 From Hollywood, California, the Lux Radio Theatre presents Joan Crawford and Spencer Tracy in Anna Christie. Lux presents Hollywood. We want you to know, ladies and gentlemen, how much we appreciate your loyalty to our product. Lux toilet soap and Lux place. Your daily use of these fine products, your suggestions that your friends also use them, makes it possible for us to bring you the Lux Radio Theatre. Our play tonight is Eugene O'Neill's great romance drama, Anna Christie. Our stars, Spencer Tracy, Joan Crawford, George Marion Sr. and Marjorie Ramble. And we will hear our special guest, Mr. Albert McLeary, who conducts the On Other Broadways department for stage magazine. And charge of music is Lois Lovett. And now, our producer, Hollywood's celebrated citizen, star founder, Epic Magistrate. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Once upon a time, a child or a girl came to Columbia, Missouri and enrolled in Stevens College. She'd just come from a convent school, where she had paid for her board by helping clean 14 rooms by cooking, washing dishes and taking care of 25 children. She arrived at Stevens College, practically penniless. Yet today, that college's member cell is pride. On the dining room wall hangs her portrait. And beneath it is the inscription, Joan Crawford used to wait on tables in this room. No less spectacular has been the rise of Spencer Tracy. From the days when he and Pat O'Brien, both of them jobless, lived together in a single room in a New York boarding house. Their combined asset consisted of one full dress suit that they both shared and a generous Irish landlady who advanced from $15 so they could eat. There was no portrait and no inscription in that room today. Nor is there any in the room of a Connecticut sanatorium where the turning point occurred in the life of Eugene O'Neill, author of Tonight's Play. It was while he lay in that hospital, reflecting on his past life as a tailor, a gold prospector, a newspaper man and with an occasional job in the theater that Mr. O'Neill determined to start life all over again. This time as a playwright. And today he's the only man who has won the Pulitzer Prize three times. Anna Christie is the brilliant play that brought the award to them for the second time. It was enthusiastically acclaimed on Broadway and later on the screen. Tonight, Joan Crawford plays the title role and Spencer Tracy, the part of Matt Burke, post-starring for us as they do in their current MGM film, Mannequin. George Marion Sr. is heard as crisp, distinguished for his producing as well as his superb acting. Mr. Marion starred in the original stage production of Anna Christie and in both the silent and talking-screen version. Another important character part is Marfe, filled by that charming actress of stage and screen, Miss Marjorie Rambo. This is an important moment in the annals of the Lux Radio Theater as our curtain rises on Spencer Tracy and Joan Crawford in Eugene O'Neill's great drama, Anna Christie with George Marion Sr. and Marjorie Rambo. At the foot of South Street on New York City's waterfront, a grimy cold barge rides the oily swells of the East River. In the cabin of the barge is Marfe, an old woman in tattered clothes who sits in the dim light of her hanging kerosene lamp. Her eyes half closed in sleep. Suddenly she's awakened by a noise un-decked. She rises and shuffles unsteadily toward the door. Hello, who is it, Chris? Look where I got. What, letter? Yes, Marfe. Look, a letter I got down at Yoni Saloon. You've come from my daughter, Anna. Anna, letter? By golly, I don't get later from Anna. Must be here now. What do you think? She's coming here, Marfe? Here? Yes, by golly, that good news all one time for old fellow. You know, Marfe, I don't see my Anna since she was a little girl in Sweden. Five-year-old. How old she'd be now? Oh, let me see. She must be 20-year-old by you. So you ain't seen her in 15 years? No. When she was a little girl, I never got home only a few times in the years. I'm just a fool, sailor, sailor. My wife, Anna's mother, she gets tired waiting in Sweden all the time for me when I don't come. She comes to this country and bring Anna. They go out to Minnesota and live with cousins on a farm. I think it's better Anna live on farms than she be fine from Pudigal. She don't never know that old devil sees. She don't know her sailor father, like me. If it's in her blood, she'll most likely be marrying a sailor herself. No, by golly, don't do that. What the matter? You're a sailor yourself, ain't you? Well, that's just why I say it. A sailor is all right fellow, but not for Marigal. I know that Anna's mother, she knows that too. When's Anna coming? She come right away, that's all. Little was sent to Yone Saloon. I go back there, I wait. Martha, I want to speak to you about something. Yeah? What about? Well, I don't know how to say it. I know what you mean. Now she's coming, you won't be needing me, huh? Oh, Martha. Ah, don't worry. I'll pack my duds and beat it off the bars before she comes. Nobody can say that Martha Yoha never stayed where she ain't needed. You are so good woman, Martha. Ah, can the bull. Well, you treated me square yourself. So it's 50-50. Nobody saw it, nobody. And we're still good friends. Ah, great. Yeah, bye, Gullick. Good friends. And we celebrate, we drink a health. Sure. My little Anna, she come back to the old man. How are you, sister? Hello. Is this Johnny's place? That's right. What can I do for you, sister? You don't serve sodas, do you? You don't serve nothing up here at the bar, sister. They have a back room for ladies. Oh, thanks, smart guy. Just ring if you want anything else. Yeah. Hello. Hello. Mind a little cup, please? I'll sit down. Thanks. I've seen you come in. My name is Martha Yoha. Stranger around here, ain't you? I just got in town day and a half on the train. Thought I'd never get here. Day and a half, huh? Yeah. Where'd you come from? St. Paul, out in Minnesota. St. Paul. So you're... You're... What are you laughing at, me? No. I was just thinking... Ain't nothing wrong with me. Is that you're looking hard enough? No, I ain't got to look much. I got your number the minute you stepped in the door. Yeah, I got yours too without no trouble. You're me 40 years from now, that's you. Oh, come on. Now, let's cut out this crap. Me, now you see, I don't want no hard feelings with nobody. Come on, shake and forget it, huh? Sure, I ain't looking for trouble. That's right. What you doing here? Waiting for someone? I'm a old man. I ain't seen him since I was a kid. He used to be a sailor. He's janitor, some building here now. Janitor? Yeah. I was thinking maybe she and he ain't never done a thing for him in my life. He might be willing to stake me to a room and eat. Can we get rested up? I've been sick since out of the hospital two weeks. I ain't expecting much from him. Give you a kick when you're down, that's what old men do. Say, do you hang around this joint much? Oh, off and on. Well, then maybe you know my old man. Yeah. It ain't, say it ain't Chris Christofferson either. Yeah, yeah, that's him. Anna Christofferson, that's my real name. Only out there I call myself Anna Christ. So you know him, huh? Oh, seen him above for years. But wait, you get the idea he was a janitor. Well, he wrote me wasn't he? Well, he ain't. He's captain of a coal barge. A coal barge? Oh, if that ain't a swell job to find your long lost old man working. Well, that killed it. I don't get no rest from him. Why not? Can't you live on it too? On a dirty coal barge? What do you think I am? Oh, what do you know about barges? Bet you ain't never seen one. That's what comes of his bringing you up inland. Where you'd be staying. He is bringing me up. Is that what he tells people? He let them cousins keep me on their farm and work me to death like a dog. So you didn't fall for life on the farm, huh? I stood it until my mother died. And I went to St. Paul. Ah, well, you should have stuck to the farm. It couldn't have been worse than this. Oh, shut up. Now look, you're old man. He's a simple old guy, see? He thinks you was working as a nurse girl in St. Paul. He thinks? Oh, say, he thinks the world are you. Honesty does. Yeah? Say, that's him now. He's out there. I'll tell him you're here. Wait a minute. Oh, Chris. Hello. Hey, Chris. She's in the back room, Anna. Anna? Yeah. Well, so long, Chris. Say she's been sick. Pretty good, would you? Well, I gotta beat it now. Anna. Anna. Hello, Father. She told me it was you. Oh, it's good for you after all them years, Anna. Good to see you, too. Yeah, I had an awful trip coming here. Well, Anna, I've never been to New York before, you know, and I'm just out of the hospital two weeks ago. You, Anna. Yeah. Bye, Golly. You feel better now, though, don't you? You look a little tired, that's all. I am tired of this. I need a long rest. That's why I made it in my mind to see you. Oh, I got a place for rest. Nice place. You don't never got to work as a nurse girl no more. You stay with me, bye, Golly. And you're really glad to see me, Anna. Anna. Anna, Lily. I got no one in world but you. Come, you get a rest. We go on board. You mean the barge? Next month. Oh, Anna. Well, I mean, do you think that's a good place for a girl, a cold barge? Well, you don't know how nice it's on barge, Anna. Talk to me, doors out on voyage. You've got used water all around. Sun, fresh air, plenty good grub for, make you strong, healthy girl. You need a rest like that. Sun's pretty good to hear you tell it. I'd sure like a trip on the water, all right. Well, I'll go with you and have a look. Maybe I'll take a chance. Gee, I'd do anything. Would be go cool. I want the rush. Wait a second. I'm thirsty. Oh, I'm sorry, Anna. What do you think you like for drinks? I'll take a sip. I don't know. What do they got here? Well, I don't think they got much fancy drink for young girl in this place. There's a ginger ale or sarsaparale. I'll make it sarsaparale then. I tell you, Anna, we celebrate this one time because we meet after many years. They got good port wine, Anna. That's good for you. It ain't strong neither. One glass, he don't go to your head, I promise. Okay, I'll take four. Hey, Johnny, one glass port wine, one small beer. German. You know you, you must offer to the girl, Anna. I bet all men see you fall in love with you by year. They cut it. Oh, by what she meant, I didn't know how your father took that way, Anna. No, of course it ain't only. It's funny you're like a stranger to me. Yeah, Anna. I know. Hey, Art, port wine for the lady and our small beer for you, Chris. Yeah. Commander, you drink your wine that put new life in you. Skull. Skull? You know that Swedish word, Anna? Skull? Yeah, I guess I know that word all right. We'll move out fast. We take him up by Germany. We start. It ain't so bad on barge. I'll let you know later. There's more. We pick up coal in Boston and turn back. You change a lot in one week, Anna. Sea air make you feel good, eh? Maybe. I don't know. Four bells. What time is it? It's 6 o'clock. Funny all this tea talk. I'm getting older the longer the day. But the men in our family always say this. Yeah, fools too. My father, my three brothers buried at sea. Sooner or later, that old devil sea she swallowed them up. She ain't gonna get me. No, by any means, not me. Beefin' about the sea again. Well, I'm gettin' so I kinda like it. Anna, you like it? Here I am. What do you want? Why you don't turn in, Anna? It's late. It's after four bells. I like this fargoness. I feel as if I was out of things altogether. The fog is worse than dirty tricks of all sea. I don't give a wrap if it never lifts. It makes me feel clean. Oh, I love it. You like funny tonight, Anna? Funny. I feel sort of strange tonight. Sort of muddy. As if I've been livin' a long, long time out here in the fog. I don't know how to tell you just what I mean, but it's like I'd come home after a long visit someplace. And I seem to have forgotten everything that's happened like it didn't matter no more. What's that? The sound come from this side. She come in from open sea. Oh, who's out there? You've got a rope when we come along, sir. Save your breath for hallowedness in. Where are you, you swab? This way! Oh, why don't you stay where you belong? Look, Anna, it's rough. Rough with three men. Ahoy! They've been wrecked, Anna. Here, catch the rope. Oh, just swab, throw it and be quick about it. It's not another night I'll be sittin' out here. You catch it. I did. Small thanks to your rotten name. Lend me a hand with these two men. They're out and they're as heavy as lead. Help, Anna, give him arm. Come on, now the other. Lift your skirt. Up with him, Anna. You next, come on. Ah, sure it's none of your help I need. Five days in the open sea. Glory be, what tub is this? This coal barge, see me on winter. A coal barge, is it? Well, we're safe, anyway. Safe with the help of God. I can, Anna, get whiskey, quick. You awake now? Here, drink this. Ah, who are you? Drink it. Sure am I dreaming. Drink this, and you'll find it ain't no dream. Who wants the drink? But I'll take it just the same. Where am I? Cabin of the Simeon Winthrop. I know, I know. Sure I thought you were some mermaid come out of the sea to torment me. Give us your hand, darling. Well, rail flesh and blood, devil alas. Cut that. Sure, and what is a fine handsome woman the like of you doing on this scowl? Hey, you got nerve, haven't you? Kiddin' after what you just been through. Ah, it was nothin'. It was easy for a rail man the likes of me. It is only the great strength of me that saved us when the crash came. Ah, it was a mad fightin' scramble in the last seconds with each man for himself. All the others was drunk? And that they were surely. Sure and only for me and the great strength and nerves in me the two I saved would be scuffed by the fishes this minute. Gee, you hate yourself, don't you? Well, you better lie down and sleep. Lie down and sleep, is it? Let you not be thinkin' I'm a weak scut. I could lick any man on this boat with one hand tied behind me. Ain't you the hard guy? Well, I must say I don't care for your language. The men I know don't pull that rough stuff when ladies are around. Ladies, is it? The devil ninja. Let you not be makin' game of me now. Wish now, me Daisy. It's one of your kisses I'm needin' to take the tiredness from my bones. One kiss now. Let go of me, you big slug. Hey, what's the matter? I didn't mean to push you down. Hey, wake up. Ah. Gee, you socked your head on the bone. I was scared for a minute. I'd kill you. Killed, is it? It would take more than a bit of a blow to crack my thick skull. But, Glory V, it's a power of strength is in them two fine arms of yours. There's not a man in the world can say the same as you, that he's seen Matt Burke lying at his feet and him dead to the world. I'm sorry it happened. Only you'd no right to be gettin' fresh with me. Listen now, don't be gettin' any more wrong notions. I'm on this barge, because I'm makin' a trip with my father. The captain's my father. I'm sorry. You're a little like of yourself. So if you'll forgive me, we'll be friends from this out. I'm thinkin' I'd rather be friends with you than have my wish for anything else in the world. Your hand, girl. Sure. Heaven bless you, girl. Ouch, my hand. Ah, it is a clumsy ape I am. Sure, it is great power. I have in my hand an arm, and I do be forgettin' it at times. Gee, you're some strong, all right. I am that praise, God. And I'm tellin' you there's the will of God in it that brought me safe through the storm and fog to the one spot in the world where you was. Think of that now, and isn't it queer? Anna, you'll get in your cabin, you hear? Who do you think you're talkin' to, a slave? You need to get rest, Anna. You've got to get sleep. What are you doing here, you sailor fella? You ain't sick like others. You'll get in folksome. But he is sick. Look at him. He can hardly stand up. Get in folksome. Let's you look out, then. With one hand weak as I am, I can break you in two and fling the pieces over the side and your crew after you. No, no, I was forgettin'. You're her old man, and I'll not raise a fist to you for the world. I think I'd better sit down. Here, get back in that bunk. You're gonna stay here in this cabin till you're well. I'll take care of you myself. Oh, Anna. Anna, sure it's a sweet name and suited to an angel. You stay here, Anna. You stay here. And I don't. That's your dirty trick. All devil sees. But you don't do that. Not while I live. No, by you, you don't. Now, Anna Christie is over. But in a moment, Joan Crawford, Spencer Tracy, and George Merriam Sr. will return to continue with act two. Now, during our intermission, we'd like you to meet two young people who got a lot of fun out of writing parodies on popular songs in their spare time. Tonight, we're going to give them a chance on the radio with their latest brainstorm. It's a parody on the national hit tune by Mir Bistushain. By Mir Bistushain, so won't you explain what makes you the fairest in the land? Is it your complexion inspires such affection? And how do you keep it so grand? I might say Germans, I'd say, or even French, so boom. But lux it is makes me so blight. My skin so very boom. I'll sing this refrain by Mir Bistushain. Lux soap, you're the finest in the land. By Mir Bistushain, you need not explain what makes you the fairest in the land. I can see it's your complexion inspires such affection. And lux toilet soap sure keeps it grand. There's more truth than poetry in that song you've just heard. It's a fact that nine out of ten screen stars depend on lux toilet soap to guard their complexions. That smart girls everywhere use this gentle white soap to keep skin lovely. Guard against cosmetic skin. Its active lather removes thoroughly the dust and dirt, stale cosmetics that choke the pores. When pores are choked, the dullness, tiny blemishes and large pores that mean cosmetic skin develop. Guard against this unattractive complexion trouble by using lux toilet soap before you renew makeup. It is before you go to bed. And now, here's Mr. DeMille. Anna Christie, starring Joan Crawford and Spencer Tracy with George Marion Sr. A week has gone by and the barge is traveling south again due in New York on the following day. In the cabin, Chris pretends to read glaring hatefully over the paper at Burke and Anna. Anna's been knitting. She moves toward Burke and holds a sweater against his broad chest. I want to measure against you, Matt. Stand up. Sure, and I will. On my head or my feet? Feet. Ah, you're standing mighty close to me, Anna. With my sweater you made with your own sweet hands. Only prayer or paralysis can save you now. I'm praying, Matt. Then here's a miracle if your prayers are answered. Thanks, Matt. The sweater's for my father. He hates to stand up for measurements. What? It is a lie on your throat, Anna, and you know it. You made it for me with your own blessed hands. And I'll be wearing it tomorrow when we dock in New York, taking you, myself, out for a day's fun. Oh, no, you won't. It won't be finished by then. What's more, I won't be going with you. Oh, yes, you'll be going with me. Just the two of us. Oh, no, I won't. Oh, yes, you will. All right, all right, all right. Red hearts, red hearts, fighting. Step right up, fellas. That's it. Red hearts, red hearts. Get it, brother. I hit the high, Frank. I've got ten of them I have now. Come on, man. Oh, it is nothing. They've built them too low. Hey, uh, hey, uh, hey, uh. Test your lungs. Step right up and blow the lung tester. Hit the bell and win a box of chocolate. Why don't you test your lungs, Matt? I should test them. This fine pair of bellows that I got. I've got enough air in me to blow up a balloon. You said it that time. Sure I have. What do you mean I said it? I'll put it on your thing. I mean, you must swell a tongue. Here are the waxworks, ladies and gentlemen. Every wax figure or work of art. All the love scenes, the history enacted by wax figures. Anthony and Cleopatra. Romeo and Juliet. Step right up. Some more foreigners. Sure, ain't there any Irishmen in the waxworks? Honest, I'm having fun with you. I ain't having such a punk time, myself. Gianna, you're a swell-looking dish. Ah, Blarney. Not when I'm talking to you, Anna. The Blarney dies and we throat. I'd like to believe it, Matt. Oh, look. Romeo and Juliet. Yeah. You'll never land that dame. Well, Anna. Why, the poor swab is on his knees to her. You don't believe in that? Sure not. A woman wants to look up to her man, not doubt on him as if he was a poodle. Yeah. Yeah, I'm looking up to you, Matt. And I'm looking up to you, Anna. Oh, Matt. Anna. Anna, darling. It is a strange thing you've done to me. It's love all right. There's a choking feeling in me throat and my heart is beating like a trip hammer. And if it isn't love, then I'll never find it. A man like you, I thought you'd know a lot about love. I thought I did until I saw you that first night on the boat. Come and do me out of a blindened fog. The two bright eyes of you shining through the mist to light me way. And ever since that night I've been on me two knees to you, groveling at your feet. The same as I am this minute. On your knees, Matt. After what you just said. Ah, don't be making fun of me now. I can't help it, Anna. It's more than love I have for you. It's a kind of pain, like a heartache. Me, that's not good enough to be kissing the shoe on your foot. No. Anna. You mustn't. You mustn't say that, ever. It's true. Why shouldn't I? Matt. Oh, Matt, darling. What would you say if I told you? If you told me what? Nothing. I know what you'll be wanting to tell me soon. If not this minute. That you'll love me, Anna. Don't be so sure of yourself, Matt. I'm loving nobody. And that you'll be wanting to marry me. And maybe I'll be accepting you. You want to marry me? You mean it? Sure, and I'll marry you. Anna, Lily. What? What's the matter, Anna? All the time since you get back, you sit out here and look across the bay. You think about something, Anna? Maybe. Ah, maybe I know. You think you'll love that sailor fella? Well, what if I do? Maybe you think you'll marry him? No. Why? I'm glad you don't marry sailor fella. Any girl marries sailor fella, she's crazy fool. Your mother tell you same thing if she was alive. That ain't why I won't marry him. I ain't thinking about myself. Thinking about him. He's such a simple guy, like a big kid. I ain't got the heart to fool him. You fool him? You go crazy, I think. Yeah, I've been thinking I was myself the last few days. I'm going back on the stern and watch the boat, and Matt comes telling where I am. Well, God bless, who's here? And how's the world treating you this afternoon, Anna's father? Oh, pretty good, if it ain't for some fellas. Me and me, do ya? Where's Anna? Oh, she go out, look at the boat. I'll be going out to her. But first I'm thinking I'll take this chance when we're alone to have a word with you. I'm marrying your Anna before this day is out, and you might as well make up your mind to it whether you like it or no. Ah, that's easy for say. Is it the like of yourself? Will stop me, are you thinking? I'll stop it if it come to worse. Heaven help you if you try it? No, but there ain't no need I do that. Anna only have fun. She make big fool of you, that's all. That's a lie on your throat, that devil ninja? No, that ain't lie. She tell me when she come back before, she never marry fella like you. I'll not believe ya. You ship away again. Leave Anna alone. Big fella like you, that's on sea. He don't need a wife. He got no girl in every port. You know that? That's why you... You think I'm gonna let her life be made sorry by you? You's like a modest was made by me. No, she don't marry you if I got to kill you fella. Glory be what talk is this from a stumpy run of a man. Sure it is a queer fools' blather you have about the say done this and the say done that. You ought to be ashamed to be saying the like in you and old sailor yourself. I'm thinking it is a poor weak thing you are, not a man at all. You'll see if I'm a man, maybe quicker than you think. Put down that chair. I'll kill you. Put it down. You poor fish brain swat. I've half a mind to hit your clout that'll put sense in your square head. Hip off of me now, I'm warning you. How that chair getting up to over? He ain't been fighting with him that after you promised. I've not laid a hand on him Anna. I told him in his teeth I loved you and that's the truth Anna and well you know it. He say same thing to gather in every port he goes. Oh shut up can't you? I know you love me mad. Don't mind what he says. God bless you. And then I said I... Well I told him I thought you have a bit of love for me too. So you told him that? Well maybe I do. I've been wondering if I do love you. I didn't want to mad, I'll own up to that. I guess I can't help it anyhow. So I guess I do. Sure I do. What's the use of kiddin' myself different? Sure I love you mad. Anna. Oh Anna. It is the voice of an angel you have when you speak like that. Anna. Oh come on now Chris. Oh not like a man when you're bait fair and square. Here's my hand to you. We'll be friends from now on. Oh I don't shake hands with you fella. Not while I live. Ah the back of me hand to you then of that suture. It is a rotten bad loser you are. I don't lose. Anna says she like you a little bit. But you don't hear her say she marry you I bet. No. And I wasn't hearing her say the sun ain't shining either. I didn't say it mad. What? You hear? Oh you wait until you do be asked you mean huh. Well I'm asking you now. And we'll be married this day. No. No we won't. What do you mean? I can't marry you mad. I knew that was so. Anna is it making game of me you'd be. Do you think I'd kid you now. I'm not joking mad I mean what I said. Well you don't you can't you were saying you loved me. I'll say that as often as you want me to it's true. Then why what in the devil's name. Because it's the best way I can figure out mad. I've been thinking it over and thinking it over day and night all week. Don't think it ain't hard on me too. For the love of Saint Peter tell me what it is then that's preventing you wedding me when the two of us has love. I can't tell you and I won't. I got a good reason and that's all you need know. I can't marry you that's all there is to it. Is it married to someone else you are. Oh no. To the devil and with all other reasons they don't matter with me at all. We've had enough of this talk now. I'll let you be going into the other room now and be dressing in your best and we'll be going ashore. Say don't do that. You stay here Anna you hear. She will not. You've had your hold on her long enough it's my turn now. Your turn. You don't do one thing he said. She will. He will not. I'm her father. He will in spite of you she's taken my orders from this out not yours. Orders. Come on now hurry up we've no time to be wasting. You stay here Anna. Shut up. Shut up both of you. You think I was a piece of furniture. Well I'll show you. Sit down now and listen. I'm going to tell you something then I'm going to beat it. Oh no what. Yeah I've been meaning to turn it loose on you every time you start yapping about keeping me safe inland. What is it Anna. And you met. Don't forget what you said a minute ago about it not mattering so long as I wasn't married already. That's my word and I'll stick to it. Yeah I'll bet you will. Just queer rough talk for a decent girl the like of you. Decent. Who told you I was decent. What is it you're saying are you mad girl. Mad. Yes she's crazy she's talking like that she's crazy. Well maybe I am. Living with you is enough to drive anyone off their nut. You're bunk about the farm being so fine. Didn't I write your year after year how rotten it was and what a dirty slave them cousins made of me. What do you care nothing. That crazy stuff about wanting to keep me away from the sea didn't go with me. You just didn't want to be bothered with me. I'm not so. Then I run away. Did you know where I went. Did you care. Did you care what kind of people I met and who I saw and what I did. I thought I was a nurse girl in St. Paul didn't you. A nurse girl. Oh that's good that is but I wasn't see. I lied to you I wasn't no nurse girl the last two years and now it's the truth you get. Oh it ain't just a lie it's a lie. So that's what's in it. Yeah that's what's in it. I suppose you remember your promise. I suppose you still want me to get dressed and go ashore with you. Yes you do. I suppose if I tried to tell you that I wasn't that no more you'd believe me wouldn't you yes you would and if I told you that just getting out in this barge and being on the sea had changed me and made me feel different about things as if all I'd been through wasn't me and didn't count was just like it never happened. You'd laugh wouldn't you and you'd die laughing sure if I said that meet me that funny way that night in the fog and afterwards seeing that you were straight good stuck on me that got me to thinking for the first time and I sized you up as different from the ones on land as water is from my I couldn't marry with you not knowing the truth I was ashamed to tell you but will you believe it if I tell you that loving you has made me different it's a straight good honestly oh yes you will you're like all the rest different isn't I'll be killing you now go on kill me let her go keep out of this you well Matt ain't you got the nerve to do it go ahead I'll be thankful for it honest I can't do it and your two eyes looking at me haven't helped me I'm destroyed entirely my heart is broken don't let get out leave me alone I'll be gone surely and I'll be shipping away on some boat will take me to the other end of the world where I'll never see your face again and my curse on you and my curse on all you've been you've destroyed me this day and may you lie awake in the long nights tormented by the great wrong you've done don't mess I think I I go sure too sure go on I about get drink yeah you want to forget too don't you like him I think your fault I know that now it's not all devil see do this to me oh what's the use go on you wait here on maybe maybe not maybe I'll go sure too what do you care what I do go on beat it we go into the third act of Anna Christie starring Joan Crawford and Spencer Tracy following this brief intermission from time to time you've heard Hollywood personalities on this program offer the sound advice that to get into pictures you should stay away from Hollywood join the little theater in your hometown and wait until Hollywood finds you so I think it's time that someone told us exactly what these little theaters are all about for this we've selected Mr. Albert McCleary a foremost authority on the American little theater he spent the last 10 years in direct contact with these organizations writes the column on other broadways for stage magazine and maintains steady contact with the 300 civic theater groups that part their curtains between Maine and California all of which makes it appear Mr. McCleary that the little theaters are a big proposition yes and let me tell you why each little theater averages at least four productions a year with an average cast of 10 people in each I don't think it too optimistic Mr. DeMille to say that every production has an audience of at least 500 add to this the audiences of university theaters and other amateur dramatic societies and we find that the national community theater audience reaches the amazing annual total of about 12 million in other words one out of every 12 people in this country has something to do with the little theater knows are astonishing figures Mr. McCleary it wasn't so many years ago that Broadway and Hollywood depended almost entirely upon stock companies to train newcomers for stardom and the new theater goers like them to supporting 2000 stock companies in this country but today it is almost impossible to find a single stock company anywhere in the United States their functions have been inherited completely by the little theater Mr. DeMille which gives the individual his chance to become an actor gives Broadway and Hollywood their source of new material and gives the community the pride of having a permanent theatrical group gratifying to know Mr. DeMille how earnestly these enterprising young people in the little theater have clung to the old traditions of the legitimate theater customs superstitions little tricks of the trade one well established custom that is upheld by the women of the little theater will interest you especially Mr. DeMille these charming ladies in my opinion are as loyally devoted to Lux toilet soap as their professional sisters of Broadway and Hollywood I suppose you'll say that there's nothing surprising about that since the Lux toilet soap is such a universal favorite reasons like our comedies Mr. McCleary not only with women whose home is the theater but with women everywhere but getting back to the subject of superstitions peculiar to the theater do you happen to think of any offhand well yes one that comes to mind is rather amusing the one that a very bad dress rehearsal means a successful run and vice versa it's not an uncommon thing to see a dress rehearsal go off swimmingly each actor doing his role with the utmost enthusiasm and then when it's over see these earnest young people not accelerated and stimulated over their fine work but dejected and depressed of course there's no basis for this to superstition but don't ever try to convince an actor of that and now let's see what some of these little theaters have done in surprising fresh invigorating talent to the world you should be able to cite several examples Mr. DeMille well let me see it as Francis Farmer who received her training in Seattle and Harding in Pennsylvania Henry Fander and Omaha Tyron Power in Santa Barbara Robert Young Randolph Scott Douglas Montgomery and Gloria Stewart hailed from the Pasadena Community Playhouse and a Kim Tamir off who plays the role of Dominic you and the Buccaneer frequently goes back there for a week or two just to keep alive his contact with flesh and blood audiences well I'm certain the advice of every one of these players would be stay at home and get your training in your own community theater start with anything you can as an example just two years ago in the Pasadena Playhouse I noticed a young fellow with a wide grin who was always most willing to shove the pianos around or do anything to be generally useful you may have heard of him his name is Wayne Morris there's just one more thing I'd like to say before leaving if you'd like to know where your nearest little theater is where you can go for this training write me and I'll be glad to tell you of course I can't prophesy that you'll crash the gate but if you're determined and have ability that's the place to try just address me and carry the Lux Radio Theater and the station to which you're listening and send a stamp self-addressed envelope with your letter. Thank you. Thank you Robert McCurry. You think there's anything and any power on this earth can make me go back if I didn't have to. Anna. What's the use? What's the use of me talking? What's the use of anything? Anna, Anna. If I could only be believing you now, if I could only believe that that you'd never had love for any man in the world but me I could be forgetting the rest maybe. Oh, Matt. If it is the truth you're after telling I'd have a right maybe to believe you've changed. Matt, that's what I've been trying to tell you all alone. You've got to believe it. What can I do? I'll do anything. Anything you want to prove I'm not lying. Would you be willing to swear an oath now? A terrible, fearful oath. Sure, sure. I'll swear Matt on anything. Will you swear on this? It is a cross, Anna. Will you? Sure I will. Give it to me. It is a cross was given me by my mother, God rest her soul. And I'm telling you there's great power in it. And I'm warning you now. If you swear an oath on this, it is my old woman herself will be looking down from the heaven above and praying the saints to put a great curse on you if she'd be here you're swearing a lie. Oh, I wouldn't have the nerve honest if it was a lie. But it's the truth and I ain't scared to swear. Give it to me. Well, what do you want me to swear? You say it. Swear I'm the only man in the world ever you felt love for? I swear you're the only man in the world I ever felt love for. I swear it before God. And may the blackest curse of heaven strike you if you're lying. And may the blackest curse of heaven strike me if I'm lying. I believe you, girl. Well, Matt, Matt. Sure we'll be wedded in the morning and we'll be happy now the two of us in spite of the devil. Yeah, we have a drink on that bike, golly. Keep away, old man, or heaven rest me if I don't throw your clean out into the fog. No, bike, golly, I hear what you're saying. I like it too. Oh, that's the way to talk. It's about time for you and Matt to kiss and make up. You're going to be shipmates on the London Dairy, did you know it? Shipmates? Has himself? I'm boozing on her. The devil. So you'd be going back to the sea and leaving her alone, would you? Oh, that's all right, Matt. He belongs and I want him to go. You got to go too. We'll need the money. It's for me being alone. That runs in the family and I'll get used to it. I'll get a little house somewhere and I'll make a regular place for you two to come back. You wait and see. Now you two make up and be friends. Well, sure. Here's luck to you. I wish you luck too. Oh, that's the way. Sure it's the will of God, that's what. It's clear, though. You and me shipping on same boat that way. It ain't right. It's that funny way. All devil see. Do her worst dirty tricks. Aye. I'm afraid maybe you have the right of it for once that devil take you. Gee, Matt, you ain't agreeing with him, are you? The way is done. But our evening's not complete until we hear again from Joan Crawford and Spencer Tracy. Thank you, Mr. DeMille. What I have to say is brief, but it's something I really want to say. It's such a pleasure to have been here again taking part in the Lux program. We're enjoying having you here, Joan. You and Spencer Tracy in an O'Neill play are a combination of talent to warm any producer's heart. Which reminds me, Mr. DeMille, that there hasn't been a new O'Neill play in some time. Do you happen to know if we may expect one soon? At the moment, he's engaged in writing not just one, but nine full-length plays. They'll cover the lives and times of an American family beginning in 1810 and coming up to the present. Perhaps someday you and Spencer Tracy will return to us in one of them. Thanks, Mr. DeMille. I hope so. If you don't mind, I'd like to take up a few seconds of our time and pay my respects to those who were with us tonight. To Marjorie Ramble, George Marion Sr., Frank Shannon, and all the others. Mr. Marion is one of the theatre's nobility. This was practically his first public appearance in nearly three years. He's played the part of Chris nearly a thousand times. And I feel very humble and very grateful to have appeared with him tonight. And so do I feel toward Frank Shannon, whom you heard in the role of Johnny. Frank starred in the original production, too, playing the part of Matt Burke. I don't know how near I came tonight to any semblance of this character, but if I succeeded, it's because of the help Frank Shannon was kind enough to give me. If I didn't, it could only have been my own fault. Thank you, and good night. Before I go, too, Mr. DeMille, let me again express my appreciation to the makers of Lux's toilet soap. I use it every day, both at home and in the studio, simply because I found that Lux's soap is about the finest way in the world to keep a complexion fresh and smooth. And I'm glad to pass my experience on to all those that may interest. And now, good night, and thank you so much. Thank you, Miss Crawford and Spencer Tracy. Ladies and gentlemen, this is your announcer, Melville Ruick. News of the stars and play in store for you next Monday night comes to you in a moment from Mr. DeMille. Among the players you heard tonight were Frank Shannon as Johnny, Sydney Newman as Joe, Wally Mayer as concessionaire, Hal K. Dawson as the Barker, Frank Nelson as a vendor, Henry Hanna as a little boy, and Lou Merrill as ticket seller. Our play tonight was based on a Metro-Goldenmayer picture. Louis Silvers appeared through courtesy of 20th Century Fox Studios, where he was in charge of music for their new film in Old Chicago. Before leaving you tonight, we in the Lux Radio Theatre wished to congratulate the Boy Scouts of America on their 28th birthday celebration. This week, more than a million Scouts are featuring safety demonstrations and other activities in their campaign towards building a stronger generation. The Lux Radio Theatre urges its listeners to continue to support this fine movement, one which is indispensable in helping build young Americans into better citizens, preparing them to serve wherever they are needed. We wish them all continued success. And now, here's our producer. Through Broadway and The Screen, many of you are perhaps already acquainted with S.N. Berman's spectacular success, Brief Moment. You'll have a chance to enjoy the romance, conflict and drama of this great play next Monday night, as presented in the Lux Radio Theatre. It's the story of a young man with more money than is good for him, wealth that has left him with a bored, detached interest in life, and what ensues when he marries a blues singer from a nightclub, a girl with many admirers and a slightly different code of ethics. Brief Moment serves as the vehicle to bring back to our stage Miss Ginger Rogers, and co-starred with her one of Hollywood's outstanding leading men, Mr. Douglas Fairbanks Jr. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Ginger Rogers and Douglas Fairbanks Jr. in Brief Moment. This is Cecil B. DeMille saying goodnight to you from Hollywood. Here's the Columbia Broadcasting System. Columbia Broadcasting System