me the cities of the world one by one when I was young." (15:51)

5. The Inevitable Separation (20:17–24:28)

• Anita receives news she has been awarded the prestigious Jenny Lind Scholarship. Holger expresses pride, but Anita tears up the letter, determined not to risk their happiness.
• Thomas, Holger’s friend, urges Anita to face reality and pursue her future. He reminds her that Holger's roots (his family) cannot be escaped.
• Anita, after a loving parting with Holger, leaves a heartfelt note explaining her departure and choice to seek her music career alone.
• Bittersweet Declaration:
  • Anita’s letter (read by Holger):

    “I’m going away, Holger. We have been pretending and hoping for too long that what we had, we could make splendid and good. But I’ve always known … the most I could be was an intermezzo in your life.” (24:28)

6. Return and Reflection (25:40–26:48)

• Holger returns home to his wife and daughter, carrying the memory of Anita as a cherished but forbidden interlude.
• He acknowledges the inevitability of their separation and the enduring pain and beauty of the memories.
• Final Reflection:
  • Holger:

    “Anything as lovely as Anita should be without beginning and without end. … Intermezzo to me is a melody half tears, half laughter, bittersweet upon the tongue and on the heart like the memories of a love put by.” (25:57)

---

Memorable Quotes

• Holger:

  "You cannot say to your heart, love this woman and not this one. Sometimes love comes so quickly and so fiercely that you can no more stamp it out than you could stamp a forest fire." (09:42)

• Thomas (on happiness):

  "Happiness is sometimes an expensive commodity. Sometimes it can only be paid for in tears." (22:19)

---

Notable Timestamps

• 01:38 – Holger’s poetic narration on the start of love
• 07:18 – First intimate confession and kiss between Holger and Anita
• 11:27 – Holger finds Anita at the train station to profess his love and change their destinies
• 15:35 – Holger and Anita share a magical night in Paris
• 19:48 – Anita receives the life-changing scholarship offer
• 24:28 – Anita’s farewell letter and decision to leave
• 25:57 – Holger’s final, bittersweet reflection on love and memory

---

Tone & Language

The episode’s tone is lyrical, passionate, and sometimes somber, filled with the emotional highs and lows of a sweeping romance. The language is poetic, reflecting the deep interior lives of the characters and the classic drama of golden-age radio. The performances draw on longing, loss, and the transcendence of art and love.

---

This adaptation of "Intermezzo" is a showcase of heartache and hope, perfect for listeners who appreciate timeless romance and the artistry of vintage radio storytelling.

Transcript

[A]

Are you really buying a car online

[B]

on Autotrader right now?

[A]

Really? I can get super specific with dealer listings and see cars based on my budget. You can really have it delivered or pick it up. Mommy's walking kid is walking up the slide.

[C]

Really?

[B]

Autotrader.

[A]

Buy your car online.

[C]

Really? Vic's presents the Matinee Theater, starring Victor Jori in Intermezz. Vic. The makers of Vicks VapoRub, Vic's Patronol, Vic's Cough Drops and Vicks Inhaler brings you the Matinee Theater, starring Victor Jory and featuring Gertrude Warner in the play that you selected for this week, David O. Selznick's unforgettable love story, Intermezzo. Here's a good thing to remember when you catch a cold. The best known home remedy for relieving miseries of colds is Vic's Vapor Up.

[D]

Intermezzo, a love story of a world famous violinist, Holger Brandt, and a young piano student, Anita Huffman. Holger opens the story of Intermezzo.

[B]

It's difficult to know how to begin to talk about Anita. Anything so lovely in a man's life should be without beginning and without end. It must be remembered as the scent of perfume is remembered as a sweep of music, as a kiss. But there was a beginning and there was an ending. The first time I looked in her eyes was the beginning. I returned to my family in Stockholm after a series of concerts all over the world. The first would be to be with my wife and my little Ann Marie.

[E]

Daddy, look at all the flowers. Just because you're here.

[B]

They're my favorite flowers.

[E]

I helped Mommy buy them. Didn't I, Mommy?

[F]

Yes, Steve.

[A]

Olga, it's so good to have you here once more. I've missed you, my dear.

[B]

I missed you, too.

[E]

We have all of your records, Daddy. We played one every night that you were away.

[A]

Oh, I beg your pardon. Ellen told me she'd be in here.

[E]

Ms. Hoffman. Hello, Ms. Hoffman.

[A]

Right in, Anita, my dear. Holger, this is Ms. Hoffman, Anne Marie's music teacher. My husband, Mr. Brandon Hoffman. How do you do?

[B]

Anne Marie played for me a little while ago. You are a good teacher.

[A]

Anne Marie is very talented. And why shouldn't she be with such a father? Come, Anne Marie. We must start our lesson.

[E]

Did you Practice? Oh, yes, Ms. Hartley.

[B]

What a lovely girl. There's something about her face that's like gold. It's almost like springtime. Something fresh and very young and sweet. Margaret, do you realize it's been almost three years since we've been Together.

[A]

I realize it very well. I hope you'll stay home with us for a while now, though.

[B]

I can't play any more concerts until I find a new accompanist. Thomas says he positively will go on no more tours. He's going to stay home and teach Margaret. Let's go away on a trip together. What do you say? Oh, Olga.

[A]

Anne Marie's going to school now. I have to be here with her. A home and a family are a responsibility. My husband.

[B]

Very well, Margaret. We'll say no more about it. Do you think Ms. Hoffman would mind if I watched Anne Marie take a lesson?

[A]

I'm sure she'd be very pleased.

[B]

I'll go have a look. Oh, Please don't stop.

[E]

Ms. Hoffman always plays one piece for me during my lesson.

[B]

Please, please go on.

[A]

All right.

[B]

How strange that you choose Russell of Spring to play.

[A]

Why do you say that?

[B]

Because I've been thinking of that today too. That music is spring running barefooted down the mountains of Sweden. It's sunshine on green grass and bright flowers. It's clear cold water rushing across fields. It's fresh spring winds with a kiss that's like clarity and hearties after struggle and confusion and flight of surviving winter.

[A]

Make it sound like cold music.

[B]

No, no, it's not cold music. It's cool like the fresh wind from the mountains. But at the same time it's warm and pulsating and exciting. Because it's young and vibrant and beautiful.

[A]

To you, Russell of Spring is all those things.

[B]

Yes, and you are all those things. Ah, that was a good concert we just heard, eh, Thomas?

[F]

Yes, indeed. A strange feeling to be down in the audience instead of up there performing, huh?

[B]

You sure you don't want to change your mind and accompany me for one more tour?

[F]

Oh, quite sure. Yeah, I'm absolutely going to stay home this time. And teat. You've talked me out of it for the last time, holga.

[A]

Good evening, Mrs. Tenborg.

[B]

Good evening, Ms. Hoffman. Were you at the concert, too?

[A]

Yes. Wonderful.

[B]

You know each other?

[F]

Yes. Ms. Hoffman is studying me with me now, Holga.

[B]

I listened to her play for anne Marie yesterday. Ms. Hoffman has great talent.

[F]

Yes, she certainly has. Why don't you speak to her about accompanying you? Well, I have to get home. Good night, Holga. Ms. Hoffman.

[A]

Good night.

[B]

Good night. Thomas. I think you have a splendid idea.

[F]

There. Oh, good luck.

[B]

What do you say, Ms. Hoffman? Would you like to be my accompanist?

[A]

Like it? Oh, Mr. Brand, of course you couldn't be serious.

[B]

Why not? I think that you and I feel the same way about music. That we might do very well together. Let's see if I'm right. Come on. My violin's in the car. Let's find a piano. Oh, Anita. Anita, we were meant to play together. There's the same music inside you as in me. The fire. The same tear. The same beauty. You. You do feel it, don't you?

[A]

How could I help but feel? Seems so strange. Ever since I first began to care about music, you've been like a God to me. And now here you are. And here I am.

[B]

Yes, here you are, and here I am. And it's like the beginning of the world. Look, it's getting light out. I must go. I've kept you up very late.

[A]

I don't mind.

[B]

I'm surprised your landlady hasn't been down.

[A]

My landlady loves music. Here, let me help you with your coat.

[B]

Thank you. Well, my dear, I feel as though I'd made a very rich discovery tonight. Finding you is like coming into a kingdom. Oh, Anita. Anita, do you understand? You must understand what's happened to me. Anita,

[A]

You shouldn't have kissed me.

[B]

I could no more keep from kissing you than I could keep from loving you.

[A]

Please, you mustn't say such things.

[B]

I love you, Anita. I love you. I love you.

[F]

I love you. Aren't you playing the intermezzo a bit out of character, Anita?

[A]

Why do you say that, Mr. Stenborg?

[F]

Oh, you're giving it too much importance. You are going at it as if it were the climax of a tremendous symphony. You'll frighten my neighbors.

[A]

I'm sorry I wasn't conscious of it, Mr. Stenborg. This will be my last lesson for a time. I'm going away. I must go away. I have an invitation to visit relatives in Denmark.

[F]

So you're running away, huh?

[A]

I don't know anything else to do but run away. I thought I could see him. I thought it would be enough just to see him and work with him.

[F]

Does Holgar know that you love him?

[A]

I've never told him, but I think he knows.

[F]

Well, perhaps it's best that you do go away for a while then. Are you going to tell Holgar?

[A]

No. He's coming tonight to practice. I want it to be just like any other evening. I'll write him a note and mail it after I've gone.

[B]

Anita, what's wrong?

[A]

Wrong?

[B]

Yes. Why?

[A]

Nothing. Why do you ask?

[B]

Holga, you don't seem like yourself tonight. Is something troubling you?

[A]

No, no, of course not. I. I'm just a little tired. I practiced longer than usual today. Holga.

[B]

Yes, Nita?

[A]

These past months have been very wonderful to me. Your music has been with me every hour of the day and night. It's something I'll never forget.

[B]

I hope my music will always be part of your life, just as you will always be part of my life. Nita, I wish just once that you would say you loved me somehow. I. I need to hear you say it.

[A]

You're married, Holger. You have no right to ask such a question, and I have no right to answer.

[B]

Nita, my dear, you cannot say to your heart, love this woman and not this one. Sometimes love comes so quickly and so fiercely that you can no more stamp it out than you could stamp a forest fire. I loved you the first moment I saw you. I will love you until the last moment I live.

[A]

Holger. Holga, please go. Please don't say anymore.

[B]

I'll ask you again tomorrow. I'll ask you every day until I hear the answer. I'm waiting to hear.

[A]

Good night, Holga.

[B]

Good night, Anita.

[A]

Goodbye. Oh, my darling. Goodbye.

[E]

You're home early, Holger.

[C]

Yes.

[B]

The practicing didn't go very well tonight. Ms. Hoffman was tired. Where's Anne Marie?

[A]

I sent her to bed. She'd been crying so long, she was worn out.

[B]

Why was she crying?

[A]

Well, Ms. Hoffman said today she couldn't teach Anne Marie anymore. She said she was going to visit relatives in Denmark.

[B]

She. She's going away?

[A]

Yes, on the midnight train tonight.

[E]

Didn't you know?

[B]

No, no, she didn't say a word. She can't go like this.

[A]

He decided very suddenly. She said.

[B]

Margaret, I must have a talk with you.

[A]

Holger, you don't have to tell me.

[B]

I must tell you very well.

[A]

And of course I must. Anita.

[B]

Anita. Anita. Olga.

[A]

What are you doing here? How did you know?

[B]

Margaret told me you were leaving on this train.

[A]

Margot told you?

[B]

You little fool. How could you do a thing like this? Running away in the night. Didn't you know I'd come after you wherever you went?

[A]

You must let me go, Olga.

[B]

No. No, not now or ever. Anita. I told Margaret everything. She sent me off to you herself. She understands, Anita. I have no home any longer, except.

[F]

Except with you.

[A]

You told her? Oh, Olga, how could you hurt her like that?

[B]

She already. She told me first. Oh, Anita, don't you understand? Sometimes things do happen to people, regardless of whether they're right or wrong. And when they happen, you can't run away from Them. It doesn't help. It wouldn't help Margaret. Or you or me. We belong together. We were just a little late finding one another. Come on, darling. Take my arm. Let's go out of here.

[A]

What are we going to do?

[B]

We're going on a concert tour. You and I were going to fall a spring around the world. And we're going to play music. The most wonderful music that's ever been written. It's going to be like no music has ever been played before. Because we'll be playing it and playing it together.

[A]

Oh, Holger, I do love you. I love you so much.

[B]

My darling. Oh, my darling.

[C]

In just a moment, Act 2 of Intermezzo. Starring Victor Jory. My friends, these changeable days are cold catching days. And it certainly pays to be careful. If an infectious cold strikes in your home. Don't waste a minute and don't take needless chances. Just do what millions of folks do and rub Vic's VapoRub on throat, chest and back. In a hurry, you'll find out why it's the modern way, so widely used to relieve distress of cold colds. Because the moment you rub it on, VapoRub's relief giving action goes right to work to help relieve congestion and irritation in the upper breathing patches. To ease the coughing, spasms, sore throat and that muscular soreness or tightness. Now, here's the reason results are so fine. VapoRub penetrates. Penetrates into the cold, congested upper bronchial tubes with its special soothing medicinal vapors. And at the same time, it stimulates. Stimulates chest and back surfaces like a comforting, warming poultice. And what's more, this penetrating, stimulating action of Vaporub keeps on working for hours to bring such welcome relief. So when cold strike, rub on vaporub. Because only vaporub gives you this special, penetrating, stimulating action. The best known home remedy for relieving miseries of colds. Vic's Vaporub.

[D]

And now the second act of InterMet. Starring Victor Jory and featuring Gertrude Warner, Holga Brandt and Anita Huffman. Started on their tour. They went to all the great cities of the world. And everywhere they were applauded and acclaimed.

[F]

I have never heard such music in the Paris Opera House before.

[B]

Such tenderness, such fire.

[A]

They make a handsome couple, don't they? Yes, and isn't she beautiful,

[B]

Madame, Behold. May one point out the sights to a stranger. You're standing now in the Eiffel Tower and below you is Paris. It's yours. It's yours because you're young and because you're.

[A]

When I'm very old. I shall love to remember how you gave me the cities of the world one by one when I was young.

[B]

When you are old, I will say, remember that night I kissed you in Paris? That night when we ran away and found a spot halfway between the city and the stars where we could be completely alone. And you will say, ah, let's go back again. We'll come back and live the moment over. Should we make it a date?

[A]

Ask me when I'm 70. Just kiss me now.

[B]

Oh, my darling, you're so sweet. So wonderfully sweet.

[A]

Look, my dear, Simply everyone that is is here tonight. There's the duke in the royal box. I wish they'd never stop playing. I've never heard our Italian songs played like this. Look how the moonlight patterns, the canals. You know, all my life I've wanted to ride in a gondola in Venice. Oh, Holga, what wonderful places. Seen Bombay and Shanghai and Algiers and Vienna. All the fairytale places of the world.

[B]

Now Venice. Look at those stars.

[A]

I just touched one.

[B]

How did it feel?

[A]

The way I feel when you kiss me.

[B]

Oh, Anita, life is such fun. You made me young again. And I was so close to being old when I met you.

[A]

I love you very much, Holger. And no matter what happens, or it ends, I'll love you forever.

[B]

It's never going to end, Anita. It's never going to end.

[D]

They say it has been a phenomenally successful tour for them, and I certainly can see why.

[A]

They've played every big city in the world, haven't they?

[D]

Just about. I understand this will be their last concert for the season.

[A]

I'm sorry the concert tour is over. It's been something I'll never forget.

[B]

I'm glad it's home. I'm ready for a holiday on the Riviera.

[A]

The whole trip has been a holiday. Oh, I have so many wonderful memories of you to file away in my heart.

[B]

You don't really believe in your heart that it will last, do you?

[A]

I believe our love will last, Holger. That's the only thing I can truly believe.

[B]

Oh, Anita, don't ever leave me. Promise me you'll never leave me.

[A]

The only thing I can promise, Holger, is that I will always love you.

[B]

Come on. Get up off that beach. Let's get some dinner.

[A]

Oh, I hate to move. Madame, a letter just came for you. A letter for me? Thank you. Oh, and there's a gentleman waiting to see Mr. Brandt at the house. There's no hurry. He says he's taken a room for the night, Mr. Stenborg.

[F]

Thomas.

[B]

What do you suppose he's doing here?

[A]

I can't imagine.

[B]

Well, let's see what your letter says, and then we'll go and find out.

[A]

Dear Ms. Hoffman, the Royal Academy of Music has awarded you the Jenny Lind Scholarship. I hope you will not let anything interfere with the fulfillment of the bright future within your reach. Faithfully, Thomas Stenborg. Why, he must have come to talk about that. See, the letter's been following us around. Look at all the postmarks.

[B]

Darling, that's wonderful.

[A]

Is it?

[B]

What are you doing?

[A]

I'm tearing it up. That's how I feel about anything that might come between us.

[B]

That makes me very proud. Anita, nothing's ever, ever going to separate us. Nothing in the world.

[A]

No, nothing. Ever. Let them keep their scholarship and let me keep my happiness.

[B]

Thomas. It's good to see you. How did you ever find us here?

[F]

I. Well, as a matter of fact, I traced you through your bank.

[C]

Oh.

[F]

I wrote Anita a letter some time back and I never received an answer.

[B]

You just got it today. She tore it up, Thomas.

[F]

Oh. Well, how is she?

[B]

Fine. She'd be right here. She stopped in her rooms to change. What news do you have of my family, Thomas?

[F]

Margaret and Anne Marie are both splendid. Yes. Anne Marie is getting quite tall. She talks about you constantly. She wants you to bring her a camera when you come home.

[B]

I'm glad they're well. I'll send Anne Marie a camera.

[F]

Come in, mister. It's good to see you, Anita. Well, you look lovelier than ever, my dear.

[A]

Thank you.

[B]

Will you two excuse me for 15 minutes while I go down and give Suzette her lesson?

[A]

Of course, darling.

[F]

Yes. Anita and I will have a chat.

[B]

I won't be long.

[A]

Suzette's the daughter of the innkeeper. She's eight years old. He gives her a lesson every night. He misses Anne Marie.

[F]

Did you think he wouldn't?

[A]

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

[F]

A man's past is never completely gone, my child. His roots are twined deep in the things that have made him what he is. In your heart, I think you know that.

[A]

Yes, in my heart. I've always known it.

[F]

What are you going to do about the scholarship?

[A]

You think I should take it, don't you?

[F]

I think you must take it.

[A]

All this time I've known that one day there would be staring me in the face. The last hour, I hoped I'd be ready for it. But I guess I'll never be ready.

[F]

Holger must go back to his family. He's needed there. And you must go on with your career. You must make it mean something to you again.

[A]

I'll be so alone. I'll be so alone.

[F]

Have you been happy?

[A]

Yes, I've been very happy.

[F]

Well, then be grateful for that. Because you see, my dear, happiness is sometimes an expensive commodity. Sometimes it can only be paid for in tears. Now, think it over, Anita. I know that you will do what's right for both of you.

[B]

Come for a walk with Thomas and me. Darling.

[A]

Holger, I'm a little tired. I think I'd rather not. Do you mind?

[B]

All right. We'll only be gone an hour or so.

[A]

Would you kiss me goodbye?

[B]

That's always a pleasure.

[A]

Oh, darling, darling, darling. Thank you for so many things. Thank you for all the things I remember. For Paris and Venice and Rome and London. For your lips, for your arms, for your love. For making my life so beautiful that it hurts inside. That sounds funny, but I think you know what I mean.

[B]

I do know. Why are you suddenly saying all these things tonight?

[A]

Because tonight I love you more than I've ever loved you in all my life. Because tonight it's important that you know that. Have a nice walk, Darling.

[B]

See if you can wangle the innkeeper out of his teapot, will you? We'll have some tea when we get back. See you later, darling.

[A]

Goodbye, Holga.

[B]

Anita. Anita.

[F]

Try the door.

[B]

Anita.

[F]

Where. Where's the light switch? Oh, yes.

[B]

Why, the rooms. The room's empty. Look. Look. All the things. They're gone. Innkeeper. Innkeeper. Where is that confounded man? Innkeeper.

[F]

There's a note on the table addressed to you.

[B]

A note?

[F]

Mm.

[B]

Oh, Thomas. Listen. I'm going away. Holger. We have been pretending and hoping for too long that what we had, we could make splendid and good. But I've always known, my darling, that the most I could be was an intermezzo in your life. And so I'm going to take the scholarship. God bless you, Holger. Take you someday safely home. Anita. I'm going after her, Thomas. We belong together.

[F]

Well, perhaps you did belong together for an hour, Holger. But you had the hour, and now it's ended.

[B]

I loved her. I will always love her.

[F]

Well, then let her go. For she has a life to live, and so have you. And though it must be a tragedy for both of you, those lives must go in different directions. Come, Holga. Get your things together. Margot and Anne Marie are waiting.

[B]

So I went home. I went back to Margaret and Anne Marie, both of whom I love very dearly, though in a different way. And Margot was most kind and most generous.

[A]

Welcome home, Holder. Welcome home, my husband.

[B]

Oh, yes. Anything as lovely as Anita should be without beginning and without end. But it had no right to begin and it had no right to end had to take its place among those things remembered as a a scent of perfume is remembered or a sweep of music as a kiss Intermezzo to me is a melody half tears, half laughter, bittersweet upon the tongue and on the heart like the memories of a love put.

[C]

In just a moment. A word from Victor Jory. If you have a cold today, you have a lot of folks to commit with you. Because new thousands every day are catching contagious colds. And to relieve miseries of colds, it's extremely unwise to take needless chances with untried remedies. Unwise and foolish. Because you can benefit by the experience of millions of people. The modern way they rely on for welcome relief is to rub Vic's vaporub on throat, chest and back tonight at bedtime. Yes, vaporub is the best known home remedy you can use to relieve distress of colds. The very moment you rub on vaporub, its relief giving action goes right to work and keeps on working for hours to bring such grand relief. It invites rest, sleep, and often by morning, most of the misery of the cold is gone. So if you have one of those infectious colds, be sure to rub on time tested, home proved Vicks VapoRub.

[B]

This is Victor Jory, ladies and gentlemen. Today's play was adapted from David O. Selznick's famous motion picture Intermezzo. I have had the pleasure of seeing a preview of Mr. Selznick's latest picture, I'll be seeing you. And when you see it, I'm sure you'll agree that it looks like another Selznick success. Now I'd like to ask you again to help me decide about next week's matinee theater production. We have three great stories in mind. One, a fast moving romance from the pages of Cosmopolitan magazine. Some years back. It was called Night Bus and it was made into a well known motion picture starring Clark Gable and Claudette Colbert. The original story by Samuel Hopkins Adams, which we are considering, is about a boy who meets a girl on a night bus. Miami bound for New York. One of the high spots in this hitchhiking romance will be the walls of Jericho. Our blanket made two bedrooms out of one small tourist cab. And another play we've been considering is Alice Dewar Miller's dramatic Manslaughter. The story of a madcap Harris whose reckless driving becomes responsible for the death of a policeman. And another is the famous Van Dyne mystery, the Cat, the Canary murder case. Now, suppose you help me make the choice between manslaughter, the Canary murder case and Night bus. Please write me care of Columbia Broadcasting System, 22, New York.

[C]

Our script today was adapted by Gene Holloway. From David O. Selznick's famous motion picture. And was directed by Richard Sanville. Music for this series is under the direction of Mark Warno. Be sure to be with us next week when Vicks, the makers of Vic's People, rub Vic's veteran All Vic's cough drops and Vic's Inhaler, brings you another great matinee theater production. Starring Victor Jory. This is cbs, the Columbia Broadcasting System.

[B]

Sam.