April 27, 2024 • 59 mins
Lux Radio Theatre, sometimes spelled Lux Radio Theater, a classic radio anthology series, was broadcast on the NBC Blue Network (1934–35) (owned by the National Broadcasting Company, later predecessor of American Broadcasting Company [ABC] in 1943–1945); CBS Radio network (Columbia Broadcasting System) (1935–54), and NBC Radio (1954–55). Initially, the series adapted Broadway plays[1] during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. The series became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
The primary sponsor of the show was Unilever through its Lux Soap brand.Broadcasting from New York, the series premiered at 2:30 pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922–24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935, to May 25, 1936, when the show moved to the West Coast.[2]Famed studio executive and film producer and director Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
That initial episode with DeMille featured stars Marlene Dietrich and Clark Gable in The Legionnaire and the Lady. On several occasions, usually when he was out of town, he was temporarily replaced by various celebrities, including Leslie Howard and Edward Arnold.
The primary sponsor of the show was Unilever through its Lux Soap brand.Broadcasting from New York, the series premiered at 2:30 pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922–24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935, to May 25, 1936, when the show moved to the West Coast.[2]Famed studio executive and film producer and director Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
That initial episode with DeMille featured stars Marlene Dietrich and Clark Gable in The Legionnaire and the Lady. On several occasions, usually when he was out of town, he was temporarily replaced by various celebrities, including Leslie Howard and Edward Arnold.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:02):
Lucks Presents Hollywood The Lux Radio Theaterbrings you Spencer Tracy and Ingrid Bergman in
(00:25):
a Man's Castle, Ladies and gentlemen, your producer, mister Cecil B.
Demill, Greetings from Hollywood, ladiesand gentlemen. It's a rare week when
I'm not asked by some trusting soulto reveal the secret of stardom in a
(00:48):
nutshell. I'm always very flattered,because that's a question nobody's been able to
answer. Yet. The best Ican do is to say that every truly
great star possesses at least one oftwo great qualities, power and authority.
Then I tell them to go andwatch Spencer Tracy, because he possesses both.
Of course, two other helpful starqualities are beauty and glamor. Unfortunately
(01:14):
I can't credit either of these toSpence, But whatever he lacks in this
department is made up to night byhis co star from the David O Sells
Nick Studio, the greatly gifted actressIngrid Bergmann. Not long ago I saw
these two together on the screen,and the power of their scenes convinced me
then and there that the next timeSpencer Tracy was on this stage, Ingrid
(01:37):
Bergmann should be his leading lady.So here they are together again in a
play that gave Spence one of hisbest picture Rolls A Man's Castle, adapted
from the Columbia picture. This isa story of two young people whom the
world passed by. It's a simplestory. They're not great and famous people.
(01:57):
They they don't want to be.They're a kind of people who don't
give up when the brakes go againstthem, and their love story is the
kind that makes great emotional drama.It's a play that I'm sure we'll bring
a thrill to every member of ouraudience and a caste. That's a reward
we really owe to the millions ofmen and women for the support they've given
our product, Luck's toilet Soap.I said, men as well as women,
(02:23):
because we've been getting a number ofletters which which make the same point
as this one from a lady inLouisiana. She writes, dear mister de
Mille, you always speak of yourproduct being used by the ladies. We
don't forget men like it too.Recently, my husband and I took a
trip to the military Maneuvers to seeour son, who is a corporal and
(02:44):
a medical regiment. The boys werestationed twenty miles out in the woods.
When it came time for dinner,one of the boys got a basin a
pail of water so we could washour hands, and to our surprise,
this soldier also brought out a newcake of your Luck's toilet soap. So
you see Uncle Sam's boys like lucksoap too. Thank you, madam,
(03:05):
We do see, and we arevery proud of that compliment. Our stars
are at the microphone. Now,the cast is on stage and the curtain
goes up on the first act ofA Man's Castle, starring Spencer Tracy at
Bill and Ingrid Bergmann as Trina,with Arthur Whole as Bragg and Edgar Barrier
as Ira. It's a few yearsago, in June nineteen thirty three,
(03:36):
to be exact. Prosperity is justaround the corner. On a park bench
in New York City is a youngman, a sartorial sensation in evening clothes,
complete with tails inverness cape, oprahat and cane. With grand nonchalance.
This modern Beau Brummel is tossing popcornto the pigeons. He steals an
(03:57):
occasional glance. At the other endof the bench, got a girl who
sits there, shabbily dressed but defiantlyneat. The girl is acting very strangely
as she watches the pigeons eating thepopcorn. There's a desperate, almost hysterical
look in her eye. The manan evening cloth, studies her for a
while, then speaks quietly. It'sa matter. Come on, spell it.
(04:23):
I've been watched you to talk toyourself ever since you sat on You
look like you were rehearsing something.What is it? Please? I'm sorry,
come back here. What's the rush? Let me go, Let me
go. I'll what, I'll getdown on my hands and knees for some
of that popcorn. Hey, whatis this? I thought I was on
all the panhandle and routines. Orare you the little girl reporter working on
(04:46):
a SOB story? Please let mego a minute. Are you really hungry?
Come on, talk up? Areyou hungry? I haven't eaten in
two days? Two days? Whynot? I haven't any money, neither
the pigeons, but they eating regular. Yes, must be wonderful to be
a pigeon. There's always somebody throwingcrumbs to them. You had the brains
(05:08):
of a pigeon. You wouldn't behungry. Come on, let's go eat
eat You mean it? I saidit did night. Come on, but
where are you taking me? Well? The ritz roof is open, oh,
the rits roof. No, no, I didn't ask for anything like
that. I can't go there inthese clothes. Shut up. Clothes,
got nothing to do with eating.You want anything else? Oh? No,
(05:40):
thanks, No, there is plenty. Yeah, you know, for
a pint size like he, youcan certainly put it away. All right,
you're hungry, all right? Butdo you think I fell for your
line of whoey? You're crazy?Nobody ever has to starve on a town
like this? Why not? Becauseyou know there's food all over the joint?
Hung Yes, but you have toget me ready to eat it.
Were you ever out of work forall years? Sure? Having out of
(06:03):
work all my life, the unemploymentproblem never bothered me. And yes,
that's all right for you because you'rerich? Are you wear your tails and
your top hat and neat steaks offootsick? You got what it takes?
Sure? I got what it takes. I'll prove it to you. Hey,
waiter, come here, Yes,sir, call a manager tell him.
(06:26):
I want to see him, why, sir? Is there anything wrong,
sir? No, No, everything'sswell. I just want to see
the manager, that's all. Yes, sir, you know you shouldn't never
ought of skip meals. That wasthe best food I ever ate. Gee,
I feel better now, Yeah,you look better? You know if
you've filled out a little, youget buying a crowded that. You can't
help the way you're made? Whycan't you good evening? Sir? What
(06:49):
can I do for you? Hello? Are you the manager? Yes?
Sir? Do you want to seeme? Yeah? Sit down? Why
yes, sir? Well, sir, you know, mister is supposed to
be twelve million people in this countrywithout work. Did you know that?
Why? Yes? But yeah,and a lot of them are starving,
so they tell me. Now,you take this young lady here for instance.
Up to an hour ago, shehadn't eaten for two days, so
(07:10):
I brought her in here and fixedher up. She feels swell now says
it's the best food she ever read. I'm glad to hear that, thank
you. Yeah. The only troubleis she ain't got a scent, and
neither of I. Oh watch that? Oh you mean you can't pay for
this, that's the idea. Sothe feed's on you, brother. Oh,
now you know there's a lot ofways of handling a case like this.
(07:30):
You can call a cop and havethe pair of us thrown in the
can. Out just a minute.We're sent to the island where we're fed
by the state for thirty days atleast. The more bums the state has
to feed, the more taxes youpeople have to pay. If this is
your idea of a joke, ah, wait a minute, this is one
of the joints that throws out andleft over grubbing a week to feed a
thousand people. You can afford oneon the house once in a while.
Am I right or wrong? I'lltell you what I'll do with you.
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I'll put it right up to yourown customers here. I'll ask them whether
it's right for you to let somebodydie of hunger right outside your dump.
If they say I'm wrong, I'lladmit it. Ladies and gentlemen, According
to the newspapers, there's a lotof hungry people in this town. No,
we don't shut up. Go on, get out of here, get
out. Okay, the case isdismissed. Come on. There's nothing like
(08:13):
a good walk after dinner. Thanksfor the feed, brother, Get out,
Get out. You shouldn't have donethat. We might have been arrested.
Don't be a dope. Where doyou live? I might as well
take you home. That'd be allright if I had at home. What's
the matter with you? Haven't yougot anything? No? What do your
(08:35):
figure on spending the night? Idon't know. Have you got a grip?
No? Well I'll get one somewhere. Then go to a hotel and
register, stay outly hand your billand then tell him you're broke. Well,
then what happens and they throw youout and you go to another hotel.
Oh no, I couldn't do that. I'm be afraid. Do you
(08:56):
live in hotels that way? No? I got no use for hotels.
Tell me what do you do fora living? I live, yes,
But I mean you must do something. Uh those clothes evening close? Yeah,
don't let them fool you. Here, look at the front of my
shirt. What do you see?Why? Just just in front of your
shirt? Yeah? Now watch?Oh, now what do you see?
(09:20):
Oh? It lights up your ownchest? Lights up? Sure you see
what it says? Or can't youread? Either cavalier barbershop, sixteen chairs,
no waiting. Oh, why you'rean advertisement? Yeah, sure,
that's it. I'll walk an adtwo bucks a night for this. All
you gotta do is stroll up anddown, flash the light out and off.
Oh is this is this your regularjob? No, I don't believe
(09:41):
in regular jobs. I'm only doingthis for a friend of mine. I
suber form on this night. Off. Oh, I see, well,
I suppose I'll have to get youa place to sleep tonight. What's your
name, Trina? Trina? That'sawful. I think I'll just call you
hoose Its. What's your name Bill? Bill? Bill? That's nice.
(10:18):
Well, here we are. Who'sthe river on one side and the railroad
tracks on the other? Is thiswhere you live? Yeah? Yeah,
Bagville and the Hudson built right smackon the city dump party like it.
It's wonderful. I've been to NewYork all year and I never knew there
was such a place. Yeah,that's one of the best things about it.
The privacy. Of course, it'sjust a lot of shacks, you
(10:39):
know, but it's the only wayto live. No rent, no taxes,
running water, a whole river ofit, and the whole dump is
lousy with southern exposure. You hearthat, that's what I like best.
Them train whistles to remind you ofother places. You hear them all night.
Don't you love the sound of it? Well, it's it's no,
it's it's scary. Huh, gangway, get out of my way?
(11:01):
Here I come. That's what itsays, like a long distance call.
Come on, which one of theseshacks do you live in? I don't.
I don't. Mostly I sleep inthe open when it rains. I
take my choice. There are aremy pals here. I can bunk with
any one of them. They mustbe very nice people, the best.
You know. It's funny when peoplegot nothing, they act like human beings.
(11:24):
We get along fine here. It'sjust like one big, happy family.
Get away from me. I tellyou don't follow me. What's that?
That's a guy named Bragg. Youdon't get along so well with his
girlfriend? Come back here? Youdon't just stay in riper yard? Did
you hear what I say? Ifthey go, I'll bring you can't too
tiny, I'll kay your first acrag. Hey, Breg, what do
you want? Why don't you letFlassy alone? Why don't you mind your
(11:46):
own business. Let her alone.I'll come over there and help her clean
up the place with you. Nothingthat's better. I was gonna ask Flasy
to put you up for the nightfor maybe any so well I could sleep
in the open. I guess no, no, no, that takes training.
I got a bear left this shackright over here. Who lives here?
(12:09):
Friend of mine? His name isIra? Hello, Irah? What's
the good word? And seeing themultitudes, he went up into the mountain
and his disciples came onto him,and he taught them saying, blessed are
the poor in spirit, for theirsis the Kingdom of Heaven. That's the
good word. Hello, William,Eh, it looks like that Gideon Bible
(12:31):
I swiped out of a hotel lastweek. Bibles can't be stolen. The
good Word is free. I onlywish I could get you to read it,
William. I did, I did. I skimmed through it one night.
There's some very good reading in it. There's one place, especially the
songs of Solomon. Great stuff.Who's its meat? Ira? Ira used
to be a minister. Now isa night watchman. Not used to William.
I am a minister. If Ichoose to live down here. I
(12:52):
have a reason. Yeah, sure, sure. Anyway, this is Who's
how do you do? Very nicely? Thank you? Yeah, nicely.
Only she ain't got a place tosleep. I thought maybe after you checked
out you could camp here for thenight. Of course, welcome when you
go to work eleven thirty. Okay, so you'll check in about twelve.
I thank you from the bottom ofmy heart. Nuts, Come on,
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where are we going now? Whatdo you care? You want to see
where I sleep? Yeah? Whereyou see that barge over there? Huh?
Right there? Oh. The reasonI like to sleep on that barge
is because there's no roof on it. Oh, it must be wonderful with
the water rocking you like a cradle. Oh. Look at those ships that
were the sails. They look sopeaceful and contented. God, they've been
(13:37):
laying every years, riding away withbarnacles. That's what you get when you're
anchored. Weren't just the same.It's ressful, RESTful. Yeah, so
it's a graveyard. Bill? Whatyou're a funny guy? Bill? Yeah?
Why, I don't know. Whatdo you do when you're not walking
around with your chest lit up?Lots of things or maybe nothing at all?
(14:00):
Sometimes I walk the stilts still upon Broadway. Oh, I know
what you mean, A way upin the air, all those long wooden
legs with a sign on your back. Yeah, that's it. It's fun.
I wouldn't do it if it wasn't. I like being up there looking
over the heads of the crowds.Hey, you're a pretty nosy day,
man't you. Oh? I don'tmean to be. Forget it, Bill,
(14:20):
I want to thank you. You'vebeen so good to me. I
got your free feet, and that'swhat you mean. I guess you need
somebody to look after you. Maybemaybe you need somebody to look after you
too, Bill me. Oh,I don't mean like that. But well,
who who cooks for you? Huh? Washes your clothes and things like
that? Nobody? I do itmyself. But wouldn't it be better if
(14:43):
you had somebody? Listen, who'sit's don't go getting any funny ideas.
Oh no, I don't like beingtied down. See. I live alone
because that's the way I like tolive. I sleep in the open because
that's how I like to sleep.I say what I want and I do
what I want, And that's theway I'm gonna do things all see,
But I wouldn't tell you. Howcould I? Sure? How could you?
I'm like the wind. You can'tgrab air, can you? Or
(15:07):
can you? And reign it within? And the Holy Spirit ever won God
world without end. Amen, thosewhom God had joined together, Let no
(15:28):
man put asunder. Of course,this isn't a church, but I am
a minister, and the words arethe same. In the eyes of God.
You are now man and wife,Man and wife. Bill, did
you hear? Yeah? I heardthose whom God hath joined handcuffed? You
(15:52):
mean? Oh? Oh, Bill, you said you wanted Yeah, sure,
I get weak, but I toldyou what it means right next to
nothing. I know, Bill,it's just the idea. I know,
(16:22):
Lo tna. Where'd you get allthat energy done? Every time I see
you your work? Oh, Iwas out of work for all year making
up the last time. I guessthis kind of work isn't real work.
It's fun. Yeah. You're theonly woman I ever know who had seven
wash days a week. Oh.Bill's particular, and I think that goes
next to his skin must be clean. I guess he's the cleanest man in
(16:45):
the world. One of these days, maybe Bill get me a washing machine.
But that isn't so important just yet. The main thing is to store.
Bill's going to get me a realstore for a joint like this.
What's the matter with the one yougot? Ah, you can only make
stew on it. I could cook, build some wonderful things if I had
a real stone. He's going toget me one too soon as it gets
the money. Who ever heard ofa bendle stiff getting money? And what's
(17:11):
the bindlestiff? A hule ball can'tstay put except maybe in jail. Bill
can make all the money he wantsif he wants to. It's got personality
Bill has. He's different, itwas different. Would he keep you here
in a dump like this? What'sthe matter with your flossy? How can
you say things like that? Thisisn't a dump? Not to me,
it isn't. It's it's like it'swhy. Oh, I can't find the
(17:34):
word. You know? Them themthings they got in the middle of the
streets. But people can stay tilltraffic say, what do you call them?
Safety zones? Yes, that's it, safety zones. That's how I
feel about this place. It's likea clearing in the forest, quiet and
safe, peaceful. Oh, that'sthe only thing I don't like those train
(17:56):
whistles. Hmmm. And yes,I know why you don't like getting scared?
Aren't you always wondering if that manand yours will be on one of
them trains some days? No?No, Bill's good to me. It
gives me everything I want, Yeah, except maybe a stove. You see,
(18:27):
Bill, look at that one overthere in the back of the window,
queen of the kitchen, a stoveto be proud of. Come on,
let's get out of here. Iain't no window shopper. Oh it's
beautiful, isn't it? And cheep. Only five dollars huh, five dollars
for a stove, five dollars down, that is, and only two dollars
a month for only twelve months.And no interest. Yeah, no interest
(18:48):
is right. As far as I'mconcerned, I don't go for not nanny
and storeman plan In only a yearthe store will be ours. Oh yeah,
you think about a hang around thistown a year? Oh it's such
a beautiful all around. I'm kindof a store. Get it, Go
on home, beat it. Whataren't you coming to? Not yet?
What's for supper tonight? Stu?Stu? Go on home? M all
(19:12):
right, come down close to me. I want to whisper something. What
I love you? Goodbye? Kissingme in the street. Now it's that
killed. Huh Queen of the kitchen. Five dollars down, Queen of the
(19:37):
hey, brag brag? Hello,Bill? What's doing nothing? I've been
looking for you? How about thattwo bucks? Yell me? What are
you hounding me for? I've beenworking my head off, trying to get
dough to pay off when I'm workingright now? You don't look at what
kind of work? Seven of summonsyou get two bucks a throw, but
there's one so tough as a bonusgoes with it. Ten works for this
(20:00):
one? Why don't you serve itand get your money? Why don't I?
What are you suppose I've been tryingto do for three days? It's
for a dame and the show we'resinger named Phila Rue. You can't get
to her? What do you meanyou can't get to her? She's got
a bodyguard. I'm the third guythat's tried this week. Ten bucks?
Huh? Hey suppose I serve thissummons for you? I could use five
bucks? Will you spit? I'mtelling you you can't do it. Every
(20:22):
time she comes off the stage.She's got a bunch of gorillas around her.
You can't get near her. Youhave tried giving her to her while
she's on the stage. Huh,you're not okay. I'm nuts. Will
you spit with me? Sure,but you can't get to her. Those
gorillas will murder you. I'll takecare. I gotta touch a gorilla and
me myself. I've given on mylong to you. I've given you what.
(20:59):
I love it all, myly go. I really don't min me.
I got something for you. Igot a summons here. You're miss LaRue.
Say what is then? Nice freshsummons? If you can't say God
(21:19):
witnesses, get off of this stagebefore I have your off. The show
has swell, mister LaRue. I'mgonna thank the lawyer for get me the
tickets so long? Oh no,you don't, Edny, take care of
this guy. We got trouble.Where is this guy out? Bread?
I'll take an easy boys, I'mjust leaving. Where do you think your
go? I think I'm gonna buya stoone. I think I'm gonna need
to stretcher way off. Bring whyyou music? You'll play something? Keep
(21:44):
your seats ladies music. I don'tknow all come on and well is that
you? Who else would it be? I'm fixing dinner. He'll be read
(22:04):
in a minute, I think,Yeah, what's his book here that?
Oh that's the Bible. Ayra gaveit to me. He wants me to
read it. Yeah, there's onething in here you don't want to miss.
I do wish I had some kindof a stove bell. It is
here in here. Listen the songof songs, which is Solomon's. Get
this. Thy cheeks are comely withrows of jewels. Oh, it's hard
(22:29):
to cook with this kind of afire. Behold thou art fair my love.
Thy lips are like a thread ofscarlet. Oh you can't get an
even heat. Thy neck is atower of ivory. How fair and how
pleasant thou art old love? Thyneck is a tower of ivory. You
know you're a heck of a lookingwoman for a guy like me. Huh,
(22:52):
I don't know if this is goingto be a very good stew.
Look at your skinny no hips,I bet you put the potatoes into soon
a man like me, or tohave a woman who's a woman nothing but
bone. Yes, that's just whatI did. Put the potatoes into bones.
Do you know that I'm young?Kind of that don't make no difference.
Maybe it does, Maybe I'll feelout after No, you'll never look
(23:12):
like a woman. It ain't inyou ever look like one. What difference
does it make? As long asyou're good to me, I ain't good
to you. Don't get that idea, and you're not. That's the way
to spoil them being good to them. You gotta step around if you want
to stay with me or get yourteeth knocked out. I think I'm gonna
knock them out anyway from here.What's the matter? What have I done?
(23:32):
Bill? What's happened to your face? You're all cut? Never mind
my face here, but you havecuts on a black I know Bill?
With this here? Look at thissta What is it? It's a receipt
That's what it is. Five good, hard earned bucks for the Queen of
the kitchen. Peah. You bothstore. Oh my stove? You got
(23:57):
your stove and I feel like Ih what come here, little old who's
it's? Oh, that's the firsttime you've ever kissed me like that?
(24:18):
Oh? Oh, Bill, Ilove you. I love you so much.
Cut it out now, you womenget some phony ideas. All right,
come on, I get that workthat stewards burn. I'll pour it
down your back. After a briefintermission, mister DeMille presents Spencer, Tracy
(24:55):
and Ingrid Bergmann in Act two ofA Man's Castle. And now here are
three young matrons pausing for a chatoutside their favorite market. Well, girls,
I must rush. I'm on myway to Bridge Club. Nice to
have seen you both drop in someafternoon when you have time. Hm,
some afternoon when you have time.If I had half the time Ruth Grim
(25:15):
has to spend on herself, maybeI could look like a million dollars too.
No, I don't know. Itisn't the time you spend as much
as what you do complexion care,for instance. You have to find the
right care and stick to it.Take me, I wouldn't think of missing
my luck soap, beauty facial,beauty facial. What do you mean,
Sue? Just what I said,A beauty facial with luck soap, and
(25:36):
it takes only about three minutes.But the trick is do it regularly every
day and it works too. Jim'sbeen paying me compliments lately. While your
skin certainly looks lovely, Sue,guess I'll have to try those Luck soap
facials after all, nice smooth skinspretty important. Yes, Busy women everywhere
find that a few minutes a daydevoted to gentle Luck soap care, they
(25:59):
big dividends in loveliness. You see, Lux toilet soap has active lather that
does a thorough job of removing dust, dirt, and stale cosmetics. This
rich, creamy lather leaves your skinfeeling soft and smooth and looking flower fresh.
It's so easy to take a Luxbeauty facial. You just pat the
(26:19):
rich Lux soap lather lightly in rinsewith warm water, then a dash of
cool pat gently with a soft toileddry Now touch your skin. See how
soft and smooth it feels, howbeautifully fresh it looks. Lovely screen stars
use this gentle care daily. Theytrust their priceless complexions to Luck's toilet soap
(26:40):
because it's as fine as soap asthey can buy. It's pure, really
mild. Why not get three cakesof smooth white Lux toilet soap tomorrow Try
these active leather facials for thirty days. See if you are not delighted with
the results. We pause now forstation identification. This is the Columbia Broadcasting
(27:00):
System, Act two of A Man'sCastle, starring Spencer Tracy as Bill and
(27:30):
Ingrid Bergmann as Trina. It's awarm summer afternoon a few weeks later in
the busy Times Square district. Thepassers by gaze upward at a strange site
a giant fifteen feet tall, whostrolls above them, his long wooden legs
(27:53):
swinging easily, his trouser cuffs flappingin the breeze. The bill on stilts
chooses his step carefully away from theadmiring crowd. They take him down the
side street to a row of tenements. There he pauses, leans comfortably on
the window sill of a room onthe second floor. Hey, Mark,
(28:15):
Mark, where are you O?Stillt she I'm glad to see you,
Hi kid, how's up? I'mlike, Oh, it's it's all right.
I can get around a little.Thrown away that crutch yet, No,
but I will soon. She stillsaid, thought you'd died or something?
Where you ben? We're the Anksplaying this week Chicago, all right?
He wanted Babe Ruth to autograph abaseball for you, didn't you.
(28:37):
Yeah, But well I had toput it up to him tonight. Did
he did? Did he? Hesure did? Look, here's the ball
to my pal Joey signed Babe Ruth, she steals. Gee, yeah,
I had to go all the wayto Chicago to see the baby, she
steals. Thanks, did you hopafraid? Yeah? Rode the rods all
away and get the centers out ofmy hair yet? Oh? Thanks?
(28:57):
And Babe Ruth wrote this in person. Is that still Joey? Look my
look the baseball Stills promised me withbaby Bruce autograph he cited hisself. Stills
went all the way Chicago to getit. Gee, I gotta show the
kid. Good afternoon, Stills,Hi, we missed you. Have you
(29:18):
really been west? Only west ofEighth Avenue? That was just a stall
for the kid. Oh but whatabout the ball and the signature? That's
fortune? I wrote it myself.But he won't know the difference. So
it's okay. Hey, look,I'm glad you're home. I wanted to
see you. Here's a few bucks, Stilts. How can I go on
taking money from you when I Idon't even know who you are? What
(29:41):
difference does it make? I gotno use for money, you don't need
it. It's just a case ofsupplying demand. Why won't you tell me
your name? I never asked yours? Did I know? I got no
use for names? But I wantto know so as I can thank you.
Got it? You pull any ofthat, I'll stay away from here.
As a matter of fact, I'mgonna stay away a little while.
Anyway, you're beginning to feel likean native around here. I'm blowing town
good or bad. Who knows whereare you going? That depends on which
(30:06):
freight. I hop you. Youdon't like me to thank you, but
I ah forget it. Only getthis. I've been slipping your chicken feed.
See, but I might get hotin the crap game. Some light
and clean up, and when Ido, I'll send you a heavy chunk
of dough some fine morning. Thenyou can pack up and get out of
here and take that kid of thecountry. Maybe you can't hop freights,
but anyway you can watch him goby. That's better than nothing in it.
(30:26):
Well, Hello, so long stillGod bless you come in Hia Trina?
(30:49):
Oh hello, brag. Where's Billout somewhere where? I don't know
why? Bad wife like you andmy shack, I'd be home all the
time. Trouble with Billy don't appreciateyou. That's some man you got yourself,
kid. He suits me, yeah, but do you suit him?
You wouldn't think so from the wayhe's always playing you down, crabbing about
(31:10):
how skinny you are. But Iam skinny. No, you're not slim,
but not skinny. I know whatI'm talking about. Yeah, sure,
you're a good looking kid. I'vebeen watching you a long time ever
since you come here. You betternot let Bill find that out. He's
got a temper Bill has, andhe's liable to break you in half,
right smack in hat. Oh no, he wouldn't. Bill's too busy,
(31:32):
busy with what. All I knowis there's a blonde and a show on
Broadway that's been on his trail lately. Long show. Yeah, he made
a killing that time he served thesummons on that dame. He beat up
two of her gorillas, and she'skind of took a fancy to him.
Some dames are like that. Iguess he goes for her too. How
do you know, cause he toldme you're a liar. Bill's no cheat.
(31:55):
If he wanted anybody else, hetell me first. Well, if
he ever, does you know whereI'm at you. Even if I never
knew Balie, even if you werethe only one left in the world,
you couldn't get near me. Howdo you like that? Swell gives me
something to work for. Different menwork different ways. Me. I got
one principle. Take your time andyou're worth a trina. You're swell.
(32:17):
Get out of your brag. Staysure, there's no hurry, no hurry,
ain't all sit down, Bill,make yourself comfortable. Thanks, Let's
send your mind, miss Rue.I've been trying for a month to get
(32:37):
in touch with you. I askedat the lawyer's office and they told me
a guy named Bragg served that summonsand I spoke to him. They told
me it was you. That's right. You know when you serve those papers
on me, you let me infor a nice little suit ten thousand smackers
for alienation of affection. Well,what do you want to go around alienating
affections for? Its your own fault? The way I see it, What
(32:59):
is the party for miss Lue?Just to get acquainted? You know you
certainly showed up those two mugs Ikept with me. One of them is
just recuperating midgets. Yeah, well, I gave him the air right now,
I'm in the market for a newbodyguard. You don't need nobody guard
You look like you can take careof yourself for it. I always have.
Yeah, well I gotta beat it. What four stick around? I
(33:22):
need a couple of laughs. Anyway, it's raining and there's no matinee to
day. You don't have to beafraid of me. Me, I ain't
afraid of nobody. That's the bravelittle boy. Listen. I figure maybe
I'm not gonna be around when thatsuit against me comes up. I got
a chance to go to South America. Yeah, South America, that's the
(33:44):
place boy rio deja Niro. Haveyou ever been in real? No?
Have you no? But I'm goingsomeday. Oh, there's a place real.
All they do down there is danceand play guitars. I met a
little dancer from there once. Shewas, Oh, well, I suppose
you know all about women? Iknow one thing about them, all of
(34:04):
them. What they're all female?Is that a compliment or a pan It's
a fact. Well, don't gosay how long does it take you to
get a coin at anyway? Me? I'm easy, I'm eating hard to
forget what what's a joke. Ohnothing, you're all right. I like
you better all the time. Yougrow on me. Yeah yeah, Sit
(34:28):
down? You know maybe you wanta cereal. I bet you'd really like
it. I bet I would too. What are you laughing at? You?
Women? Get some phony ideas?All right, some phony ideas.
(34:52):
I put it back on the stoveto warm up. What your dinner?
I'm warming it up, don't bother. I had dinner. Oh it was
hot today, wasn't it. Whydon't you say what's on your mind?
Why don't you squawk cause they comehome late for dinner? Well, you
have a right to come home late. Beer. Maybe I should have telephoned.
How could you haven't got a phone? Maybe I ought to make up
(35:14):
excuses for being late. High,of course not. You're your own boss.
It's done right, I am.Oh Phil, you're tired. Why
don't you lie down? I don'twanna lie down. I'm going out for
a walk. I gotta get someare all right? See you later?
Hi? Rah evening, William?What are you digging for? Just weeding
(35:36):
out the garden? Weeds grow fasterthan you can pull them out. That's
a dying looking layout of whatever.So on, you've got to give them
time to come up. There's nospecial hurry. What kind of a thing
should you call that? When Igot tired? One over there is that
poet, But that's a zinia therules in HEAs. What do you take
for that old sleepy one? I'drather not sell. I'll give you a
dime for I think you must wantthat flow up pretty bad. I tell
(35:59):
you what I'll do. I'll picka bunch for you and give them to
you. What did I want withflowers? Me know how much they are.
I'll pay tomorrow. When you getdone picking them, just stick them
in the window where Treno will seethem. Will you all right? Will
you? What's going on? Donat the Doctor's a crowd on there,
Oh, not very important. Bragg'smaking a speech to some of the tenants,
beefing again. Well I got abeef for him too. Certain guys
(36:22):
have all the money and you andme have nothing. Why they're on the
inside, that's all. They tellyou. To go out and get a
job. What job? There rate? No such animal? Look at me.
I'm skilled labor, one of thebest toy packers in the business.
What's a toy packer? Shipping?Bill packing? Toys to ship. I'm
one of the best men in thebusiness. Used to work for Stock and
Lee where Ira works. And theylet me out without any notice, not
(36:44):
a day they're getting drunk. Mesay, I never got drunk on the
job in my life. They claimsome stuff was missing, just the same
old alibi to let me out andsave a couple of dollars expenses. Listen,
brag, we know you. Ifthey let you out, it was
your own fault, all right,don't believe me. Walk out on me.
You'll see someday looks like you lostyour audience. Brag. You should
(37:06):
never speel around supper time. Yeah, that's it. If they had brains
instead of stomachs, they wouldn't bewhat they are. I'm sick of them.
I'm gonna blow this dumpsoons I getsome dough that'll be never Is that
so? Listen that toy factory Iwas talking about, They fired me,
didn't they? They owe me something, and I'm gonna collect. Get this
bill. They got an old tincan they call us safe. Every Friday
(37:29):
they get ten grand for the payrolland it stays in the safe till Saturday
noon. It'd be a pushover bill. If you went in with me five
grand? Apiece? Bill, whatdo you say in the first place?
What do I want with five grand? Number two? If I needed money
to go out and make it?And number three, Trina tells me you've
been hanging around the shack one I'mgon way and she don't like it.
I tell her I'd speak ye aboutit. There's only one language you can
(37:51):
understand, brag and this is it. Good night, brag m what's the
matter? It's only ten o'clock.Did I ask you no? Well,
(38:14):
then shut up. I'll let youhave a couple of the ribbon. Did
I hurt you? But when Iknow you didn't mean it? Oh?
Because I slugged your heart? Youwouldn't nobody? So sure, Bill,
I got your flowers. They're beautiful. Those things didn't even get any smell.
A ra told you told me youyou both them? Do me gone?
(38:37):
What kind are they? Bill?You mean you don't know? No?
No kidding? Are you that dumb? You don't know? There there
were what do you call? There'sh exemias? Are you sure? Certainly?
I'm sure, But I don't carewhat kind they are? They're lovely,
throw them away, they're all shot. No no, no, no,
good. I'll get you some goodones, big ones. No no,
(39:00):
no, I want these, Bill. Do you like being with me?
Aine? So nuts about it?You're pretty skinny. You're not tired
of me yet, are you?I don't know? Maybe? Hey,
listen, what's the idea of keepingthat skylight clothes? When I run it
this stump? I put that inspecial. What do you keep it shut
for? Well? I thought itmight rain or something. Well, I
(39:21):
suppose it does rains. Good forit makes you grow. That's the way
to live. You can breathe.Now, Why do you always keep looking
up at the sky, Because whenyou're dead, you get a hunk of
earth. When you're alive, youwant to hold on your hunk of blue.
That's all I got in the world. That's all anybody's got is that
(39:43):
hunk of blue. Bill. I'vebeen thinking, there couldn't be a heaven
much better than this or there.I mean, when it's quiet all around
and we are close like now,you know, I never noticed that,
kid, But your eyes are skycolor sort of. You got a hunk
(40:05):
of blue and each clim Yeah,but that don't stop me from clapping me
on the chin any minute. Comehere, you're all right, you're a
swelled kid. I like your plenty, do you get Yeah, But don't
get figured on that too much,because how much I like a woman ain't
nothing to bad money on. Don'tlet yourself get into deep see you mean
(40:28):
you? No? No, no, not yet. Oh but I'm apt
to hand it to you any day. Who can tell? Suppose I wake
up some morning with a taste inmy mouth like wet hen feathers, I'm
just as apt to take a strollfor myself as not. Maybe that won't
be right away, huh, Imean not tomorrow quite so soon. You
can't tell. No one knows howguys have to feel some warning. Say
(40:50):
listen, Billy, you like babies, don't you. What's the difference if
I like them or not? Itwould make a difference, a big difference
if you didn't, cause you're goingto have one. What I've I've known
it a long time, several months. I thought I'd be afraid to tell
you, but but now I'm notafraid of anything. No, no,
don't say anything, bil till Ifinish. I want you to know something.
(41:14):
It's your baby and in mine,But you have nothing to worry about.
I didn't mean to tell you atall, but it's just too wonderful
to keep to myself. Oh youcan't understand it. Bill, you're a
man, but you Oh no,you needn't look at me like that.
I'm not afraid of you, darling. I've changed a lot. Only a
(41:36):
little while ago. I was allalone. Then you came along, and
there were two of us, andsoon there'll be three of us. You
can never leave me now, Bill, never, never, even if you
go away, I've got you now, no matter what, no matter where
you're go, no matter what youdo, I've got you. I've got
you. Yes, Bill, isthis is this on the level? Yes?
(42:00):
Let me out of here? Areyou leaving me? Bit? What
if I was you got no kick? No? No, I suppose I'd
be lonely again the way I wasbefore I met you, But it wouldn't
be the same exactly. I've gotsomething to look forward to now, I'll
say you have. I'll never belonely when my son comes. I know
(42:22):
it'll be a son. I prayedfor a son. I thought you didn't
believe in that sort of stuff.Sure I do. You told me you
didn't. I lied. I didn'twant you to get sore at me.
I guess you're angry now, aren'tWhy should I be at your funeral?
Yes, yes, it's my funeral. I'm going to stand on my own
feet now. I'm going to bringmy son into the world, and I'm
(42:45):
going to take care of him andlove him always, as far as I'm
concerned with you two always. Thatgoes without saying. But you're a free
man, Bill, as free asa bird. Remember that. I will
(43:06):
brag, grag, Come out,open up. What do you want from
me? I wanna scram out ofhere right away tonight. Only it so
happens. I can't go unless Ileave some money behind, see, enough
to take care of somebody, acouple of people for a long time.
I gotta have plenty of money.See. I haven't got a dime,
Bill, not a dime now.But you know where to get it?
Oh you mean the toy factory.Yeah, and I'll spell it. It's
a since Bill a sink about Ira. He's the watchman down there. Ira.
(43:29):
That's the easiest part of it all. The guy does down there snooze.
We could walk away with the buildingand he wouldn't know it all.
We needs a couple of drills andsome gunpowder and boom. Yeah. What's
the best time? About one inthe morning, all right, I got
something to attend to first down aroundBroadway. Then i'll meet you a half
past twelve and thirty ninth to night. I'll meet you Bill. I'll have
all the stuff ready. Yeah,we'll be on time. And keep your
mouth shut. In just a moment, mister de Mille and our stars Spencer
(44:06):
Tracy, a named good Bergman willbring us Act three of a Man's Castle
while we're waiting. Here's what happenedat a wedding reception out on Beverly Hills.
Suzanne Martin a bride'smaid. He hascaught the bride's bouquet. And now,
Suzanne, I look, you caughtthe bride's bouquet, and now you
know what that means. Well,but David Darling, let's tell everybody about
(44:30):
us now, I Susanne, Ilove you so you're so sweet. When
a man says the girl he lovesis sweet, he doesn't stop to figure
out exactly what he means by it. He just knows that she's nice to
be close to. Appealing. Clevergirls know how important it is to keep
this charm of flower freshness to protectit carefully, and for girls like these,
(44:54):
there's always romance ahead. Screen starstell you about a truly delightful way
to protect this most important charm.They use their Complexion soap Lux toilet soap
for their daily beauty bath too.You see, Luck's toilet soap has creamy,
active lather that's thorough. It justfloats away perspiration, dust and dirt
(45:15):
in a twinkling yet so gently thatit seems to caress the skin, soothe
and refresh you. You'll find thisluxurious bath leaves you feeling wonderfully dainty and
fresh from top to toe. Justtry Luck Toilet soap for your daily beauty
bath. You'll love its delicate fragments, a flower like fragrance that clings.
(45:37):
Put a note like this on yourshopping list. Now tomorrow Luck's toilet soap
to make me sure of skin.That's sweet. Now, mister de Mill
returns to the microphone. The curtainrises on the third act of A Man's
Castle. I've off it all.It's a few hours before the robbery planned
(46:01):
by Bill and Bragg over on Broadway. The last act of a musical comedy
is in progress. And Bill iswaiting in the wings to see fail a
roue at the finish of her number. If she runs from the stage into
Bill's arms. Hello, hard toforget, I gotta see you a minute.
(46:25):
Come over here. You look worried. Hard to forget. But you
shouldn't be closing the show next week. And it looks like that trip to
Rio's in the bag. How doesthat sound? Great? But I can't
go. Can't go? Are youkidding? I told you my trademark,
didn't I subject to change without notice? I know, but I've arranged everything.
Sorry, but I can't go.What's happened? I let myself into
(46:45):
something on the installment plan? Oh? What is it? I'm in a
jam? Oh, I guess Iknow what it is. It's a girl.
You're a fortune teller? It is, isn't it? Search me?
I won't know myself for a while. Oh, I see, And I
won't be around then to find out. Listen, don't be a sack.
If you're taking it on the run, you might as well run the real.
(47:05):
No. No, it's different now. I don't know why, but
it is so long. Good luck, easy to meet, and hard to
forget. What I tell you?Bill? I could open this safe for
(47:30):
the nail file. You ain't gotit open yet. That's allowed. Hey,
hey, look at this? Whatare you doing there? Look at
his schedule? What is it?Ain't that a hot one? Wait'll I
wind it up and see what itdoes? Say? What are we here
for to kick in this safe orplay with toys? Come on, that's
the second. I want to seehow it works that out? You mean
(47:52):
that? Keep your hands off?What's the matter with you? You want
to wake up Ira? If thiswakes up? What's gonna happen when you
blow that safe? I still thinkyou ought to go back. I can
tap him on the head, LikeI told you, I'd feel a lot
better if he was gagged and tiedup. I wouldn't hurt a fly.
Well, just the same, Youbetter go over and open that window there
went for We're up three stories.There's a fire escape. Sure as a
(48:16):
swelling. I now looking and seethe old river from here, and the
camp too. The moon sure looksslick on that water. Yeah, I
think when I blow out of here, I'll hit the waves instead of the
ties. Maybe I'm a freighter.Did you ever go downtown and get the
smell of them ships that come infrom China and them places. Hmm,
(48:37):
I wonder what the little hoos isdoing. I'm gonna take this toy home,
Ruwer. She can give it tothe kid. Will you can that
and lend me a hand. Wegotta get out of here. Bill,
listen, Will you shut up?What's the matter with you? Know?
I don't like this job. Idon't like it. You maybe, but
I got a funny idea. Ialways got along before without pulling this kind
of a stunt. I got alongswell. I don't want to change my
(48:59):
luck. You mean you're out?Yeah, I'll see you around. Oh
no, you don't get back here. You ain't gonna try to stop me.
No, but then shut up.If I feel like walking, I'll
walk. Bill. Listen to someoneoutside. It's Irah, Get out the
window. Who's it here? Getout? Quick? Stand for our shooting?
Move here? Sure, hi,Irah? Bill? Yeah? Bill?
(49:27):
Say, for a guy that readsBibles, you should pretty stride,
don't you? The son of agun? You might have killed me,
served you right if I did.Somebody ought to teach you a less young
squit like you going around robbing theplace. Yeah, it's a low down
thing to do with that, Andif you had to have money as bad
as I do, you and mesome particular. Who's that man with you,
the one who got away? Yeah, I don't remember the name.
I never met the guy before tonight. I see all right, Bill,
(49:52):
what's the matter of pop? Whatare you looking so surer about? You?
Disappointed to me? I'm not thinkingof you. I'm thinking of your
wife, My wife, Yo,wife, Trina, who trusted herself into
your hands? Who looks up toyou? My wife? I never thought
that Trina as a wife. She'sjust Trina. What's that racket? Somebody
(50:13):
set off the burglar? Alumda becops all over the place in a few
minutes. Well what are you standingthere for? Go on? Beat it,
hurry before they get here. Goon, okay, Ira, Thanks?
(50:35):
Did you call me Brad? Yeah, come in quick. It's about
that guy yours Bill? What?Yeah, he got mad Robin the safe
at the toy factory. They callhim with the goods. No, I
know you're lying, brag. Billwouldn't do a thing like that. Bill
isn't a thief. That's just itstepping out of his class. That's why
he got caught. And he wasshot too, trying to get away.
Shut Wait a minute, honey,don't get upset. He may go up
(50:58):
the river for a spell, butI'm still around. I'll always be around,
baby, to take care of you. Let me out of here.
There's no hurry. I'll be hereonly with Bill and the jug. You're
gonna need a man around. Comeon, kids, you might as well
shake yourself out of it. Moonaround won't get you no place. He's
gone, ain't he. I tellyou he's gone. You're a liar.
Brag He ain't gone, Glossy,He'll just got home. I saw him
(51:21):
going to shack a minute ago.Bill, Bill, I was mighty decent
of you, bragged offer to takecare of Trina. I didn't know you
had it in you. Look floss. Nobody asked you the bouty him getting
sick of your two time and bragvery sick. Gosh, let me fix
(51:42):
it. Hend me that bandage.It's all right, I'm telling you.
It just graze me, plot alittle meat off. It's seeing you.
You think it was you got drilledinstead of me. I wish it was
me. Why did you do it? Bill? Why I couldn't check out?
Leaving you high hand dry? CouldI that dough would have taken care?
You're fine, but I flapped.I'm glad you did. I wouldn't
have taken that money anyway, hadi've given it back. Yeah, how
(52:06):
do you suppose it? I gotalong? It takes money to have a
kid, don't you a strong huskyman? You're awfully afraid of a little
bit of a thinger isn't even bornyet. Huh. If I'd known it
would scare you so much, Inever would have told you. I had
gone away myself. I didn't knowyou were such a coward, darling coward
sure, afraid of a baby.Why they're born all the time? If
(52:27):
they happen to be men kids,they never grow up. Just keep reaching
for the clouds all the time,listening of train whisps. Oh, you're
so silly, rubbing safs to getmoney when you always said you had no
use for money. It wasn't forme. Here for me, I know,
But I don't need any I don'tneed anything, not even you.
It isn't as if you ever saidyou loved me. You never did.
(52:52):
And I don't blame you. Don'tyou suppose I know? I'm just a
stick in the mud a barnacle,That's what I am. I've held you
back and messed up your plans,but I didn't mean to. You can
go and stay as long as youlike. Maybe some day you'll come back,
(53:14):
not for good. I don't meanjust to visit you. You might
get lonely sometime and and curious.I want to know what your son looks
like. Maybe. Well. Evenbirds can't fly all the time, can
they? They get tired and haveto come home. Sometimes they have nests,
(53:34):
haven't they? Oh? Bill,Please, I want you to feel
or I don't want you to behappy. I'll do anything if you'll only
be happy. I'll give up anything, but please, please be happy.
Yeah, you better get out ofhere now. The cops are on their
way. I got inside information froma s twol pigeon pail of mine.
You pray trains waiting? You betterhalf aboard. No, No, I'm
sticking around. Take my word forit. If you hang around here,
(53:58):
you do for the stirn. Idon't mean a weekend. The quicker use
cram, the better. No,I ain't gonna leave. Who's it's on
your jump? Sap? Why don'tyou take a with you? Do?
You ever think of that? No, what about a kid? You want
to go wherever you go? Youknow what it means wherever you go?
Bill? All right, get yourthings? What are you thinking of?
(54:39):
I'll certainly miss it. It wassuch a beautiful store. You can always
get another one on the installment plan, a better one too. Oh,
it'll never be really ours unless westay in one place long enough to pay
for it. And you wouldn't wantthat, Bill. You want to be
free? Yeah, you know,I've been thinking a lot about that freedom
(54:59):
business, leaving it. It's greatstuff. But uh, well, maybe
it ain't always a question of keepingon the move. You know, there's
a there's another kind of freedom too. Up here in your head and hear
in your chest where your heart is, Bill? Right now, I got
a funny feeling treat him. Youknow, even birds got a home and
instinct, And I got a feeling. We're going home home. Where is
(55:24):
it better? I don't know,somewhere, someplace that suits us. Yeah,
we gotta find it soon too.Uh. You know, a freight
carrying no place to bring up akid. Oh, little BOST's funny,
little woozy. Uh. The curtaincomes down on a Man's Castle. There's
(55:59):
a night freight carry Bill and Trinato New Hope and a new life.
Right now, to Spencer, Tracyand Ingrid Bergman, we say well done,
thank you. CB. It's apleasure to come back to the Lux
Radio Theater, especially when such areally fine actresses Ingrid Bergman is here too.
Not much of a compliment from SpencerTracy is something to remember Ingrid.
(56:21):
Yes, I won't forget a wordof it, but Spencer may be sorry.
He went overboard like that overboard comealong great with the American language,
c B. When you see misterDemil, when I made a picture with
Spencer between takes, he gave melessons in American slang. Well, just
to please me, Ingrid, don'tspend too much time on the slang.
Okay, I was afraid of that, Spence. There's one thing everyone would
(56:46):
like to find out right now,what's your next picture assignment? What are
you working on? Well, I'mkind of working on two pictures at once
down CP. I'm working on thenew Katherine Hepburn Picture of the Woman of
the Year and also Tortilla Flat withTeddy Lamar, Eddy Lamar and Catherine Heppin
(57:07):
sounds like very pleasant work. Yes, I feel very jealous, Spencer.
Now, mister de mil, Ilike to add my compliments to all those
you have received on your product,Luck Soap. This has been my first
chance to tell you, but Ithink lock Soap is a grand helping complexion.
Care for further comment on Luck Soap. I refer the ladies to any
nearby screen which shows a close upof Ingrid Bergmann. What's going on around
(57:30):
here? Next week, Ceb,Next week, Spence, we have a
comedy that breaks the speed limit onlaughs. It's The Doctor Takes a Wife,
adapted from the Columbia Picture, andour stars will be Melvin Douglas and
Virginia Bruce. It's the story ofa doctor who marries an author a lady
who's written a best seller glorifying thestate of spinsterhood. I'm sure you'll see
(57:53):
the possibilities of that situation. Withtwo accomplished players like Melvin Douglas and Virginia
Bruce starring Pats, it sounds likea winner to me. Good Night see
good night, mister de mill goodnight, good night, and a fourth
star raging for a three stars.Our sponsor, the makers of lux toilet's
(58:15):
help join me in inviting you tobe with us again. Next Monday Night
from the Lux Radio Theater presents MelvinDouglas and Virginia Bruce in The Doctor Takes
Away the Successful by the mill,saying good night to you brown Illi,
(58:36):
ladies and gentlemen. Every year,at this time, Christmas Sealds begin to
make their appearance on millions of lettersand packages. In the past, this
annual campaign has financed a nationwide battleagainst one of man's greatest enemies, tuberculosis.
And during the next few days,your local chapter of the National Tuberculosis
and Health Association will ask you tobuy Christmas siealds once again, or perhaps
(58:57):
some have already been sent to you. By all you can remember that every
penny goes to help stamp out tuberculosis. Spencer Tracy appeared tonight through the courtesy
of Metro Golden Mayer Studio. Tunein next Monday night to hear Melvin Douglas
and Virginia Bruce in The Doctor Takesa Wife. Our music was directed by
Louis Silvers, and your announcer hasbeen Melville Ruick. This is the Columbia Broadcasting System
Lucks Presents Hollywood The Lux Radio Theaterbrings you Spencer Tracy and Ingrid Bergman in
(00:25):
a Man's Castle, Ladies and gentlemen, your producer, mister Cecil B.
Demill, Greetings from Hollywood, ladiesand gentlemen. It's a rare week when
I'm not asked by some trusting soulto reveal the secret of stardom in a
(00:48):
nutshell. I'm always very flattered,because that's a question nobody's been able to
answer. Yet. The best Ican do is to say that every truly
great star possesses at least one oftwo great qualities, power and authority.
Then I tell them to go andwatch Spencer Tracy, because he possesses both.
Of course, two other helpful starqualities are beauty and glamor. Unfortunately
(01:14):
I can't credit either of these toSpence, But whatever he lacks in this
department is made up to night byhis co star from the David O Sells
Nick Studio, the greatly gifted actressIngrid Bergmann. Not long ago I saw
these two together on the screen,and the power of their scenes convinced me
then and there that the next timeSpencer Tracy was on this stage, Ingrid
(01:37):
Bergmann should be his leading lady.So here they are together again in a
play that gave Spence one of hisbest picture Rolls A Man's Castle, adapted
from the Columbia picture. This isa story of two young people whom the
world passed by. It's a simplestory. They're not great and famous people.
(01:57):
They they don't want to be.They're a kind of people who don't
give up when the brakes go againstthem, and their love story is the
kind that makes great emotional drama.It's a play that I'm sure we'll bring
a thrill to every member of ouraudience and a caste. That's a reward
we really owe to the millions ofmen and women for the support they've given
our product, Luck's toilet Soap.I said, men as well as women,
(02:23):
because we've been getting a number ofletters which which make the same point
as this one from a lady inLouisiana. She writes, dear mister de
Mille, you always speak of yourproduct being used by the ladies. We
don't forget men like it too.Recently, my husband and I took a
trip to the military Maneuvers to seeour son, who is a corporal and
(02:44):
a medical regiment. The boys werestationed twenty miles out in the woods.
When it came time for dinner,one of the boys got a basin a
pail of water so we could washour hands, and to our surprise,
this soldier also brought out a newcake of your Luck's toilet soap. So
you see Uncle Sam's boys like lucksoap too. Thank you, madam,
(03:05):
We do see, and we arevery proud of that compliment. Our stars
are at the microphone. Now,the cast is on stage and the curtain
goes up on the first act ofA Man's Castle, starring Spencer Tracy at
Bill and Ingrid Bergmann as Trina,with Arthur Whole as Bragg and Edgar Barrier
as Ira. It's a few yearsago, in June nineteen thirty three,
(03:36):
to be exact. Prosperity is justaround the corner. On a park bench
in New York City is a youngman, a sartorial sensation in evening clothes,
complete with tails inverness cape, oprahat and cane. With grand nonchalance.
This modern Beau Brummel is tossing popcornto the pigeons. He steals an
(03:57):
occasional glance. At the other endof the bench, got a girl who
sits there, shabbily dressed but defiantlyneat. The girl is acting very strangely
as she watches the pigeons eating thepopcorn. There's a desperate, almost hysterical
look in her eye. The manan evening cloth, studies her for a
while, then speaks quietly. It'sa matter. Come on, spell it.
(04:23):
I've been watched you to talk toyourself ever since you sat on You
look like you were rehearsing something.What is it? Please? I'm sorry,
come back here. What's the rush? Let me go, Let me
go. I'll what, I'll getdown on my hands and knees for some
of that popcorn. Hey, whatis this? I thought I was on
all the panhandle and routines. Orare you the little girl reporter working on
(04:46):
a SOB story? Please let mego a minute. Are you really hungry?
Come on, talk up? Areyou hungry? I haven't eaten in
two days? Two days? Whynot? I haven't any money, neither
the pigeons, but they eating regular. Yes, must be wonderful to be
a pigeon. There's always somebody throwingcrumbs to them. You had the brains
(05:08):
of a pigeon. You wouldn't behungry. Come on, let's go eat
eat You mean it? I saidit did night. Come on, but
where are you taking me? Well? The ritz roof is open, oh,
the rits roof. No, no, I didn't ask for anything like
that. I can't go there inthese clothes. Shut up. Clothes,
got nothing to do with eating.You want anything else? Oh? No,
(05:40):
thanks, No, there is plenty. Yeah, you know, for
a pint size like he, youcan certainly put it away. All right,
you're hungry, all right? Butdo you think I fell for your
line of whoey? You're crazy?Nobody ever has to starve on a town
like this? Why not? Becauseyou know there's food all over the joint?
Hung Yes, but you have toget me ready to eat it.
Were you ever out of work forall years? Sure? Having out of
(06:03):
work all my life, the unemploymentproblem never bothered me. And yes,
that's all right for you because you'rerich? Are you wear your tails and
your top hat and neat steaks offootsick? You got what it takes?
Sure? I got what it takes. I'll prove it to you. Hey,
waiter, come here, Yes,sir, call a manager tell him.
(06:26):
I want to see him, why, sir? Is there anything wrong,
sir? No, No, everything'sswell. I just want to see
the manager, that's all. Yes, sir, you know you shouldn't never
ought of skip meals. That wasthe best food I ever ate. Gee,
I feel better now, Yeah,you look better? You know if
you've filled out a little, youget buying a crowded that. You can't
help the way you're made? Whycan't you good evening? Sir? What
(06:49):
can I do for you? Hello? Are you the manager? Yes?
Sir? Do you want to seeme? Yeah? Sit down? Why
yes, sir? Well, sir, you know, mister is supposed to
be twelve million people in this countrywithout work. Did you know that?
Why? Yes? But yeah,and a lot of them are starving,
so they tell me. Now,you take this young lady here for instance.
Up to an hour ago, shehadn't eaten for two days, so
(07:10):
I brought her in here and fixedher up. She feels swell now says
it's the best food she ever read. I'm glad to hear that, thank
you. Yeah. The only troubleis she ain't got a scent, and
neither of I. Oh watch that? Oh you mean you can't pay for
this, that's the idea. Sothe feed's on you, brother. Oh,
now you know there's a lot ofways of handling a case like this.
(07:30):
You can call a cop and havethe pair of us thrown in the
can. Out just a minute.We're sent to the island where we're fed
by the state for thirty days atleast. The more bums the state has
to feed, the more taxes youpeople have to pay. If this is
your idea of a joke, ah, wait a minute, this is one
of the joints that throws out andleft over grubbing a week to feed a
thousand people. You can afford oneon the house once in a while.
Am I right or wrong? I'lltell you what I'll do with you.
(07:51):
I'll put it right up to yourown customers here. I'll ask them whether
it's right for you to let somebodydie of hunger right outside your dump.
If they say I'm wrong, I'lladmit it. Ladies and gentlemen, According
to the newspapers, there's a lotof hungry people in this town. No,
we don't shut up. Go on, get out of here, get
out. Okay, the case isdismissed. Come on. There's nothing like
(08:13):
a good walk after dinner. Thanksfor the feed, brother, Get out,
Get out. You shouldn't have donethat. We might have been arrested.
Don't be a dope. Where doyou live? I might as well
take you home. That'd be allright if I had at home. What's
the matter with you? Haven't yougot anything? No? What do your
(08:35):
figure on spending the night? Idon't know. Have you got a grip?
No? Well I'll get one somewhere. Then go to a hotel and
register, stay outly hand your billand then tell him you're broke. Well,
then what happens and they throw youout and you go to another hotel.
Oh no, I couldn't do that. I'm be afraid. Do you
(08:56):
live in hotels that way? No? I got no use for hotels.
Tell me what do you do fora living? I live, yes,
But I mean you must do something. Uh those clothes evening close? Yeah,
don't let them fool you. Here, look at the front of my
shirt. What do you see?Why? Just just in front of your
shirt? Yeah? Now watch?Oh, now what do you see?
(09:20):
Oh? It lights up your ownchest? Lights up? Sure you see
what it says? Or can't youread? Either cavalier barbershop, sixteen chairs,
no waiting. Oh, why you'rean advertisement? Yeah, sure,
that's it. I'll walk an adtwo bucks a night for this. All
you gotta do is stroll up anddown, flash the light out and off.
Oh is this is this your regularjob? No, I don't believe
(09:41):
in regular jobs. I'm only doingthis for a friend of mine. I
suber form on this night. Off. Oh, I see, well,
I suppose I'll have to get youa place to sleep tonight. What's your
name, Trina? Trina? That'sawful. I think I'll just call you
hoose Its. What's your name Bill? Bill? Bill? That's nice.
(10:18):
Well, here we are. Who'sthe river on one side and the railroad
tracks on the other? Is thiswhere you live? Yeah? Yeah,
Bagville and the Hudson built right smackon the city dump party like it.
It's wonderful. I've been to NewYork all year and I never knew there
was such a place. Yeah,that's one of the best things about it.
The privacy. Of course, it'sjust a lot of shacks, you
(10:39):
know, but it's the only wayto live. No rent, no taxes,
running water, a whole river ofit, and the whole dump is
lousy with southern exposure. You hearthat, that's what I like best.
Them train whistles to remind you ofother places. You hear them all night.
Don't you love the sound of it? Well, it's it's no,
it's it's scary. Huh, gangway, get out of my way?
(11:01):
Here I come. That's what itsays, like a long distance call.
Come on, which one of theseshacks do you live in? I don't.
I don't. Mostly I sleep inthe open when it rains. I
take my choice. There are aremy pals here. I can bunk with
any one of them. They mustbe very nice people, the best.
You know. It's funny when peoplegot nothing, they act like human beings.
(11:24):
We get along fine here. It'sjust like one big, happy family.
Get away from me. I tellyou don't follow me. What's that?
That's a guy named Bragg. Youdon't get along so well with his
girlfriend? Come back here? Youdon't just stay in riper yard? Did
you hear what I say? Ifthey go, I'll bring you can't too
tiny, I'll kay your first acrag. Hey, Breg, what do
you want? Why don't you letFlassy alone? Why don't you mind your
(11:46):
own business. Let her alone.I'll come over there and help her clean
up the place with you. Nothingthat's better. I was gonna ask Flasy
to put you up for the nightfor maybe any so well I could sleep
in the open. I guess no, no, no, that takes training.
I got a bear left this shackright over here. Who lives here?
(12:09):
Friend of mine? His name isIra? Hello, Irah? What's
the good word? And seeing themultitudes, he went up into the mountain
and his disciples came onto him,and he taught them saying, blessed are
the poor in spirit, for theirsis the Kingdom of Heaven. That's the
good word. Hello, William,Eh, it looks like that Gideon Bible
(12:31):
I swiped out of a hotel lastweek. Bibles can't be stolen. The
good Word is free. I onlywish I could get you to read it,
William. I did, I did. I skimmed through it one night.
There's some very good reading in it. There's one place, especially the
songs of Solomon. Great stuff.Who's its meat? Ira? Ira used
to be a minister. Now isa night watchman. Not used to William.
I am a minister. If Ichoose to live down here. I
(12:52):
have a reason. Yeah, sure, sure. Anyway, this is Who's
how do you do? Very nicely? Thank you? Yeah, nicely.
Only she ain't got a place tosleep. I thought maybe after you checked
out you could camp here for thenight. Of course, welcome when you
go to work eleven thirty. Okay, so you'll check in about twelve.
I thank you from the bottom ofmy heart. Nuts, Come on,
(13:15):
where are we going now? Whatdo you care? You want to see
where I sleep? Yeah? Whereyou see that barge over there? Huh?
Right there? Oh. The reasonI like to sleep on that barge
is because there's no roof on it. Oh, it must be wonderful with
the water rocking you like a cradle. Oh. Look at those ships that
were the sails. They look sopeaceful and contented. God, they've been
(13:37):
laying every years, riding away withbarnacles. That's what you get when you're
anchored. Weren't just the same.It's ressful, RESTful. Yeah, so
it's a graveyard. Bill? Whatyou're a funny guy? Bill? Yeah?
Why, I don't know. Whatdo you do when you're not walking
around with your chest lit up?Lots of things or maybe nothing at all?
(14:00):
Sometimes I walk the stilts still upon Broadway. Oh, I know
what you mean, A way upin the air, all those long wooden
legs with a sign on your back. Yeah, that's it. It's fun.
I wouldn't do it if it wasn't. I like being up there looking
over the heads of the crowds.Hey, you're a pretty nosy day,
man't you. Oh? I don'tmean to be. Forget it, Bill,
(14:20):
I want to thank you. You'vebeen so good to me. I
got your free feet, and that'swhat you mean. I guess you need
somebody to look after you. Maybemaybe you need somebody to look after you
too, Bill me. Oh,I don't mean like that. But well,
who who cooks for you? Huh? Washes your clothes and things like
that? Nobody? I do itmyself. But wouldn't it be better if
(14:43):
you had somebody? Listen, who'sit's don't go getting any funny ideas.
Oh no, I don't like beingtied down. See. I live alone
because that's the way I like tolive. I sleep in the open because
that's how I like to sleep.I say what I want and I do
what I want, And that's theway I'm gonna do things all see,
But I wouldn't tell you. Howcould I? Sure? How could you?
I'm like the wind. You can'tgrab air, can you? Or
(15:07):
can you? And reign it within? And the Holy Spirit ever won God
world without end. Amen, thosewhom God had joined together, Let no
(15:28):
man put asunder. Of course,this isn't a church, but I am
a minister, and the words arethe same. In the eyes of God.
You are now man and wife,Man and wife. Bill, did
you hear? Yeah? I heardthose whom God hath joined handcuffed? You
(15:52):
mean? Oh? Oh, Bill, you said you wanted Yeah, sure,
I get weak, but I toldyou what it means right next to
nothing. I know, Bill,it's just the idea. I know,
(16:22):
Lo tna. Where'd you get allthat energy done? Every time I see
you your work? Oh, Iwas out of work for all year making
up the last time. I guessthis kind of work isn't real work.
It's fun. Yeah. You're theonly woman I ever know who had seven
wash days a week. Oh.Bill's particular, and I think that goes
next to his skin must be clean. I guess he's the cleanest man in
(16:45):
the world. One of these days, maybe Bill get me a washing machine.
But that isn't so important just yet. The main thing is to store.
Bill's going to get me a realstore for a joint like this.
What's the matter with the one yougot? Ah, you can only make
stew on it. I could cook, build some wonderful things if I had
a real stone. He's going toget me one too soon as it gets
the money. Who ever heard ofa bendle stiff getting money? And what's
(17:11):
the bindlestiff? A hule ball can'tstay put except maybe in jail. Bill
can make all the money he wantsif he wants to. It's got personality
Bill has. He's different, itwas different. Would he keep you here
in a dump like this? What'sthe matter with your flossy? How can
you say things like that? Thisisn't a dump? Not to me,
it isn't. It's it's like it'swhy. Oh, I can't find the
(17:34):
word. You know? Them themthings they got in the middle of the
streets. But people can stay tilltraffic say, what do you call them?
Safety zones? Yes, that's it, safety zones. That's how I
feel about this place. It's likea clearing in the forest, quiet and
safe, peaceful. Oh, that'sthe only thing I don't like those train
(17:56):
whistles. Hmmm. And yes,I know why you don't like getting scared?
Aren't you always wondering if that manand yours will be on one of
them trains some days? No?No, Bill's good to me. It
gives me everything I want, Yeah, except maybe a stove. You see,
(18:27):
Bill, look at that one overthere in the back of the window,
queen of the kitchen, a stoveto be proud of. Come on,
let's get out of here. Iain't no window shopper. Oh it's
beautiful, isn't it? And cheep. Only five dollars huh, five dollars
for a stove, five dollars down, that is, and only two dollars
a month for only twelve months.And no interest. Yeah, no interest
(18:48):
is right. As far as I'mconcerned, I don't go for not nanny
and storeman plan In only a yearthe store will be ours. Oh yeah,
you think about a hang around thistown a year? Oh it's such
a beautiful all around. I'm kindof a store. Get it, Go
on home, beat it. Whataren't you coming to? Not yet?
What's for supper tonight? Stu?Stu? Go on home? M all
(19:12):
right, come down close to me. I want to whisper something. What
I love you? Goodbye? Kissingme in the street. Now it's that
killed. Huh Queen of the kitchen. Five dollars down, Queen of the
(19:37):
hey, brag brag? Hello,Bill? What's doing nothing? I've been
looking for you? How about thattwo bucks? Yell me? What are
you hounding me for? I've beenworking my head off, trying to get
dough to pay off when I'm workingright now? You don't look at what
kind of work? Seven of summonsyou get two bucks a throw, but
there's one so tough as a bonusgoes with it. Ten works for this
(20:00):
one? Why don't you serve itand get your money? Why don't I?
What are you suppose I've been tryingto do for three days? It's
for a dame and the show we'resinger named Phila Rue. You can't get
to her? What do you meanyou can't get to her? She's got
a bodyguard. I'm the third guythat's tried this week. Ten bucks?
Huh? Hey suppose I serve thissummons for you? I could use five
bucks? Will you spit? I'mtelling you you can't do it. Every
(20:22):
time she comes off the stage.She's got a bunch of gorillas around her.
You can't get near her. Youhave tried giving her to her while
she's on the stage. Huh,you're not okay. I'm nuts. Will
you spit with me? Sure,but you can't get to her. Those
gorillas will murder you. I'll takecare. I gotta touch a gorilla and
me myself. I've given on mylong to you. I've given you what.
(20:59):
I love it all, myly go. I really don't min me.
I got something for you. Igot a summons here. You're miss LaRue.
Say what is then? Nice freshsummons? If you can't say God
(21:19):
witnesses, get off of this stagebefore I have your off. The show
has swell, mister LaRue. I'mgonna thank the lawyer for get me the
tickets so long? Oh no,you don't, Edny, take care of
this guy. We got trouble.Where is this guy out? Bread?
I'll take an easy boys, I'mjust leaving. Where do you think your
go? I think I'm gonna buya stoone. I think I'm gonna need
to stretcher way off. Bring whyyou music? You'll play something? Keep
(21:44):
your seats ladies music. I don'tknow all come on and well is that
you? Who else would it be? I'm fixing dinner. He'll be read
(22:04):
in a minute, I think,Yeah, what's his book here that?
Oh that's the Bible. Ayra gaveit to me. He wants me to
read it. Yeah, there's onething in here you don't want to miss.
I do wish I had some kindof a stove bell. It is
here in here. Listen the songof songs, which is Solomon's. Get
this. Thy cheeks are comely withrows of jewels. Oh, it's hard
(22:29):
to cook with this kind of afire. Behold thou art fair my love.
Thy lips are like a thread ofscarlet. Oh you can't get an
even heat. Thy neck is atower of ivory. How fair and how
pleasant thou art old love? Thyneck is a tower of ivory. You
know you're a heck of a lookingwoman for a guy like me. Huh,
(22:52):
I don't know if this is goingto be a very good stew.
Look at your skinny no hips,I bet you put the potatoes into soon
a man like me, or tohave a woman who's a woman nothing but
bone. Yes, that's just whatI did. Put the potatoes into bones.
Do you know that I'm young?Kind of that don't make no difference.
Maybe it does, Maybe I'll feelout after No, you'll never look
(23:12):
like a woman. It ain't inyou ever look like one. What difference
does it make? As long asyou're good to me, I ain't good
to you. Don't get that idea, and you're not. That's the way
to spoil them being good to them. You gotta step around if you want
to stay with me or get yourteeth knocked out. I think I'm gonna
knock them out anyway from here.What's the matter? What have I done?
(23:32):
Bill? What's happened to your face? You're all cut? Never mind
my face here, but you havecuts on a black I know Bill?
With this here? Look at thissta What is it? It's a receipt
That's what it is. Five good, hard earned bucks for the Queen of
the kitchen. Peah. You bothstore. Oh my stove? You got
(23:57):
your stove and I feel like Ih what come here, little old who's
it's? Oh, that's the firsttime you've ever kissed me like that?
(24:18):
Oh? Oh, Bill, Ilove you. I love you so much.
Cut it out now, you womenget some phony ideas. All right,
come on, I get that workthat stewards burn. I'll pour it
down your back. After a briefintermission, mister DeMille presents Spencer, Tracy
(24:55):
and Ingrid Bergmann in Act two ofA Man's Castle. And now here are
three young matrons pausing for a chatoutside their favorite market. Well, girls,
I must rush. I'm on myway to Bridge Club. Nice to
have seen you both drop in someafternoon when you have time. Hm,
some afternoon when you have time.If I had half the time Ruth Grim
(25:15):
has to spend on herself, maybeI could look like a million dollars too.
No, I don't know. Itisn't the time you spend as much
as what you do complexion care,for instance. You have to find the
right care and stick to it.Take me, I wouldn't think of missing
my luck soap, beauty facial,beauty facial. What do you mean,
Sue? Just what I said,A beauty facial with luck soap, and
(25:36):
it takes only about three minutes.But the trick is do it regularly every
day and it works too. Jim'sbeen paying me compliments lately. While your
skin certainly looks lovely, Sue,guess I'll have to try those Luck soap
facials after all, nice smooth skinspretty important. Yes, Busy women everywhere
find that a few minutes a daydevoted to gentle Luck soap care, they
(25:59):
big dividends in loveliness. You see, Lux toilet soap has active lather that
does a thorough job of removing dust, dirt, and stale cosmetics. This
rich, creamy lather leaves your skinfeeling soft and smooth and looking flower fresh.
It's so easy to take a Luxbeauty facial. You just pat the
(26:19):
rich Lux soap lather lightly in rinsewith warm water, then a dash of
cool pat gently with a soft toileddry Now touch your skin. See how
soft and smooth it feels, howbeautifully fresh it looks. Lovely screen stars
use this gentle care daily. Theytrust their priceless complexions to Luck's toilet soap
(26:40):
because it's as fine as soap asthey can buy. It's pure, really
mild. Why not get three cakesof smooth white Lux toilet soap tomorrow Try
these active leather facials for thirty days. See if you are not delighted with
the results. We pause now forstation identification. This is the Columbia Broadcasting
(27:00):
System, Act two of A Man'sCastle, starring Spencer Tracy as Bill and
(27:30):
Ingrid Bergmann as Trina. It's awarm summer afternoon a few weeks later in
the busy Times Square district. Thepassers by gaze upward at a strange site
a giant fifteen feet tall, whostrolls above them, his long wooden legs
(27:53):
swinging easily, his trouser cuffs flappingin the breeze. The bill on stilts
chooses his step carefully away from theadmiring crowd. They take him down the
side street to a row of tenements. There he pauses, leans comfortably on
the window sill of a room onthe second floor. Hey, Mark,
(28:15):
Mark, where are you O?Stillt she I'm glad to see you,
Hi kid, how's up? I'mlike, Oh, it's it's all right.
I can get around a little.Thrown away that crutch yet, No,
but I will soon. She stillsaid, thought you'd died or something?
Where you ben? We're the Anksplaying this week Chicago, all right?
He wanted Babe Ruth to autograph abaseball for you, didn't you.
(28:37):
Yeah, But well I had toput it up to him tonight. Did
he did? Did he? Hesure did? Look, here's the ball
to my pal Joey signed Babe Ruth, she steals. Gee, yeah,
I had to go all the wayto Chicago to see the baby, she
steals. Thanks, did you hopafraid? Yeah? Rode the rods all
away and get the centers out ofmy hair yet? Oh? Thanks?
(28:57):
And Babe Ruth wrote this in person. Is that still Joey? Look my
look the baseball Stills promised me withbaby Bruce autograph he cited hisself. Stills
went all the way Chicago to getit. Gee, I gotta show the
kid. Good afternoon, Stills,Hi, we missed you. Have you
(29:18):
really been west? Only west ofEighth Avenue? That was just a stall
for the kid. Oh but whatabout the ball and the signature? That's
fortune? I wrote it myself.But he won't know the difference. So
it's okay. Hey, look,I'm glad you're home. I wanted to
see you. Here's a few bucks, Stilts. How can I go on
taking money from you when I Idon't even know who you are? What
(29:41):
difference does it make? I gotno use for money, you don't need
it. It's just a case ofsupplying demand. Why won't you tell me
your name? I never asked yours? Did I know? I got no
use for names? But I wantto know so as I can thank you.
Got it? You pull any ofthat, I'll stay away from here.
As a matter of fact, I'mgonna stay away a little while.
Anyway, you're beginning to feel likean native around here. I'm blowing town
good or bad. Who knows whereare you going? That depends on which
(30:06):
freight. I hop you. Youdon't like me to thank you, but
I ah forget it. Only getthis. I've been slipping your chicken feed.
See, but I might get hotin the crap game. Some light
and clean up, and when Ido, I'll send you a heavy chunk
of dough some fine morning. Thenyou can pack up and get out of
here and take that kid of thecountry. Maybe you can't hop freights,
but anyway you can watch him goby. That's better than nothing in it.
(30:26):
Well, Hello, so long stillGod bless you come in Hia Trina?
(30:49):
Oh hello, brag. Where's Billout somewhere where? I don't know
why? Bad wife like you andmy shack, I'd be home all the
time. Trouble with Billy don't appreciateyou. That's some man you got yourself,
kid. He suits me, yeah, but do you suit him?
You wouldn't think so from the wayhe's always playing you down, crabbing about
(31:10):
how skinny you are. But Iam skinny. No, you're not slim,
but not skinny. I know whatI'm talking about. Yeah, sure,
you're a good looking kid. I'vebeen watching you a long time ever
since you come here. You betternot let Bill find that out. He's
got a temper Bill has, andhe's liable to break you in half,
right smack in hat. Oh no, he wouldn't. Bill's too busy,
(31:32):
busy with what. All I knowis there's a blonde and a show on
Broadway that's been on his trail lately. Long show. Yeah, he made
a killing that time he served thesummons on that dame. He beat up
two of her gorillas, and she'skind of took a fancy to him.
Some dames are like that. Iguess he goes for her too. How
do you know, cause he toldme you're a liar. Bill's no cheat.
(31:55):
If he wanted anybody else, hetell me first. Well, if
he ever, does you know whereI'm at you. Even if I never
knew Balie, even if you werethe only one left in the world,
you couldn't get near me. Howdo you like that? Swell gives me
something to work for. Different menwork different ways. Me. I got
one principle. Take your time andyou're worth a trina. You're swell.
(32:17):
Get out of your brag. Staysure, there's no hurry, no hurry,
ain't all sit down, Bill,make yourself comfortable. Thanks, Let's
send your mind, miss Rue.I've been trying for a month to get
(32:37):
in touch with you. I askedat the lawyer's office and they told me
a guy named Bragg served that summonsand I spoke to him. They told
me it was you. That's right. You know when you serve those papers
on me, you let me infor a nice little suit ten thousand smackers
for alienation of affection. Well,what do you want to go around alienating
affections for? Its your own fault? The way I see it, What
(32:59):
is the party for miss Lue?Just to get acquainted? You know you
certainly showed up those two mugs Ikept with me. One of them is
just recuperating midgets. Yeah, well, I gave him the air right now,
I'm in the market for a newbodyguard. You don't need nobody guard
You look like you can take careof yourself for it. I always have.
Yeah, well I gotta beat it. What four stick around? I
(33:22):
need a couple of laughs. Anyway, it's raining and there's no matinee to
day. You don't have to beafraid of me. Me, I ain't
afraid of nobody. That's the bravelittle boy. Listen. I figure maybe
I'm not gonna be around when thatsuit against me comes up. I got
a chance to go to South America. Yeah, South America, that's the
(33:44):
place boy rio deja Niro. Haveyou ever been in real? No?
Have you no? But I'm goingsomeday. Oh, there's a place real.
All they do down there is danceand play guitars. I met a
little dancer from there once. Shewas, Oh, well, I suppose
you know all about women? Iknow one thing about them, all of
(34:04):
them. What they're all female?Is that a compliment or a pan It's
a fact. Well, don't gosay how long does it take you to
get a coin at anyway? Me? I'm easy, I'm eating hard to
forget what what's a joke. Ohnothing, you're all right. I like
you better all the time. Yougrow on me. Yeah yeah, Sit
(34:28):
down? You know maybe you wanta cereal. I bet you'd really like
it. I bet I would too. What are you laughing at? You?
Women? Get some phony ideas?All right, some phony ideas.
(34:52):
I put it back on the stoveto warm up. What your dinner?
I'm warming it up, don't bother. I had dinner. Oh it was
hot today, wasn't it. Whydon't you say what's on your mind?
Why don't you squawk cause they comehome late for dinner? Well, you
have a right to come home late. Beer. Maybe I should have telephoned.
How could you haven't got a phone? Maybe I ought to make up
(35:14):
excuses for being late. High,of course not. You're your own boss.
It's done right, I am.Oh Phil, you're tired. Why
don't you lie down? I don'twanna lie down. I'm going out for
a walk. I gotta get someare all right? See you later?
Hi? Rah evening, William?What are you digging for? Just weeding
(35:36):
out the garden? Weeds grow fasterthan you can pull them out. That's
a dying looking layout of whatever.So on, you've got to give them
time to come up. There's nospecial hurry. What kind of a thing
should you call that? When Igot tired? One over there is that
poet, But that's a zinia therules in HEAs. What do you take
for that old sleepy one? I'drather not sell. I'll give you a
dime for I think you must wantthat flow up pretty bad. I tell
(35:59):
you what I'll do. I'll picka bunch for you and give them to
you. What did I want withflowers? Me know how much they are.
I'll pay tomorrow. When you getdone picking them, just stick them
in the window where Treno will seethem. Will you all right? Will
you? What's going on? Donat the Doctor's a crowd on there,
Oh, not very important. Bragg'smaking a speech to some of the tenants,
beefing again. Well I got abeef for him too. Certain guys
(36:22):
have all the money and you andme have nothing. Why they're on the
inside, that's all. They tellyou. To go out and get a
job. What job? There rate? No such animal? Look at me.
I'm skilled labor, one of thebest toy packers in the business.
What's a toy packer? Shipping?Bill packing? Toys to ship. I'm
one of the best men in thebusiness. Used to work for Stock and
Lee where Ira works. And theylet me out without any notice, not
(36:44):
a day they're getting drunk. Mesay, I never got drunk on the
job in my life. They claimsome stuff was missing, just the same
old alibi to let me out andsave a couple of dollars expenses. Listen,
brag, we know you. Ifthey let you out, it was
your own fault, all right,don't believe me. Walk out on me.
You'll see someday looks like you lostyour audience. Brag. You should
(37:06):
never speel around supper time. Yeah, that's it. If they had brains
instead of stomachs, they wouldn't bewhat they are. I'm sick of them.
I'm gonna blow this dumpsoons I getsome dough that'll be never Is that
so? Listen that toy factory Iwas talking about, They fired me,
didn't they? They owe me something, and I'm gonna collect. Get this
bill. They got an old tincan they call us safe. Every Friday
(37:29):
they get ten grand for the payrolland it stays in the safe till Saturday
noon. It'd be a pushover bill. If you went in with me five
grand? Apiece? Bill, whatdo you say in the first place?
What do I want with five grand? Number two? If I needed money
to go out and make it?And number three, Trina tells me you've
been hanging around the shack one I'mgon way and she don't like it.
I tell her I'd speak ye aboutit. There's only one language you can
(37:51):
understand, brag and this is it. Good night, brag m what's the
matter? It's only ten o'clock.Did I ask you no? Well,
(38:14):
then shut up. I'll let youhave a couple of the ribbon. Did
I hurt you? But when Iknow you didn't mean it? Oh?
Because I slugged your heart? Youwouldn't nobody? So sure, Bill,
I got your flowers. They're beautiful. Those things didn't even get any smell.
A ra told you told me youyou both them? Do me gone?
(38:37):
What kind are they? Bill?You mean you don't know? No?
No kidding? Are you that dumb? You don't know? There there
were what do you call? There'sh exemias? Are you sure? Certainly?
I'm sure, But I don't carewhat kind they are? They're lovely,
throw them away, they're all shot. No no, no, no,
good. I'll get you some goodones, big ones. No no,
(39:00):
no, I want these, Bill. Do you like being with me?
Aine? So nuts about it?You're pretty skinny. You're not tired
of me yet, are you?I don't know? Maybe? Hey,
listen, what's the idea of keepingthat skylight clothes? When I run it
this stump? I put that inspecial. What do you keep it shut
for? Well? I thought itmight rain or something. Well, I
(39:21):
suppose it does rains. Good forit makes you grow. That's the way
to live. You can breathe.Now, Why do you always keep looking
up at the sky, Because whenyou're dead, you get a hunk of
earth. When you're alive, youwant to hold on your hunk of blue.
That's all I got in the world. That's all anybody's got is that
(39:43):
hunk of blue. Bill. I'vebeen thinking, there couldn't be a heaven
much better than this or there.I mean, when it's quiet all around
and we are close like now,you know, I never noticed that,
kid, But your eyes are skycolor sort of. You got a hunk
(40:05):
of blue and each clim Yeah,but that don't stop me from clapping me
on the chin any minute. Comehere, you're all right, you're a
swelled kid. I like your plenty, do you get Yeah, But don't
get figured on that too much,because how much I like a woman ain't
nothing to bad money on. Don'tlet yourself get into deep see you mean
(40:28):
you? No? No, no, not yet. Oh but I'm apt
to hand it to you any day. Who can tell? Suppose I wake
up some morning with a taste inmy mouth like wet hen feathers, I'm
just as apt to take a strollfor myself as not. Maybe that won't
be right away, huh, Imean not tomorrow quite so soon. You
can't tell. No one knows howguys have to feel some warning. Say
(40:50):
listen, Billy, you like babies, don't you. What's the difference if
I like them or not? Itwould make a difference, a big difference
if you didn't, cause you're goingto have one. What I've I've known
it a long time, several months. I thought I'd be afraid to tell
you, but but now I'm notafraid of anything. No, no,
don't say anything, bil till Ifinish. I want you to know something.
(41:14):
It's your baby and in mine,But you have nothing to worry about.
I didn't mean to tell you atall, but it's just too wonderful
to keep to myself. Oh youcan't understand it. Bill, you're a
man, but you Oh no,you needn't look at me like that.
I'm not afraid of you, darling. I've changed a lot. Only a
(41:36):
little while ago. I was allalone. Then you came along, and
there were two of us, andsoon there'll be three of us. You
can never leave me now, Bill, never, never, even if you
go away, I've got you now, no matter what, no matter where
you're go, no matter what youdo, I've got you. I've got
you. Yes, Bill, isthis is this on the level? Yes?
(42:00):
Let me out of here? Areyou leaving me? Bit? What
if I was you got no kick? No? No, I suppose I'd
be lonely again the way I wasbefore I met you, But it wouldn't
be the same exactly. I've gotsomething to look forward to now, I'll
say you have. I'll never belonely when my son comes. I know
(42:22):
it'll be a son. I prayedfor a son. I thought you didn't
believe in that sort of stuff.Sure I do. You told me you
didn't. I lied. I didn'twant you to get sore at me.
I guess you're angry now, aren'tWhy should I be at your funeral?
Yes, yes, it's my funeral. I'm going to stand on my own
feet now. I'm going to bringmy son into the world, and I'm
(42:45):
going to take care of him andlove him always, as far as I'm
concerned with you two always. Thatgoes without saying. But you're a free
man, Bill, as free asa bird. Remember that. I will
(43:06):
brag, grag, Come out,open up. What do you want from
me? I wanna scram out ofhere right away tonight. Only it so
happens. I can't go unless Ileave some money behind, see, enough
to take care of somebody, acouple of people for a long time.
I gotta have plenty of money.See. I haven't got a dime,
Bill, not a dime now.But you know where to get it?
Oh you mean the toy factory.Yeah, and I'll spell it. It's
a since Bill a sink about Ira. He's the watchman down there. Ira.
(43:29):
That's the easiest part of it all. The guy does down there snooze.
We could walk away with the buildingand he wouldn't know it all.
We needs a couple of drills andsome gunpowder and boom. Yeah. What's
the best time? About one inthe morning, all right, I got
something to attend to first down aroundBroadway. Then i'll meet you a half
past twelve and thirty ninth to night. I'll meet you Bill. I'll have
all the stuff ready. Yeah,we'll be on time. And keep your
mouth shut. In just a moment, mister de Mille and our stars Spencer
(44:06):
Tracy, a named good Bergman willbring us Act three of a Man's Castle
while we're waiting. Here's what happenedat a wedding reception out on Beverly Hills.
Suzanne Martin a bride'smaid. He hascaught the bride's bouquet. And now,
Suzanne, I look, you caughtthe bride's bouquet, and now you
know what that means. Well,but David Darling, let's tell everybody about
(44:30):
us now, I Susanne, Ilove you so you're so sweet. When
a man says the girl he lovesis sweet, he doesn't stop to figure
out exactly what he means by it. He just knows that she's nice to
be close to. Appealing. Clevergirls know how important it is to keep
this charm of flower freshness to protectit carefully, and for girls like these,
(44:54):
there's always romance ahead. Screen starstell you about a truly delightful way
to protect this most important charm.They use their Complexion soap Lux toilet soap
for their daily beauty bath too.You see, Luck's toilet soap has creamy,
active lather that's thorough. It justfloats away perspiration, dust and dirt
(45:15):
in a twinkling yet so gently thatit seems to caress the skin, soothe
and refresh you. You'll find thisluxurious bath leaves you feeling wonderfully dainty and
fresh from top to toe. Justtry Luck Toilet soap for your daily beauty
bath. You'll love its delicate fragments, a flower like fragrance that clings.
(45:37):
Put a note like this on yourshopping list. Now tomorrow Luck's toilet soap
to make me sure of skin.That's sweet. Now, mister de Mill
returns to the microphone. The curtainrises on the third act of A Man's
Castle. I've off it all.It's a few hours before the robbery planned
(46:01):
by Bill and Bragg over on Broadway. The last act of a musical comedy
is in progress. And Bill iswaiting in the wings to see fail a
roue at the finish of her number. If she runs from the stage into
Bill's arms. Hello, hard toforget, I gotta see you a minute.
(46:25):
Come over here. You look worried. Hard to forget. But you
shouldn't be closing the show next week. And it looks like that trip to
Rio's in the bag. How doesthat sound? Great? But I can't
go. Can't go? Are youkidding? I told you my trademark,
didn't I subject to change without notice? I know, but I've arranged everything.
Sorry, but I can't go.What's happened? I let myself into
(46:45):
something on the installment plan? Oh? What is it? I'm in a
jam? Oh, I guess Iknow what it is. It's a girl.
You're a fortune teller? It is, isn't it? Search me?
I won't know myself for a while. Oh, I see, And I
won't be around then to find out. Listen, don't be a sack.
If you're taking it on the run, you might as well run the real.
(47:05):
No. No, it's different now. I don't know why, but
it is so long. Good luck, easy to meet, and hard to
forget. What I tell you?Bill? I could open this safe for
(47:30):
the nail file. You ain't gotit open yet. That's allowed. Hey,
hey, look at this? Whatare you doing there? Look at
his schedule? What is it?Ain't that a hot one? Wait'll I
wind it up and see what itdoes? Say? What are we here
for to kick in this safe orplay with toys? Come on, that's
the second. I want to seehow it works that out? You mean
(47:52):
that? Keep your hands off?What's the matter with you? You want
to wake up Ira? If thiswakes up? What's gonna happen when you
blow that safe? I still thinkyou ought to go back. I can
tap him on the head, LikeI told you, I'd feel a lot
better if he was gagged and tiedup. I wouldn't hurt a fly.
Well, just the same, Youbetter go over and open that window there
went for We're up three stories.There's a fire escape. Sure as a
(48:16):
swelling. I now looking and seethe old river from here, and the
camp too. The moon sure looksslick on that water. Yeah, I
think when I blow out of here, I'll hit the waves instead of the
ties. Maybe I'm a freighter.Did you ever go downtown and get the
smell of them ships that come infrom China and them places. Hmm,
(48:37):
I wonder what the little hoos isdoing. I'm gonna take this toy home,
Ruwer. She can give it tothe kid. Will you can that
and lend me a hand. Wegotta get out of here. Bill,
listen, Will you shut up?What's the matter with you? Know?
I don't like this job. Idon't like it. You maybe, but
I got a funny idea. Ialways got along before without pulling this kind
of a stunt. I got alongswell. I don't want to change my
(48:59):
luck. You mean you're out?Yeah, I'll see you around. Oh
no, you don't get back here. You ain't gonna try to stop me.
No, but then shut up.If I feel like walking, I'll
walk. Bill. Listen to someoneoutside. It's Irah, Get out the
window. Who's it here? Getout? Quick? Stand for our shooting?
Move here? Sure, hi,Irah? Bill? Yeah? Bill?
(49:27):
Say, for a guy that readsBibles, you should pretty stride,
don't you? The son of agun? You might have killed me,
served you right if I did.Somebody ought to teach you a less young
squit like you going around robbing theplace. Yeah, it's a low down
thing to do with that, Andif you had to have money as bad
as I do, you and mesome particular. Who's that man with you,
the one who got away? Yeah, I don't remember the name.
I never met the guy before tonight. I see all right, Bill,
(49:52):
what's the matter of pop? Whatare you looking so surer about? You?
Disappointed to me? I'm not thinkingof you. I'm thinking of your
wife, My wife, Yo,wife, Trina, who trusted herself into
your hands? Who looks up toyou? My wife? I never thought
that Trina as a wife. She'sjust Trina. What's that racket? Somebody
(50:13):
set off the burglar? Alumda becops all over the place in a few
minutes. Well what are you standingthere for? Go on? Beat it,
hurry before they get here. Goon, okay, Ira, Thanks?
(50:35):
Did you call me Brad? Yeah, come in quick. It's about
that guy yours Bill? What?Yeah, he got mad Robin the safe
at the toy factory. They callhim with the goods. No, I
know you're lying, brag. Billwouldn't do a thing like that. Bill
isn't a thief. That's just itstepping out of his class. That's why
he got caught. And he wasshot too, trying to get away.
Shut Wait a minute, honey,don't get upset. He may go up
(50:58):
the river for a spell, butI'm still around. I'll always be around,
baby, to take care of you. Let me out of here.
There's no hurry. I'll be hereonly with Bill and the jug. You're
gonna need a man around. Comeon, kids, you might as well
shake yourself out of it. Moonaround won't get you no place. He's
gone, ain't he. I tellyou he's gone. You're a liar.
Brag He ain't gone, Glossy,He'll just got home. I saw him
(51:21):
going to shack a minute ago.Bill, Bill, I was mighty decent
of you, bragged offer to takecare of Trina. I didn't know you
had it in you. Look floss. Nobody asked you the bouty him getting
sick of your two time and bragvery sick. Gosh, let me fix
(51:42):
it. Hend me that bandage.It's all right, I'm telling you.
It just graze me, plot alittle meat off. It's seeing you.
You think it was you got drilledinstead of me. I wish it was
me. Why did you do it? Bill? Why I couldn't check out?
Leaving you high hand dry? CouldI that dough would have taken care?
You're fine, but I flapped.I'm glad you did. I wouldn't
have taken that money anyway, hadi've given it back. Yeah, how
(52:06):
do you suppose it? I gotalong? It takes money to have a
kid, don't you a strong huskyman? You're awfully afraid of a little
bit of a thinger isn't even bornyet. Huh. If I'd known it
would scare you so much, Inever would have told you. I had
gone away myself. I didn't knowyou were such a coward, darling coward
sure, afraid of a baby.Why they're born all the time? If
(52:27):
they happen to be men kids,they never grow up. Just keep reaching
for the clouds all the time,listening of train whisps. Oh, you're
so silly, rubbing safs to getmoney when you always said you had no
use for money. It wasn't forme. Here for me, I know,
But I don't need any I don'tneed anything, not even you.
It isn't as if you ever saidyou loved me. You never did.
(52:52):
And I don't blame you. Don'tyou suppose I know? I'm just a
stick in the mud a barnacle,That's what I am. I've held you
back and messed up your plans,but I didn't mean to. You can
go and stay as long as youlike. Maybe some day you'll come back,
(53:14):
not for good. I don't meanjust to visit you. You might
get lonely sometime and and curious.I want to know what your son looks
like. Maybe. Well. Evenbirds can't fly all the time, can
they? They get tired and haveto come home. Sometimes they have nests,
(53:34):
haven't they? Oh? Bill,Please, I want you to feel
or I don't want you to behappy. I'll do anything if you'll only
be happy. I'll give up anything, but please, please be happy.
Yeah, you better get out ofhere now. The cops are on their
way. I got inside information froma s twol pigeon pail of mine.
You pray trains waiting? You betterhalf aboard. No, No, I'm
sticking around. Take my word forit. If you hang around here,
(53:58):
you do for the stirn. Idon't mean a weekend. The quicker use
cram, the better. No,I ain't gonna leave. Who's it's on
your jump? Sap? Why don'tyou take a with you? Do?
You ever think of that? No, what about a kid? You want
to go wherever you go? Youknow what it means wherever you go?
Bill? All right, get yourthings? What are you thinking of?
(54:39):
I'll certainly miss it. It wassuch a beautiful store. You can always
get another one on the installment plan, a better one too. Oh,
it'll never be really ours unless westay in one place long enough to pay
for it. And you wouldn't wantthat, Bill. You want to be
free? Yeah, you know,I've been thinking a lot about that freedom
(54:59):
business, leaving it. It's greatstuff. But uh, well, maybe
it ain't always a question of keepingon the move. You know, there's
a there's another kind of freedom too. Up here in your head and hear
in your chest where your heart is, Bill? Right now, I got
a funny feeling treat him. Youknow, even birds got a home and
instinct, And I got a feeling. We're going home home. Where is
(55:24):
it better? I don't know,somewhere, someplace that suits us. Yeah,
we gotta find it soon too.Uh. You know, a freight
carrying no place to bring up akid. Oh, little BOST's funny,
little woozy. Uh. The curtaincomes down on a Man's Castle. There's
(55:59):
a night freight carry Bill and Trinato New Hope and a new life.
Right now, to Spencer, Tracyand Ingrid Bergman, we say well done,
thank you. CB. It's apleasure to come back to the Lux
Radio Theater, especially when such areally fine actresses Ingrid Bergman is here too.
Not much of a compliment from SpencerTracy is something to remember Ingrid.
(56:21):
Yes, I won't forget a wordof it, but Spencer may be sorry.
He went overboard like that overboard comealong great with the American language,
c B. When you see misterDemil, when I made a picture with
Spencer between takes, he gave melessons in American slang. Well, just
to please me, Ingrid, don'tspend too much time on the slang.
Okay, I was afraid of that, Spence. There's one thing everyone would
(56:46):
like to find out right now,what's your next picture assignment? What are
you working on? Well, I'mkind of working on two pictures at once
down CP. I'm working on thenew Katherine Hepburn Picture of the Woman of
the Year and also Tortilla Flat withTeddy Lamar, Eddy Lamar and Catherine Heppin
(57:07):
sounds like very pleasant work. Yes, I feel very jealous, Spencer.
Now, mister de mil, Ilike to add my compliments to all those
you have received on your product,Luck Soap. This has been my first
chance to tell you, but Ithink lock Soap is a grand helping complexion.
Care for further comment on Luck Soap. I refer the ladies to any
nearby screen which shows a close upof Ingrid Bergmann. What's going on around
(57:30):
here? Next week, Ceb,Next week, Spence, we have a
comedy that breaks the speed limit onlaughs. It's The Doctor Takes a Wife,
adapted from the Columbia Picture, andour stars will be Melvin Douglas and
Virginia Bruce. It's the story ofa doctor who marries an author a lady
who's written a best seller glorifying thestate of spinsterhood. I'm sure you'll see
(57:53):
the possibilities of that situation. Withtwo accomplished players like Melvin Douglas and Virginia
Bruce starring Pats, it sounds likea winner to me. Good Night see
good night, mister de mill goodnight, good night, and a fourth
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(58:15):
help join me in inviting you tobe with us again. Next Monday Night
from the Lux Radio Theater presents MelvinDouglas and Virginia Bruce in The Doctor Takes
Away the Successful by the mill,saying good night to you brown Illi,
(58:36):
ladies and gentlemen. Every year,at this time, Christmas Sealds begin to
make their appearance on millions of lettersand packages. In the past, this
annual campaign has financed a nationwide battleagainst one of man's greatest enemies, tuberculosis.
And during the next few days,your local chapter of the National Tuberculosis
and Health Association will ask you tobuy Christmas siealds once again, or perhaps
(58:57):
some have already been sent to you. By all you can remember that every
penny goes to help stamp out tuberculosis. Spencer Tracy appeared tonight through the courtesy
of Metro Golden Mayer Studio. Tunein next Monday night to hear Melvin Douglas
and Virginia Bruce in The Doctor Takesa Wife. Our music was directed by
Louis Silvers, and your announcer hasbeen Melville Ruick. This is the Columbia Broadcasting System
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