Anchors Aweigh an episode of Lux Radio Theater

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Episode Transcript

(00:00):
Lucks Presents Hollywood Leaver Brothers Company,the makers of lux Flakes, bring you
the Lux Radio Theater, starring FrankSinatra, Katherine Grayson and Gene Kelly in

(00:23):
Anchors Away, Ladies and gentlemen,Your producer, mister William Keeley, greetings
from Hollywood, ladies and gentlemen,and to that may I add very special
holiday greetings. This time of yearcalls for music, gaiety and laughter,

(00:44):
and so we've gone out of ourway to bring you all free in a
play that so many of you haverequested, Metro Golden Mayre's great screen hit
Anchors Away, and to do itfull justice, we present its three original
stars, Frank Sinatra, Katherine Graysonand Gene Kelly in a delightful comedy romance

(01:06):
highlighted by unforgettable songs. Songs.I'm sure you'll all be humming as you
leave the theater, humming tomorrow,maybe as you wash those dishes in rich
mild luck suns. For especially thistime of year, when entertaining is an
almost daily ritual and time is precious, I'm sure lux Flake's are brightening the

(01:29):
holidays by helping you care for yournice things more easily and quickly, and
in that way, they're promising ahappy New Year to you all. It's
time for Anchors away, and here'sour first act, starring Frank Sinatra as
Clarence Dolittle, Katherine Grayson as Susan, and Gene Kelly as Joe Brady.

(02:00):
It's toward the end of the warand one of our fighting ships has just
dropped anchor in the harbor of SanPedro, California. Among the sailors branded
a four day leave after eight monthsat sea are Joe Brady and Clarence do
it All. Joe, with hisfirst step on shore, instinctively dashed for
the nearest telephone. Clarence as alwaystagging at his heels. Gosh, Joe

(02:25):
looks like every sailor who got leavewants a telephone. Yeah, yeah,
yeah, Hey, fight down.Well Hello, hello, miss Laverne,
Miss Lola Laverne. Hey shut upyour guys? Well yeah, yeah,
can't us see he's talking to us? Girl? Is this the face that
launched a thousand ships? Yeah?Here it's Joe. All right, Hello,

(02:46):
are you beautiful creature? Well,it'll be a couple of hours before
I hit Hollywood. Honey, Iknow what you mean. Baby, Oh
can you wait here? Let's DECIthat later. Baby, After eight months
at sea, all I want todo is look at you for a long
time, Jurol, Harry, goodbye, Honey. Oh thanks fellas. Thanks

(03:10):
really nothing at all, loving atall, Harry. If living we go,
Clarence, all you beautiful, gordious? Thanks you Here we come.
I look, Clarence. Ever sincewe got the Hollywood, you have been

(03:30):
following me. You got a date, haven't you? Uh huh? I
thought you, uh huh. It'salways been like this, Joe. Every
time we hit port, all Ido is go to the library. So
you like books, watch the beef. Well, I thought it'd be fun
to try something different, you know, like going out with girls. But
uh, I don't know how tobegin. I don't give me that,

(03:52):
Clarence. After all, you're fromBrooklyn, Joe. Even in Brooklyn things
can go wrong. What do youmean? Well, right from boys High
School, I went to the cathedral, see and I was the assistant choir
master. Oh yeah, right fromthere, of course I went into the
Navy. And I wouldn't tell thatto anyone but you, Joe. But
do you want a couple of phonenumbers? Thanks? But I'd be too

(04:12):
scared to use him. But whenyou mentioned Lola, I thought you Lola?
Hey, are you kidding? Well, if I could go with you,
I can learn something. After all, Joe, anybody knows you're the
best wolf in the navy. Andbesides, you gotta help me. What
do you mean I gotta help you? Well, didn't you save my life
while I fell overboard? I didn'task you to save my life, So
now you're responsible for me. Sonow how do you like this guy?

(04:34):
Well, look, Joe, what'sthe sense in having your life saved if
you can't have any fun with it? Well? Look, if I find
a name for you and get youstarted, will you call it quitch?
See? That'd be swelled, Joe. I'm certainly Hey Joe, Hey,
look that the police card? Joe? Or what about it? Joe?
That copy? Hey? You saythis? Come here, you guys?
Hey, wait a minute, what'sthe idea? Let's not have any unpleasantness?

(04:56):
Fellas? Now just get in thecar. What do we do?
Look, I gotta day. Itell you all about it it headquarters?
Well, I found a couple ofsailors. Captain here they are. Yeah,
what's the charge? What's the bigidea holiday. Take it easy,
sailor, if you've been in convenience. I'm sorry, but you see this
kid here? Sure, I seethis kid and he's run away from home.
He won't tell us who he isand where he lives. I'm going

(05:17):
nuts. But what will he tellyou that he run away to join the
navy? Oh? Oh, Isee hi, admiral, Hi, sailor,
they want to join the navy?Huh hi? I sir? Okay,
tan shir? State your name inrank John Martin, Sir boy,
where do you live on your road? Hey? Just like that, he

(05:40):
tells him. He wouldn't tell usnothing. Look, mate, it's like
this. Before they'll take you inthe navy, you got to have a
letter from your mother and father sayingit's okay. See but I don't have
a mother and father anymore. Youtake a letter from my aunt Susie.
Be okay for sure? Why not? Okay mcgalli drive him all over to
the kid's house. Oh no,nothing doing. Oh we don't mind,
Joe. It'll take you five minutes. No, no, I can't.

(06:02):
Look what am I gonna do aboutLola? She's waiting for him? Well,
are you sure? It'll only takefive minutes, maybe less even.
Come on, kid, here wego? Okay, Donald, what goes?
I thought you said your aunt Susiewas here. She lives here,
but she went out tonight and left, a nice little kid like you all

(06:24):
alone. Oh but missus Murphy washere, see she left to know give
me that, dear miss Abbott.Donald was a very good boy. He's
fast asleep, so I went home. Missus Murphy she only thought it was
fast asleep. Yeah, fellaw's headand want you to get the wrong idea.
I don't want you to think I'dwalk out on you. But hey,
where are you going? I'm leaving. I got a date with a

(06:45):
girl. Well that's just great.What do you think I got a date
with a duck? Well? Anyway, you want to talk to her aunt,
don't you? Thanks? Fellows say, if he can blow, I
can blow, Lola. John,I'll wait a minute, Joe. You
can't leave me here. What aboutmy being a wolf? You have promised
me, you would promise me.You talk on Susie. You don't help
me what I do? Pipe downa minute, will you? What are

(07:08):
you worry about? Humm? Oh? Things sailor things? You'll understand when
you get older. They used tosay that to me too, Donald,
did you understand when you've got older? Nope, that Aunt Susie. What
can an old lady be doing outthis time of night? Hey, jo'ts
there? She is? Hi,Yunt Susie, Hey Joe, that ain't

(07:30):
an old lady, that's a younglady. Well what got you a home?
Sirly? A fee? Give out? What? And just who are
you giving this little kid all alonewhile you're out having a big time?
Would you mind telling me what you'redoing here? Oh? Sure, we
are a couple of guys that policecall in when I found this kid wandering
around the boulevard. Donald, Idon't apologize to us. Don't apologize.

(07:53):
Come on, Clarence. Well,oh, goodbye, Joe. Would you
promised me? Joe? You promised? Hey Joe, Oh, the kid's
crying. Wait a minute, pleasegive me a chance to explase. Okay,
you're very sorry, but my paland I got plans. See we'd
like to get going. Oh Ihaven't got a thing to do. Well,
I just thought if you could stayfor a little while. You see,
Donald's so upset and oh, nowwait a minute, Donald, what

(08:16):
is this would you promise me Joea letter? Jude, don't go,
don't go look at him, Joe, he's hugging you. What letter?
Well, the kid wanted to jointhe navy sea and I told him about
needing a letter from his folks,And if you give it to me now
I can leave with Joel, canI jee? Well? Uh? Well

(08:37):
sure, but well there's a coupleof things besides the letter, like well,
like can you can you read light? Ah, you can't read light?
You think the Navy takes dopes?Not ever? Well maybe sometimes at
Clarence, Yeah, but even dopesafter reading? Right, what did I

(08:58):
do? Well? The first thingyou gotta do is study hard. Before
you know it, you won't bea dope, all right? Donald?
Know what about bed? Okay't Susie, But Joe's got to check me in
now, really Donald? Oh,we'd be very happy to put him the
bed, won't we. Joe?Huh, Joe, what's the matter?
Joe? You got such a funnylook on your face. You're purplely like?
Okay, kid, now close thosepeepers and hit the sack. Come

(09:20):
on, Joe, you coming backto see me? Sure I'll come back.
Sure, come on, class.Let's blow wait, I always get
some sleep. Look what wants tojoin the navy? Okay, Clarence,
you're the choir master around here.Sing to him Yan sing oh lullable and

(09:41):
good night with rolls right angel aroundmy doll show st lady, No,

(10:03):
undress may thy slum bless lady.No, no, and dress may thy
slum bless. Well he's a sleepant, Susie. I don't know how

(10:33):
to thank you anyway. I've madesome coffee and sandwich. Sorry, we
gotta get join. Goodbye at Susie, and thanks? Thanks again? But
where we go? And Joe?I better phone Lola. It looks like
a buy down the street off phonefrom there. Joe went with that,
that's something I got to talk toyou about. Why about getting a girl?

(10:56):
I mean, Joe, I've seenthe one I want? You mean?
Oh no, Clarence, No,Joe, remember you promised me.
Okay, I promised you, butI didn't promise your aunt. Susie.
Come on, get in a cafe. I got a fall. But loll
a baby. I know you're tired, but what do you mean it's for

(11:16):
my sake? Huh? Okay,okay, no, no, I'm not
sore. I'll be by tomorrow teno'clock in the morning. Oh sure,
all up, that's what you want. Uh, all right, goodbye baby,

(11:37):
Gee Joe, that's tough, man, Joe, what do you want?
I don't want to keep messing upyour plans. But well, we
won't have to look for a girlfor me anymore. We've already found that
Susie. No, I'm gonna findyour dame. That's a dame. See.
But right now we've got to finda place to sleep. Come on,
we'll look up the nearest us.Oh hey, there's a couple of

(12:03):
beds down there for nice pound first, nice leap for you guys. Yeah,
he said, you want to talk. Oh sure, we gotten a
little troubled, didn't we. Wepicked up a little kid, say yeah,
yeah, and one of little kidsthat was, And what another little
kid that she had waiting for uswhen we got home. Such trouble we
should run into every night of ourlife. Unt Clarence, I tell you

(12:24):
never have I seen such dames.Now take this blange. Not that there
was anything wrong with that redhead ofyours. Oh no, no, she
was, Uh, she was ratherinteresting. And this thing you guys should
have seen this kid work. Well, come on, say the kid.
Well we take the dames home.See yeah, yeah, you took a
little slow at first, a littleslow, but well anyway, I asked

(12:48):
my girl for a kid, didanna? She says, no, Well
who won? You were these dames? One happened? Well, I'll tell
you, Uh, that's only theway. He started A pleader. You
should have seen this boy operate.I told her, baby, come may

(13:11):
your show. I told her,maybe you fine? That is well a
technique, I argue, I neversaw such a stubborn name in my life.
Ah threatened. This kid's got musclesthrough. I send your can,

(13:33):
send me home, not like thisis. And I finally got that.
Kids. You tell him brought mehow it happened? She begged me truth
or true? True? She pleaded, don't bending knee to him. She

(13:56):
told me, baby, come onout of your all. This boy was
sensational. She told me, maybeyou'll find that it swells. Tell him
brook, let's up telling him,She argue like wild cat, and she
it's written to practically drew a gunon the boy. She said, you

(14:20):
can no way not like this.Then she find me God, and that's

(14:45):
the moment A stars will return withanchors away. Why are you looking in
the mirror, Libby? Oh,I'm wondering if I'm getting old. Here's
Peggy and Ghana, who was practicallya child yesterday, having her first screen
romance in Thunder in the Valley.That's quite a Who's the Lucky Man a
twentieth century Fox chose Lon McAllister.Oh, it's a very touching love story
with Peggy, Ann and Lawn playingthe part of children of simple Scottish shepherds.

(15:09):
And there's a dog in it whoreally wrings your heart. How does
Peggy like growing up? Well,she says the hardest part of Thunder in
the Valley was making her first lovescenes for the screen, But in real
life she loves being grown up enoughto wear the new luck and graduate from
bobby socks to nylons. That's right. She still gets a kick out of
dressing for a date in a longdress and beautifully sheer nylons. I hope

(15:31):
she knows how to take care ofher nylons well. Of course, she
follows the example of the studio andalways uses Lux, a very sound idea,
seeing that Lux flakes make nylons lasttwice as long. Scientific strain tests
proved that oh, Peggy Ann isa lux fan, and no smart girl
would ever let her nylons be washedwith a strong soap or rubbed with cake

(15:52):
soap. She knows those things makeruns come quickly. Just what our strain
tests showed. Stocking's watch with luckslasted twice as long. Well, the
young fry liked that idea. It'sjust like getting an extra pair of nylons
every time they buy a pair.Let's suggest this new year's resolution to all
the women in our audience for longerwar, give Nylon's nightly lucks care.

(16:15):
We return you now to William Keeley, Act two of Anchors Away, starting
Frank Sinatra as clarens Do Little,Katherine Grayson Susan, and Gene Kelly as
Joe. Well, it's the followingday, and has Joe Brady at long

(16:41):
last had his date with Lola?Well, what do you think with Clarence
around? But Joe, I hadto let you sleep, Joe, you
look so peaceful there in bed,And besides, you needed the rest badly,
didn't you, Joe? Like Ineed a hole in a head when
I did wake up? When Ipolled Lola you know what she told me
to do? Well, do you? That's all? No rough stuff now,
Joe to lay off with you.Joe. Now, late in the

(17:04):
afternoon, and much against his betterjudgment, Joe has allowed Farans to talk
him into calling on Donald and andSusan. Oh what a nice surprise.
We promised Donald we'd come back.And Clarence here boughthom some toys promised to
Doolittle. How sweet of you.Oh that's okay. Where is Donald?
Donald's still in school? Won't yousit down? Speaking of Donald? Aren't

(17:26):
you a little young to be bringingup a kid? Well, I'm all
the family he has. I knowit's hard on Donald. I mean I
never know when in the studios aregoing to call me, Like last night,
Oh you were working last night?I thought you were out on a
date. Oh an actress, huh, what do you know? Yeah,
she wears movies. Well I'm notreally an actress, just an extra.

(17:52):
What I really want to do issing, well, why don't you Oh
that's easy to say. Oh,well, there's always a chance that someone
will hear me. There's some reallygreat musicians at the studios. Takowski and
jose Tourbyby huh m hm. Andthen whenever I can sing, I sing
in a little Mexican cafe. Asa matter of fact, I'm singing there
tonight, So if you'll excuse me, I'd better run up and change.

(18:14):
Well. Look, you want somebodyto hear you sing? Is your boy
right here? Clarence? Huh Clarence, for sure? He used to be
a show. Joe, careful,remember what's your promise? Well, anyway,
you know that funny you mentioned before, a Toby, Well, Clarence
and Aterby are just like this,Joe, please, Joe, Well,
why not tell her? Look,Aunt Susan, why you change address?

(18:36):
Clarence will call up a Turby andarrange for him to hear you sing.
Oh Clarence, do you really meanthat shapely? He means it, don't
you, Clarence? Yeah, yeah, I guess I do. Yeah.
Oh, how can I ever thankyou? Clarence? You see, you
see she's grateful to you already.Now you get a date with her and
for Joe. So I don't knowit. Urby, you lied towards Joe.
You told me you knew a guynamed the Turby in Brooklyn. Yeah,

(19:00):
yeah, Maxaterurby's a butcher. Details, always worrying about details. I
tell you, Clarence, it's asense. Well, Clarence, did you
speak to him mystery Turby? Ofcourse he did, and you got an
audition? When when did he say? When? Do ahead? Clarence tell

(19:21):
her when? Saturday morning, elevenfifteen. Oh, I just don't know
how to thank you. It's well, it's about the nicest thing anyone's ever
done for me. Look, Clarencehas so many things to tell you.
Why don't you too go to thatMexican place together, have dinner and talk
it over. Well, I thinkthat would be a wonderful idea. Swell,
Joe, you better come too.Oh no, I couldn't do that.

(19:42):
I couldn't. I've got a date, Joe. You said you weren't
meeting Lola till ten o'clock. Wellyou two work it out while I call
missus Murphy. She's coming over tostay with Donald again. What do you
want to drag me along for?Because I don't know what a Terby told
me on the phone. Okay,okay, but I'm blowing early stand early

(20:17):
yours and yours. We're very happyto have once again with Susan Abbott to
sing for us chill, see youcan torture me. I sometimes want if

(21:11):
the spell I'm all can only beanoy, But I don't. No one
but me has one your but bynew expre my peace departs, child wa

(21:48):
child, Once again, this jealousythat tortures me ecstasy, misters becomes happen.

(22:15):
You're sat least give the answer.I'm dreaming that Sapwood, your cool
lips and lovers, I bear youand sha the sun my name? Who

(22:52):
may read leave? When you're li'sjust me me, it's all the time.
You are the more to make me. When you're it's just say and

(23:33):
it's all the time. Yeah,jeez, Susie, you were wonderful.

(24:02):
Well, thank you. Where's Joe? Oh, Joe wanted to make a
phone call. Oh yeah, he'sa pretty busy guy. He is.
He's the most wonderful wolf in thewhole navy. Well what about you,
Clarence? Oh I'm fine. Wellwhat I mean is what sort of work
do you do in the Navy guncrew? Hmm? Is it interesting?

(24:23):
Well that's nice, and we missedyou. I bet you did. Clarence.
Hey, Joe, try these Encelada'stheir murder. Your phone was bass
yet, thank you, Pedro,Pedro. Guess who I'm going to sing
for on Saturday morning? Josei Turby, Susi Shoes. Please I tell mama,
Hey, Susie, it's only anaudition. Did you think you ought

(24:45):
to tell people? Yeah? Whatif everything didn't go just right? Well,
you've given him my opportunity. Andif I fail now, well it's
my own fault. Say Clarence,why don't you dance with Susan? Well,
I'd love to, Clark, thanks, but I don't know how to
dance. Joe be glad to dancewith you, Susan huh, well,
oh well, sure, she lookat him dancing. Joe's a wonderful dancer.

(25:17):
I'm such a coward. I don'tknow why either. Why do I
freeze when Susie just looks at me? What makes people act this way about
people? What makes anything? Whatmakes the sunset? What makes the moon

(25:42):
rose? What makes the time?Remember the heart? And why does it
soon rise? What makes the starfwhere does it fall? Why does let's
flight make a stop in the night? And wish this we all you?

(26:08):
And WHA pulls a cloud together andwa makes the stares for blue? What
makes the sun set? What makesthe moon rose? Is it? My

(26:36):
law? For gee? A pythoncould die from such singing? Hey,
who are you one of the waitresses? Oh yeah, yeah? Oh wait

(27:00):
a minute, you're from Brooklyn.Yeah? How do you know? You
too? Yeah? Flat Bush?Sam kind? Well, how do you
like that? You you alone?No, I'm with a girl. She's
dancing. See huh. Oh I'mmiss Abbathah. Oh she's a swell girl.
All right. Yeah, only Idon't know how to talk to her.

(27:22):
I can't ever talk to girls atall. Oh, you're talking to
me, aren't you. Oh it'ssuit different. You're from Brooklyn? Yeah,
yeah, I know. Excuse me, Joe, what did you say?
I said? Most girls are soeasy to figure out? They are.
Yeah, but well you you well, one time you look kind as

(27:45):
if you know all the answers,and then ten minutes later you're like a
little kid. Just when a guystarts thinking, maybe out to buy an
ice cream corner or a doll orsomething, all of a sudden you're grown
up again. I am. Yeah. Yeah, everything it's all kind of
mixed up and interesting. I meanwell, I mean, well, that's

(28:06):
what Clarence said about you. Youknow, he thinks about you all the
time. He does. Who doyou think about Joe? Oh, I
don't know Aunt Susie. All rightnow, I'm a little confused about everything
all of a sudden. I let'sget back to the table. And did

(28:33):
you hear what Aunt Susie said whenwe brought her home, Joe? She
said she didn't know when she'd beenso happy. Yeah, why shouldn't she
be happy with that big, beautifulaudition coming up? Oh? Hit Turby,
Joe, What'll I do? Yeah? And what will I do when
I call Lola tonight from that Mexicanjoint? She hung up on me.
Joe, Look, you just gotto get to a Turby. I don't
know how, but the first thingtomorrow morning, you've got to go to

(28:55):
that movie studio and talk to aTurby. Mister Judy's office. Well,
I'm sorry, mister Whitney, butmister Turby isn't in. Yes, yes,
I'll tell him you called. Wellthen you're mister Brady. Yeah,
I wanted to say, if you'llsit down over there, mister Turby should

(29:15):
be here shortly. Thanks a lotless. I'm strange. I didn't tell
you had an appointment come in andmy name is Susan Nabbott, and I
have an appointment to see mister comeover there. Don't you ever speak the
sailors? Lady, Joe? Whatare you doing here? Clarence is off
having a little chat with Jose andI'm waiting for him to come back.
Come on, let's go have acoke or something. Well, I was
to say, come on, jos, let's go, Joe, I don't

(29:41):
understand. Well I don't understand either. What are you doing here at the
studio? Well, I'm working heretoday as an extra, so I thought
I and that's where you almost madea terrible mistake. Boy, are you
lucky? I was in a Terby'soffice to stop you. But Joe,
why well, well, look yougo to see mister Atterby. Now you
try to talk to him. Seehe's polite but very busy, and it's

(30:02):
just no good. But if youwait till Saturday morning more and Terby's expecting
to see one of these big beefthe opera singer, isn't it, and
you walk in, you'll look likea million dollars. Believe me, Aunt,
Susie, you'll kill him. Well, yes, maybe that would be
better, Joe. Sure, Socome on, let's have that coke.

(30:26):
What happened, Joe, I'll come. He didn't see it, Turby,
I ran into Susie. That's howcome you mean? She she still thinks
she's seeing him on Saturday. Idon't worry, kid. We'll get to
a Turby and tell him it's justa gag and they say it's a swell
fellon. Maybe you'll let her singfor him after all. I don't know
Joe, Joe about tonight. You'llcome with me when I go down to

(30:48):
the Cathey, won't you? No? Clarence said, you see, well
that's Susie. Now she's okay.You see her alone? My Heaven's sad.
Look who's here? Oh? HelloBrooklyn? Yeah, I got a
date with Susie. I'm early.You look like you will go into a

(31:11):
funeral. What's the matter. Well, I'm gonna be alone with it tonight
and I won't even know what theysay. I was such a dope.
Oh what's wrong with you? Mylast night? The first note I heard
you sing, I knew you werea romantical type. Now look I'm hersy.
I'm just finishing supper. I'm sittinghere toy with my cup of Java.

(31:32):
The fellas are playing surf music.I'm looking at you, you're looking
at me. Geeers Well, jeez, thanks, I mean, well that's
swell. First daughter. What elseClarence, Well, well, something like
this. Maybe the charm of youis comparable to a Christmas tree with boys

(32:01):
with little girls and boys when firstplay see the tree. The thrill of
you is comparable to the thrill Ifelt when I first learn of heart but

(32:22):
Side, and you were the reasonwhy and and yeah, if we too
had never men, i'd know yougrace, that warmth of things that only

(32:49):
the angels gain. And so hearingyou with all of these things, it's
all that I can do, becausethey add up to the chan. Gee.

(33:27):
I'd give a month's tips to havesomebody sing to me like that.
Somebody will, Brooklyn, you waitand see you're a wonderful girl. Oh
go on, Hey, here shecomes, Miss Sabbath. I better get
to work. Hello, Clarence,Oh, hello Susan. Oh. I
hope I haven't kept you waiting.Uh uh did you have a nice time
today with Mystery Turby. I sawJoe at the studio, you know,

(33:51):
and he said that you and MysteryTurber. Oh, yeah, yeah,
Susan, Yeah, I remember.Look, Susan, there's something I've got
to tell you. It might makea great difference in the way you feel
about seeing me even but I've gotto tell you. Oh please please don't
tell me now, Clarence, Ilike you very much. But well,
we haven't known each other very long. And well, well, sometimes it's

(34:12):
a mistake to say things too soon, you think, so, Oh,
yes, I do, well,I feel better. I was afraid to
tell you anyway. By the way, where is Joe tonight? Oh,
Joe probably has a date with Lola. He's crazy about it. Oh I
see, I mean, I meanshe's crazy about him, and he doesn't
seem to mind it at all.Well, anyway, Clarence, I can't

(34:37):
begin to tell you how grateful Iam. Oh, gee, An,
Susan's it's really nothing. Why,Oh, it's all my fault. I
didn't watch where I was going.Oh, Clarence, just look, you've
all over a soup. Oh that'sall right, Brooklyn. You hardly touched
me. Do you want to comeout in the kitchen a couple of minutes

(34:59):
next to that oven and you'll dry? I think you better. Clarence it's
all right. I wait for you. Are you getting dried out? Sid?
Oh? Yeah, I'm doing fine. There's a noodle in your hair.

(35:19):
I'll get it for you. See. Thanks. You know, I
wish I could stay here and talkto you. She do. Yeah,
you know something, Brooklyn. Withyou around, well, I feel like
I was home again in flat boys. She thanks, You're welcome, And
that's not all. The more Ilook at you, Brooks words, Hey,

(35:46):
Joe, I thought you had adate with Lola. Where's Susan?
She went to phone. She's checkingup on Donald. I've been waiting to
get you along. Yeah, youhaving fun? Sure all you needed was
a girl. Look, kid,I've been scouting around. I mean about
it Herby and I found out he'srehearsing his orchestra tomorrow morning in the Hollywood
Bowl. Plameel him there for sureus. I don't worry. Everything's gonna

(36:06):
be okay with you and Susan.Yeah, but Joe, I don't want
us, kid relaxed. Just bringher along. Do we see what happens
in the moment. It's no use, Joe. It Turby's in the bowl
and we're here in the street.Gods at every instance even you can be

(36:28):
licked, Joe. We just gotto tell Susie the truth, that's all.
Okay. Well, she's working atthe studio today. I'll try to
find her. Wait a minute,Joe, it's time's up to me to
do it. No, No,I'll tell her. She'll be good and
sore of it. She'll be soreat me. Right, I'll tell her
how it all happened, just becauseyou were crazy about her. Well,
what's the use? We'd do backin sand Peza tomorrow and I'll leave is
practically over, Clarence. Susie's nota girl just for her leave, but

(36:51):
she's a she's a kind of comehome to it. This he'll do it,
Joe. Yeah, there's a sceptingI've been wanting to tell you.
Why never mind, I guess you'reright. Okay, I'll meet at that
little Barney Susie's house about six o'clock. Yeah, sure, okay, Joe.

(37:17):
Clarence, what are you doing herein the middle of the afternoon.
I don't know, Brooklyn, exceptthat I left Joe about three hours ago
and I started walking and well hereI am. It's not the truth.
I do know why I'm here,Brooklyn I love you. Oh no,
Clarence, Now you love Susan.I did, but I but I don't.

(37:42):
I mean, I know it's awful, but I can't help it.
I love you. I don't thinkit's so awful. Clarence. Well,
yes it is. It means that, well, it means that I'm fickle.
But but say you'll marry me,Brooklyn, Please say you'll. Oh
no, no, Well, I'vebeen in such a daze about you.

(38:04):
I forgot that that Joe is seeingher. Now he's making me out a
big guy. So she liked me, Susan, I mean, and I
don't want her to like me.Oh. Every time I leave that guy,
I get and subbled Joe. Wecalled now Partation Identification. This is

(38:30):
CBS, the Columbia Broadcasting System.Our stars will return with anchors away in

(38:55):
just a moment. We're delighted tohave as our guest this evening, one
of Hollywood's more talented young actresses,Miss Mona Barret. Mona's just finished playing
in the screen version of Sinclair Lewis'sfamous novel cast Timberlane. Right, Mona,
right, mister Keeley. And Iwas very grateful for that part where
you are surrounded by a fine castMona with Spencer Tracy in the title role,

(39:19):
and Lana Turner is the woman heloves. Has indeed a dynamic combination
then as Zachary Scott in that suave, menacing type of role he does so
well. Great stars and a powerfullyemotional love story brought to life by that
fine director George Sidney, who incidentallyalso directed the picture we're presenting here tonight.
You know, mister Keeley, LanaTurner is becoming so versatile. I

(39:43):
expect any day the Big League Baseballis going to make her an offer.
You mean after that Sandlot baseball sequencein the picture. Yes, you should
have seen her practicing. She hadpinny of falls, but that didn't stop
her. I felt sorry, though, for the wardrobe department having to freshen
her tomboys, shorts and shirts.So John Kennedy can tell you why you
needn't have worried. That's right,mister Keeley. At Metro Golden Mayor,

(40:06):
where they filmed cast in Berlane,they use lux flakes for everything washable,
as they do at other leading Hollywoodstudios. Well, I should have known
when I saw how wonderful they lookedevery time. After all, I'm a
lux fan myself. With the studios. Lux care is a matter of saving
dollars and cents. It's so safefor colors, keeps them new looking up
to three times as long. That'sreally true, proved true by actual washing

(40:29):
tests. When colors were washed thewrong way, they soon looked faded and
old. That's what strong soap,hot water and rough handling can do.
But when the laboratory took identical fabricsand washed them the Lux way, they
stayed color fresh up to three timesas long. And what girl doesn't appreciate
that nice's new LUs look these days? Right? You are keeping nice washables

(40:51):
new looking up to three times aslong is a fine thing for the budget.
Thank you for coming tonight, missMona Barry. Back now to our
producer, William Keeley. Act threeof Anchors Away, starring Frank Sinatra as
Clarence, Katherine Grayson as Susan,and Gene Kelly as Joe. Poor Clarence

(41:19):
Dolittle. He's so in love withthe waitress from Brooklyn, he forgot all
about the fact that Joe's been patientlywaiting at the Picture studio to see Susan
to tell her the truth about themake believe audition and shoulder all the blame.
But there's one fact Clarence couldn't possiblyknow. Joe Brady's fallen quite hopelessly
in love himself with Susan. WhyJoe, I didn't know you were here?

(41:45):
Well, Susan, ay through shooting? Can I talk to you?
What would you like to say?Joe? Well, oh, well,
perhaps I can tell you Clarence isa very fine boy. Oh. I
know that you saved his life,so you owe him something. You've decided
that he's just about right for me? Does that about covered? No,

(42:05):
now, that doesn't come anywhere nearit. Oh yes, and you well,
you like a very definite type ofgirl, and I'm very definitely not
it. Don't be mad, aunt, Susie. I'm sorry, but is
it? Joe? Well, Susie, what I've got to tell you?
Well, well, it's not veryeasy. But oh, the same thing
happens every time I'm with you.I hear myself saying words that never have

(42:28):
anything to do with the things Ireally feel about you. Well, all
I know are the things you say, Joe, and I don't like them.
But I've never said what I reallywanted to say because because my way
of saying it just isn't good enough. Well, then there must be some
other way. Oh sure, surethere is. It comes right out of
Romeo and Juliet and Three Musketeers andall that stuff they say in books and

(42:50):
movies. Yeah, yeah, movieslike they're making here now. They're full
of words I want to say,but I can't. Did you ever think
of trying, Joe? Uh,he'd laugh at me. I'd laugh at
myself. Words like that don't gowith sailor suits and four day leaves in
the world we live in. Butyou see that scene me over there,
that's for the picture we're making.Yeah, long ago. Make believe that's

(43:15):
tough. A whirl of cloaks andswords and uh. I don't know if
if you lived in a place likethat, I could tell you. Oh
Joe, why don't you tell me? Please tell me? All right then
I will, Susan. I loveyou, I love you. You're a

(43:50):
little late, Joe, sef pastsix. I'm sorry. Clarence, Joe,
yeah you uh yeah, or nothing, Clarence. Yeah, Joe,
If I was to tell you that, I nah, it's been a hot
day, hasn't he Why tay,they give me a beer. Joe,
look I got oh, Clarence.You look, Clarence. Sometimes things happening,

(44:14):
well, you just can't help them, see you. Well, you
meet somebody and you don't think it'sanything, and then well, all of
a sudden, it is something,and I gee, that's exactly the way
it happened, don't I know.Yeah, it's wonderful though, Well it
could be, but not when youdouble cross a pal. Why did you
find out, Joe today? ButI've had a hunch you bought it pretty

(44:34):
nearly from the beginning you did.Yeah, it's funny. I didn't nothing
until I kissed her. Huh.Of course last night when she dropped the
noodle soup on me. I shouldhave known then. The waitress, Yeah,
gee, she's a terrible waitress.Oh no, no, Joe,
you mean you mean you're not soNo, No, I'm not sore.

(44:57):
She saw Susie Susie. No,I wouldn't say she acted so No,
not at all, even when youtold her there wasn't going to be any
audition, idiot. No, Joe, Joe, you mean you didn't tell
her? Well, what did youtell her? What could you be talking
about? All this time. Oh, just things, Joe. You're in

(45:24):
love with Susan yourself. Yeah,you see, I'm not such a dope,
Joe. You're going to ask herto marry, aren't you, Joe?
She i'd sure like to. Wellwhen before or after? She doesn't
have the audition with a Turby Aby, Clarence, I gotta get to a
Turby. But where he's got tolike someplace, he's got to have someplace.

(45:47):
He calls home. Home, Home, Clarence Home. Come on,
yes, gentlemen, Oh, goodmorning. You're the same sailor's were here

(46:07):
last night. All night we sleptunder the tree. Oh I'm terribly sorry,
but he gave a concert last nightin Beakers. Yeah you told us
that was last night. But he'sjust phoned. He's going straight to the
studio. Oh thanks, she wears. That's awful. What are you gonna
do, Joe? You know abus leaves at noon. Well I'll go

(46:30):
straight to suit his house and stopher before she leaves for the audition.
And I look, Clarence, don'tlet this spoil it for you. Kid.
You go to see Brooklyn. Youhaven't got much time. I'll be
glad to go with you. Joe, Nah, be it palace. This
is something I gotta handle myself.And I've been worried, Joe. I

(46:52):
was afraid you wouldn't come and seeme again. Donald, You don't think
I'd go away without saying goodbye,Joe. If you're looking for somebody,
Aunt Susie isn't home. She wentto the studio and you can see mister
Murphy though. No, thanks Donald, Look, get I I've got to
get back to my shipping. Well, will you tell Aunt Susie something for

(47:15):
me? You tell her that Itried awfully hard to make things come out
right and I'm awfully sorry it hadto end that way. Have you got
that? Yes, sir? Good? Well, thanks Saylor. Thanks.
Well here you are, Susie.You're coffee and donut. Thanks Eddie.

(47:36):
I wouldn't have kept you waiting,but seeing who you were just talking to,
boy jose A Turby. Oh andI'm the biggest fool you ever saw
you. No, wait a minute, sure I was talking to him,
Eddie, didn't you hear me?Good morning, Mystery Turby. I'm so
excited imagine running into you here inthe cafeteria. Huh, Susie, what
is this? What is it.It's just a joke of the month.

(48:00):
Oh, I was foolish enough tobelieve in someone. I thought he was
my friend. He told me itarranged it all with Mystery Turby. You
mean you were gonna sing for Aterbyand everybody knew about it for a Turby.
Oh, I'm sorry, Eddie,I just can't help. Oh,
Eddie, Hey, do you knowa girl named Dabbat Susan Abbot. That's

(48:21):
her right there, miss Green,and she's feeling so well. Maybe I
can make her feel better, MissAbbot. I'm mister Turby's secretary, remember,
Oh, oh, yes I do, and I promise I won't ever
bother him again. You see,I didn't need to know either, miss
Abbot, but he knows now.He thought you had an audition for eleven
fifteen this morning, didn't you.Yes, I made a terrible Well,

(48:42):
mister A Turby thinks a screen testand audition would be much better. He
won. Well, I would havecome sooner, but I've been busy phoning
Quadrobe and makeup. Here here,your instructions are on this paper. Stage
three, Miss Abbot at eleven fifteenfrom the Horror how long he polled?

(49:07):
Came a song for the girl headored. Though she tried very hard not
to shine. She was terribly,terribly bored. But then the poet asked
her if she might lose and hereyes show and the Moon show and the

(49:32):
Star show to gather Layway music loveablea moment as they walked, so she

(50:15):
tried not to show. You couldsee her alive, not two women as
they walked through the roll night itshabitat was wonderful. Come to my office

(51:00):
as soon as you're through talking tomister. Oh, thank you very much,
young woman. You're going to bea star. Look, Joe,
just because we're off duty, whatdo we have to sit here and quart
us for? All you do issit and stare. I'm looking at the
harbor. We're shoving off tonight.Aunt. Well, it'll be a long

(51:22):
time before we see land again.Want it? Don't give me that.
I got to write Susie a letter, Joe. I don't have anything to
tell her. We'll tell her you'resorry. He knows, I'm sorry.
How does she know? Clarence Hughwrite a letter? Will you write Brooklyn
tool letters? I watch some socks. I go to sleep, but don't
Joe d what's the matter to Jo? D Oh, excuse me, sir,

(51:44):
I didn't see seven Brady door,little hi iSER? Why and Juman
on deck? Don't you know ifthere's a big entertainment program about to start?
Don't you want to see those Hollywoodstars? But we're off duty,
sir, and well, I guesswe don't feel like being entertained. Oh
you don't, don't you. There'sa man named Turby. I'm born asking
for you. It's Herby. He'sasking for us. You've heard me halft

(52:05):
down the quarter deck, get going, he said, after deck Joe.
But I wouldn't know it, Terby. If I Brooklyn, what are you
doing here? Are you complaining?Honey? Brook Joe? Hey, Joe,
look at me. I'm kissing her, Joe, I'm hugging her.

(52:25):
Joe, Hey, Joe, I'ma wolf immer. Hey, where's Joey
with the bandits? Who? Look? Aunt Susie? Yeah, Aunt Susie.
All hands attention, All hands attention. And is man. I've been
requested by our guest of honor,mister A. Turvey, to grab a
young artist' permission to make her debutright here. Therefore, I'd like to

(52:47):
introduce the singer discovered by the UnitedStates Navy. Miss Sue, it's Susie.
There's Joe. These are Joe,Joe Susie. Therefore, in about
five minutes, I'd like to introducea young singer discovered by the United States

(53:09):
Navy. Meanwhile, I am surethe band has something to contribute, Yes,
sir, However, our cars willreturn to their creaking calls in a

(53:36):
moment. What's that book you're readingLibby? A book of riddles. Let's
see how smart you are, John, Here's one. What word of five
letters is never pronounced? Right?You have me there, it's wrong,
w R N G C. Trythis. Why is a bride grew more
expensive than a bride? Oh?I give up? What's the catch?

(53:57):
The bride is given away, butit's going to cost him plenty after they're
marriage. Oh not. If she'sa lux bride, for instance, she'll
get three pretty slips for the priceof one. And that's no riddle.
Ladies, we know by actual washingtests that slips and nightgowns wash the luxe
way stay lovely three times as longidentical slips washed the wrong way with a

(54:17):
strong soap, hot water, andrough handling. Look faded and old very
soon. So if you wash yourundies the luxe way, it's like getting
three lovely garments for the price ofone. And that's especially important these days
when our dollars have to stretch likea rubber band. Lux Flakes are real
budget stretchers because there's such thrifty carefor all your nice things. Here's mister

(54:40):
Keeley at the microphone for rounding outthe year on such a happy note.
Our thanks to Joe Pastenak, whoproduced Anchors Away, and to the stars
who brought it to our stage.Frank Sinatra, Katherine Grayson, and Gene
Kelly. You've set a challenging standardfor us with tonight's performance. Well,

(55:04):
Bill, we're very glad that yougot back from Washington in time to join
us. Yes, and what's thisI hear about your making off with the
door to Jay Edgar Hoover's office.Well, we had to get a shot
of that door, so instead ofcarting our cameras upstairs, we just stole
the door and brought it down.Well, that's quite something, stealing a
door from one of the FBI's nose. Actually, the FBI was most cooperative.

(55:25):
We'll be looking forward to seeing thatpicture when it's finished. Bill.
Thanks Frank, and I'm looking forwardto the film that you and Catherine just
finished for Metro, Golden Mayor,The Kissing Bandit. Well, all I
can say is that Frank's voice isas good as ever in that picture.
Well that matter, that husband,you keep it home is no slouch either,
you mean, Johnny Johnston. Heand Catherine make a fine duo.

(55:46):
As for you, Jean, we'rehappy to see you on your feet again.
Yes, after all those broken legs. I'm sure Jean's fans are anxious
to know if you'll ever dance forthem again. Well here's my answer,
Frank laid on this kid. Yes, her looks like the old Kelly James

(56:07):
and Jeans fan fans will have achance to see him dance when MGM releases
his next picture called The Pirate Say, speaking of pictures, Bill, what's
playing here next week? Next MondayNight? To start the new year off
with flying colors, We're presenting RKO'sgreat comedy success, The Farmer's Daughter,

(56:28):
with its two romantic stars Loretta Youngand Joseph Cotton, and lovely Loretta has
I think the most entertaining role ofher career in this gay adventure of a
Swedish housemaid grappling with love and politics. A wonderful way of saying Happy New
Year, Bill, good night,good night, and best wishes to all
three of you. Before we meetagain. The old year will have passed

(56:57):
us by, and with it speedout our outworn prejudices and mistakes. We
stand upon the threshold of new opportunity, the chance to strive anew for tolerance
and justice, to the end thatall mankind may truthfully look forward to a
happy new year. Leave a brother'scompany. The makers of Lux Lakes join

(57:29):
me in wishing you the best ofhealth and happiness in nineteen forty eight,
and we invite you to join usagain next Monday evening, when the Lux
Radio Theater presents Loretta Young and JosephCotton in The Farmer's Daughter. This is
William Keeley saying good night to youfrom Hollywood. Frank Sinatra, Katherine Grayson

(57:55):
and Gene Kelly appeared by arrangement withMetro Golden Mayor for due of the Technicolor
musical Good News, starring June Allisonand Peter Lawfer. Heard in our cast
tonight were Francis Robinson as Brooklyn andJohnny McGovern as Donald. Our music was
directed by Lewis Silvers, and thisis your announcer John Milton Kennedy, reminding
you to join us again next Mondaynight to hear The Farmer's Daughter with Loretta

(58:16):
Young and Joseph Cotton. Pepsident oneby three to one. Yes. In
a recent survey, families throughout Americacompared New Pepsidon toothpaste with the brands they'd
been using at home by an overwhelmingaverage of three to one. They preferred
New Pepsident with Arium over any otherbrand they tried. They said New Pepsiden

(58:38):
toothpaste tastes better, makes breath cleaner, makes teeth brighter. Yes. With
families who made comparison tests, Pepsidentone by three to one. The short
Listen next Monday night to the LuxRadio Theater presentation of The Farmer's Daughter with
Loretta Young and Joseph Cotton. Staytuned for My Friend Irma, which follows

(59:01):
immediately over most of these stations,Listen to CBS to Columbia Broadcasting Christo