Lux Radio Theatre - A Mans Castle

Summary

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Podcast Summary: Lux Radio Theatre – "A Man’s Castle"

Podcast: Harold's Old Time Radio
Host: Harolds Old Time Radio
Episode: Lux Radio Theatre – "A Man’s Castle"
Air Date: June 30, 2026
Original Broadcast: Adapted from the Columbia Pictures film, Lux Radio Theatre features Spencer Tracy as Bill and Ingrid Bergman as Trina.

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Main Theme and Purpose

This episode presents a radio theater adaptation of "A Man’s Castle," focusing on the struggles and resilience of two marginalized individuals, Bill and Trina, during the Great Depression. Their love story unfolds amid hardship, poverty, and uncertainty, dramatizing themes of survival, freedom, and hope. The production highlights the emotional depths of ordinary people who find companionship and meaning even when the world seems to have left them behind.

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Key Discussion Points and Story Highlights

Introduction (00:32–02:28)

• Cecil B. DeMille, the producer, introduces the story, emphasizing the qualities of film stardom embodied by Spencer Tracy and the emotional resonance of Ingrid Bergman:
  • "It's a play that I'm sure will bring a thrill to every member of our audience..." (02:28)
• The narrative is set in June 1933, in New York City, during the depths of the Depression.

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Act 1: First Encounters and Life on the Margins (04:51–17:32)

Bill and Trina Meet (04:51––08:52)

• Bill (Spencer Tracy), in evening wear, meets Trina (Ingrid Bergman) on a park bench. She is starving and desperate.
• Bill offers Trina a meal, despite both having no money, resulting in a confrontation with the restaurant manager:
  • "Are you really hungry?... I haven't eaten in two days." – Bill and Trina (05:19)
• Bill demonstrates his street smarts and unconventional ways of surviving in the city:
  • "Nobody ever has to starve in a town like this." – Bill (06:18)

Life in "Bagville" (11:31–16:32)

• Bill brings Trina to a shantytown by the river—Bagville on the Hudson—showcasing a community forged by shared poverty.
• Introduction of supporting characters, including Ira, former minister, and Bragg.
• Bill articulates his philosophy of freedom and resistance to being "tied down":
  • "I'm like the wind. You can't grab air, can you?" – Bill (16:32)
• Trina quietly hopes for stability but accepts the instability of her life with Bill.

Makeshift Marriage (16:51–17:32)

• An impromptu marriage ceremony is performed by Ira:
  • "You are now man and wife." – Ira (16:56)
• Bill plays down the significance, resisting emotional attachment:
  • "Handcuffed, you mean." – Bill (17:23)

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Act 2: Hardships, Tenderness, and Temptations (29:57–46:22)

Domestic Aspirations (17:52–20:26)

• Trina expresses small dreams—wanting a proper stove and domestic security.
  • "It's like a safety zone... Quiet and safe. Peaceful." – Trina (19:13)
• Bill indulges her by buying a stove after undertaking a risky errand.

Bill's Hustles and Brush with Crime (22:15–26:42)

• Bill takes on odd jobs (e.g., serving a legal summons disguised as a performer) for quick cash.
• He gifts Trina the stove, offering a rare tender moment:
  • "Five good hard earned bucks for the queen of the kitchen!" – Bill (26:12)

On Dreams and Disillusionment (29:57–43:42)

• Bill, restless and unable to commit fully, considers leaving. He discusses dreams of far-off places, symbolized by the open sky and recurring train whistles:
  • "When you're alive, you want to hold on to your hunk of blue. That's all I got in the world." – Bill (42:50)
• Trina tells Bill she is pregnant, asserting newfound strength:
  • "Soon there’ll be three of us. You can never leave me now, Bill. Never." – Trina (44:45)
• Bill is overwhelmed, contemplates fleeing, and agrees to join Bragg in a robbery to secure money for Trina and the baby.

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Act 3: The Turning Point and Hope Renewed (49:04–60:12)

The Botched Crime (50:16–54:00)

• Bill and Bragg attempt to rob the toy factory where Ira is night watchman. Bill finds himself unable to go through with it, displaying a crisis of conscience.
  • "I don't like this job... I don’t want to change my luck." – Bill (53:06)
• They’re caught by Ira, who expresses sorrow—not for the theft, but for what it means for Trina.

Reconciliation and Escape (54:51–60:12)

• Bragg tries to exploit Bill’s supposed downfall, but Bill returns—wounded but free—and is tended by Trina:
  • "I couldn't check out leaving you high and dry, could I? That dough would have taken care of you fine, but I flopped." – Bill (56:12)
• Trina challenges Bill’s fear of responsibility, vowing to raise her child even if left alone.
• As the authorities close in, Flossy suggests Bill take Trina with him. They leave together, seeking a new life and a true sense of "home":
  • "Even birds got a homing instinct. And I got a feeling we’re going home." – Bill (59:30)

Final Reflections

• The episode ends on a bittersweet note of renewal, hope, and the enduring power of companionship over isolation.

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Notable Quotes & Memorable Moments

• Cecil B. DeMille on stars:
  "Every truly great star possesses at least one of two great qualities. Power and authority. Then I tell them to go and watch Spencer Tracy because he possesses both." (01:10)
• Bill's philosophy:
  "I live alone because that’s the way I like to live. I sleep in the open because that’s how I like to sleep… I’m like the wind. You can’t grab air, can you?" (16:18, 16:32)
• Trina’s revelation:
  "Soon there’ll be three of us. You can never leave me now, Bill. Never. Even if you go away, I’ve got you now." (44:45)
• On finding home:
  "Even birds got a homing instinct. And I got a feeling we’re going home." – Bill (59:30)

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Important Timestamps

• Bill and Trina meet & first meal: 04:51–08:52
• Arrival at the shantytown (Bagville): 11:31–12:49
• Bill on freedom and relationships: 16:18–16:32
• Makeshift wedding: 16:51–17:32
• Trina's wish for a stove: 17:52–20:26
• Bill hustles to buy the stove: 22:15–26:42
• Trina reveals her pregnancy: 44:05–44:45
• Contemplating the robbery: 46:22–47:19
• The robbery scene: 50:16–54:00
• Bill returns and reconciliation: 54:51–59:04
• Decision to leave together (finding home): 59:04–60:12

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Tone and Style

The tone of the episode is heartfelt and gritty, balancing sardonic humor, pathos, and moments of tenderness. Bill’s tough bravado is frequently undercut by Trina’s quiet devotion and gentle optimism. Their exchanges are laced with Depression-era slang and hard truths, yet the play ultimately affirms resilience, love, and the longing for stability.

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Conclusion

This Lux Radio Theatre adaptation of "A Man’s Castle" encapsulates the economic despair and emotional complexities of 1930s America. Through Spencer Tracy’s rugged independence and Ingrid Bergman’s gentle endurance, the story delivers a moving meditation on freedom, belonging, and the small comforts that make survival possible. The episode stands as a testament to the enduring power of radio drama to humanize history and evoke empathy for its lost souls.

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Transcript

[Announcer]

Ahora mascolos Hill Va cada projecto al

[Lowe's Commercial Announcer]

sigente niber ahora quince porciento Nuna selection de puertas personalizadas.

[Announcer]

Escrita. Sigues.

[Narrator]

Lux presents Hollywood. The lux radio theater brings you spencer tracy and ingrid bergman in a man's castle. Ladies and gentlemen, your producer, Mr. Cecil b. Demille.

[Cecil B. DeMille]

Greetings from Hollywood, ladies and gentlemen. It's a rare week when I'm not asked by some trusting soul to reveal the secret of stardom in a nutshell. I'm always very flattered because that's a question nobody's been able to answer yet. The best I can do is to say that every truly great star possesses at least one of two great qualities. Power and authority. Then I tell them to go and watch Spencer Tracy because he possesses both. Of course, two other helpful star qualities are beauty and glamour. Unfortunately, I can't credit either of these to Spence. But whatever he lacks in this department is made up tonight by his co star from the David O. Selznick studio, the the greatly gifted actress, Ingrid Bergman. 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 time Spencer Tracy was on this stage, Ingrid Bergman should be his leading lady. So here they are together again in a play that gave Spence one of his best picture roles. A Man's Castle. Adapted from the Columbia Picture, this is a story of two young people whom the world passed by. It's a simple story. They're not great and famous people.

[Bill (Spencer Tracy)]

They.

[Cecil B. DeMille]

They don't want to be. They're the kind of people who don't give up when the brakes go against them. And their love story is the kind that makes great emotional drama. It's a play that I'm sure will bring a thrill to every member of our audience and a cast. That's a reward we really owe to the millions of men and women for the support they've given our product. Luxe Toilet Soap. I said men as well as women because we've been getting a number of letters which make the same point as this one from a lady in Louisiana. She writes, Dear Mr. DeMille, you always speak of your product being used by the ladies. Well, don't forget men like it too. Recently, my husband and I took a trip to the military maneuvers to see our son, who was a corporal in a medical regiment. The boys were stationed 20 miles out in the woods. When it came time for dinner, one of the boys got a basin and a pail of water so we could Wash our hands. And to our surprise, this soldier also brought out a new cake of your luxe toilet soap. So you see, Uncle Sam's boys like Lux soap too. Thank you, madam. We do see. And we're very 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 of A Man's Castle. Starring Spencer Tracy as Bill and Ingrid Bergman as Trina. With Arthur Hole as Bragg and Edgar Barrier as Ira. It's a few years ago. June 1933, to be exact. Prosperity is. Just around the corner, on a park bench in New York City. Is a young man, a sartorial sensation, in evening clothes, complete with tails, Inverness Cape Opera hat and cane. With grand nonchalance, this modern beau, Brummel. Is tossing popcorn to the pigeons. He steals an occasional glance at the other end of the bench toward a girl who sits there, shabbily dressed but defiantly neat. The girl is acting very strangely as she watches the pigeons eating the popcorn. There's a desperate, almost hysterical look in her eye. The man in evening clothes studies her for a while. Then speaks quietly.

[Bill (Spencer Tracy)]

What's the matter? Come on, spill it. I've been watching you talk to yourself ever since you sat down. You look like you were rehearsing something. What is it?

[Trina (Ingrid Bergman)]

Please. I'm sorry.

[Bill (Spencer Tracy)]

Come back here. What's the rush?

[Trina (Ingrid Bergman)]

Let me go. Let me go or I'll.

[Bill (Spencer Tracy)]

I'll do what?

[Trina (Ingrid Bergman)]

I'll get down on my hands and knees for some of that popcorn.

[Bill (Spencer Tracy)]

Hey, what is this? I thought I was on to all the panhandling routines. Or are you the little girl reporter working on a sob story?

[Trina (Ingrid Bergman)]

Please, let me go.

[Bill (Spencer Tracy)]

Wait a minute. Wait a minute. Are you really hungry? Come on, talk up. Are you hungry?

[Trina (Ingrid Bergman)]

I haven't eaten in two days.

[Bill (Spencer Tracy)]

Two days? Why not?

[Trina (Ingrid Bergman)]

I haven't any money.

[Bill (Spencer Tracy)]

Neither of the pigeons. But they eat in regular.

[Trina (Ingrid Bergman)]

Yes. Must be wonderful to be a pigeon. There's always somebody throwing crumbs to them.

[Bill (Spencer Tracy)]

If you had the brains of a pigeon, you wouldn't be hungry. Come on, let's go eat.

[Joey]

Eat?

[Trina (Ingrid Bergman)]

You mean it?

[Bill (Spencer Tracy)]

I said it, didn't I?

[Trina (Ingrid Bergman)]

Come on board. But where are you taking me?

[Bill (Spencer Tracy)]

The Ritz roof is open.

[Trina (Ingrid Bergman)]

Oh, the Ritz roof. No, no. I didn't ask for anything like that. No, I can't go there in these clothes.

[Bill (Spencer Tracy)]

Ah, shut up. Clothes got nothing to do with eating. Come on, let's go. You want anything else?

[Trina (Ingrid Bergman)]

Oh, no, thanks. No. This is plenty.

[Bill (Spencer Tracy)]

Yeah, you know, for a pint sized like you, you can certainly put it away.

[Cecil B. DeMille]

All right.

[Bill (Spencer Tracy)]

You're hungry, all right. But if you think I fell for your line of hooey, you're crazy. Nobody ever has to starve in a town like this.

[Trina (Ingrid Bergman)]

Why not?

[Bill (Spencer Tracy)]

Because you don't. There's food all over the joint.

[Trina (Ingrid Bergman)]

Oh, yes, but you have to get near it to eat it. Were you ever out of work for all year?

[Bill (Spencer Tracy)]

Sure, I've been out of work all my life. The unemployment problem never bothered me any.

[Trina (Ingrid Bergman)]

Yes, that's all right for you because you're rich.

[Bill (Spencer Tracy)]

Are you?

[Trina (Ingrid Bergman)]

Wear your tails and your top hat. Neat stakes a foot thick. You got what it takes?

[Bill (Spencer Tracy)]

Sure, I got what it takes. I'll prove it to you. Hey, waiter, Come here. Yes, sir? Call the manager. Tell him I want to see him.

[Ira]

Why, sir?

[Bill (Spencer Tracy)]

Is there anything wrong, sir? No, no, everything's swell. I just want to see the manager, that's all.

[Cecil B. DeMille]

Yes, sir.

[Bill (Spencer Tracy)]

You know, you should never ought to skip meals.

[Trina (Ingrid Bergman)]

That was the best food I ever ate. Gee, I feel better now.

[Bill (Spencer Tracy)]

Yeah, you look better. You know, if you filled out a little, you'd get by in a crowd, at that.

[Trina (Ingrid Bergman)]

Oh, you can't. You can't help the way you're made.

[Bill (Spencer Tracy)]

Why can't you?

[Cecil B. DeMille]

Oh, good evening, sir.

[Bill (Spencer Tracy)]

What can I do for you? Hello. Are you the manager?

[Cecil B. DeMille]

Yes, sir.

[Bill (Spencer Tracy)]

Do you want to see me? Yeah, sit down. Why, yes, sir. Well, sir, you know, mister, there's supposed to be 12 million people in this country without 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, she hadn't

[Narrator]

eaten for two days.

[Bill (Spencer Tracy)]

So I brought her in here and fixed her up. She feels swell now. Says it's the best food she ever ate.

[Cecil B. DeMille]

Well, I'm glad to hear that. Thank you.

[Bill (Spencer Tracy)]

Yeah, the only trouble is she ain't got a cent and neither have I. Oh, watch that. Oh, you mean you can't pay for this? That's the idea. So the feed's on you, brother. Oh, now, you know, there's a lot of ways of handling a case like this. You can call a cop and have the pair of us thrown in the can. Now, just a minute. We're sent to the island where we're fed by the state for 30 days at least. The more bums the state has to feed, the more taxes you people have to pay. This is your idea of a joint? Now, wait a minute. This is one of the joints that throws out a leftover grub. In a week to feed a thousand people. You can afford one on the house once in a while. Am I right or wrong? I'll tell you what I'll do with you. I'll put it right up to your own customers here. I'll ask them whether it's right for you to let somebody die of hunger right outside your dump. If they say I'm wrong, I'll admit it. Ladies and gentlemen, according to the newspapers, there's a lot of hungry people in this town. No, no, no. Shut up. Go on, get out of here.

[Ira]

Get out.

[Bill (Spencer Tracy)]

Okay, the case is dismissed. Come on. Who's.

[Fay LaRue]

It's.

[Bill (Spencer Tracy)]

There's nothing like a good walk after dinner. Thanks for the feed, brother. Get out. Get out.

[Trina (Ingrid Bergman)]

But you shouldn't have done that. We might have been arrested.

[Bill (Spencer Tracy)]

Don't be a dope. Where do you live? I might as well take you home.

[Trina (Ingrid Bergman)]

Well, that would be all right if I had a home.

[Bill (Spencer Tracy)]

What's the matter with you? Haven't you got anything?

[Trina (Ingrid Bergman)]

No.

[Bill (Spencer Tracy)]

What are you figuring on spending the night?

[Trina (Ingrid Bergman)]

I don't know.

[Bill (Spencer Tracy)]

Have you got a grip?

[Trina (Ingrid Bergman)]

No.

[Bill (Spencer Tracy)]

Well, get one somewhere. Then go to a hotel and register State air till they hand you a bill and then tell them you're broke.

[Trina (Ingrid Bergman)]

Well, then what happens?

[Bill (Spencer Tracy)]

Then they throw you out and you go to another hotel.

[Trina (Ingrid Bergman)]

Oh, no, no, I couldn't do that.

[Bill (Spencer Tracy)]

Why not?

[Trina (Ingrid Bergman)]

I'd be afraid. Do you live in hotels that way?

[Bill (Spencer Tracy)]

No, I got no use for hotels.

[Trina (Ingrid Bergman)]

Tell me, what do you do for a living?

[Bill (Spencer Tracy)]

I live.

[Trina (Ingrid Bergman)]

Yes, but I mean, you must do something, huh? Those clothes. Evening clothes?

[Bill (Spencer Tracy)]

Yeah. Don't let them fool you. Here, look at the front of my shirt. What do you see?

[Trina (Ingrid Bergman)]

Why, just the front of your shirt.

[Bill (Spencer Tracy)]

Yeah. Now watch.

[Flossy]

Oh.

[Bill (Spencer Tracy)]

Now what do you see?

[Trina (Ingrid Bergman)]

Oh, it lights up. Your whole chest lights up?

[Cecil B. DeMille]

Sure.

[Bill (Spencer Tracy)]

You see what it says? Or can't you read either?

[Trina (Ingrid Bergman)]

Cavalier Barbershop. Sixteen chairs, no waiting. Oh, you're an advertisement.

[Bill (Spencer Tracy)]

Yeah, sure, that's it. A walking ad. Two bucks a night for this? All you gotta do is stroll up and down and flash the light on and off.

[Trina (Ingrid Bergman)]

Oh, is this. Is this your regular job?

[Bill (Spencer Tracy)]

No, I don't believe in regular jobs. I'm only doing this for a friend of mine. I sub for him on his night off.

[Trina (Ingrid Bergman)]

Oh, I see.

[Bill (Spencer Tracy)]

Well, I suppose I'll have to get you a place to sleep tonight. What's your name? Brando con lowe's.

[Lowe's Commercial Announcer]

Pros. Save more on what you need to get the job done right. Right now at Lowe's. Get 15% off select custom entry and interior doors. Plus save $80 on the Dewalt 20 volt max 2 tool combo kit. Now just $169. And at the Lowes pro desk bring us your materials list and get a quote in minutes. Handwritten. A photo or even a sticky note is all you need. Keep your jobs moving faster and on budget at Lowe's. Val. While supplies last selection varies by location.

[Trina (Ingrid Bergman)]

Trina.

[Bill (Spencer Tracy)]

Trina. That's awful. I think I'll just call you who its.

[Trina (Ingrid Bergman)]

What's your name?

[Bragg]

Bill.

[Trina (Ingrid Bergman)]

Bill. Bill, That's.

[Bill (Spencer Tracy)]

Well, here we are. Who's. It's the river on one side and the railroad tracks on the other.

[Trina (Ingrid Bergman)]

Is this where you live?

[Bill (Spencer Tracy)]

Yeah, yeah, Bagville on the Hudson. Built right smack on the city dump. How do you like it?

[Trina (Ingrid Bergman)]

It's wonderful. I've been in New York all year and I never knew there was such a place.

[Bill (Spencer Tracy)]

Yeah, that's one of the best things about it. The privacy.

[Narrator]

Of course.

[Bill (Spencer Tracy)]

It's just a lot of shacks, you know, but it's the only way to live. No rent, no taxes, running water, a whole river of it. And the whole dump is lousy with southern exposure. You hear that? That's what I like best. Them train whistles to remind you of other places. You hear them all night. Don't you love the sound of it?

[Trina (Ingrid Bergman)]

Well, it's. No, no, it's. Little scary, huh?

[Bill (Spencer Tracy)]

Ah, gangway. Get out of my way. Here I come. That's what it says. Like a long distance call. Come on.

[Trina (Ingrid Bergman)]

Which one of these shacks do you live in?

[Bill (Spencer Tracy)]

I don't. I don't. Mostly I sleep in the open. When it rains, I take my choice. They're all my pals here. I can bunk with any one of them.

[Trina (Ingrid Bergman)]

They must be very nice people.

[Ira]

The best.

[Bill (Spencer Tracy)]

You know, it's funny. When people got nothing, they act like human beings. We get along fine here. It's just like one big happy family. Get away from me, I tell you. Don't bother me or I'll smack you at teeth.

[Trina (Ingrid Bergman)]

What's that?

[Bill (Spencer Tracy)]

That's a guy named Bragg. He don't get along so well with his girlfriend.

[Flossy]

Come back here.

[Bill (Spencer Tracy)]

Let go, you.

[Flossy]

Oh no you don't. You're staying right where you are.

[Bill (Spencer Tracy)]

Did you hear what I say, bitgoer? I'll brain you.

[Flossy]

You can't two time me, Al.

[Bill (Spencer Tracy)]

First, Greg. Hey, brag. What do you want? Why don't you let Flossy alone? Why don't you mind your own business? Let her alone or I'll come over there and help her clean up the place with you. Ah, shut up.

[Fay LaRue]

What?

[Bragg]

Nothing.

[Bill (Spencer Tracy)]

That's better. I was going to ask Flossy to put you up for the night, but maybe that ain't so hot.

[Trina (Ingrid Bergman)]

I could sleep in the open, I guess.

[Bill (Spencer Tracy)]

No, no, no. That takes training. I got it. Bear left this shack right over here.

[Trina (Ingrid Bergman)]

Who lives here?

[Bill (Spencer Tracy)]

Friend of mine. His name's Ira. Hello, Ira. What's the good word?

[Ira]

And seeing the multitudes, he went up into the mountain and his disciples came unto him. And he taught them, saying, blessed are the poor in spirit, for theirs is the kingdom of heaven. That's the good word. Hello, William.

[Bill (Spencer Tracy)]

That looks like that Gideon Bible I swiped out of a hotel last week.

[Ira]

Bibles can't be stolen. The good word is free. I only wish I could get you to read it, William.

[Bill (Spencer Tracy)]

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. Hoosits. Meet Ira. Ira used to be a minister. Now he's a night watchman.

[Ira]

Not used to. William, I am a minister. If I choose to live down here, I have a reason.

[Bill (Spencer Tracy)]

Yeah, sure, sure. Anyway, this is Hoosits.

[Ira]

How do you do?

[Trina (Ingrid Bergman)]

Very nicely, thank you.

[Bill (Spencer Tracy)]

Yeah, nicely. Only she ain't got a place to sleep. I thought maybe after you checked out, you could camp here for the night.

[Ira]

Of course. Welcome.

[Bill (Spencer Tracy)]

When do you go to work?

[Ira]

11:30.

[Bill (Spencer Tracy)]

Okay. She'll check in about 12.

[Trina (Ingrid Bergman)]

I thank you from the bottom of my heart.

[Bill (Spencer Tracy)]

Nuts. Come on.

[Trina (Ingrid Bergman)]

Where are we going now?

[Bill (Spencer Tracy)]

What do you care? You want to see where I sleep?

[Trina (Ingrid Bergman)]

Yeah. Where?

[Bill (Spencer Tracy)]

You see that barge over there?

[Fay LaRue]

Huh?

[Bill (Spencer Tracy)]

Right there. The reason I like to sleep on that barge is because there's no roof on.

[Trina (Ingrid Bergman)]

Must be wonderful with the water. Rocking you like a cradle. Oh, look at those ships there with the sails. They look so peaceful and contented.

[Bill (Spencer Tracy)]

Darn. They've been laying there for years, rotting away with barnacles. That's what you get when you're anchored.

[Trina (Ingrid Bergman)]

Weren't just the same. It's restful.

[Bill (Spencer Tracy)]

Restful?

[Bragg]

Yeah.

[Bill (Spencer Tracy)]

So is the graveyard.

[Trina (Ingrid Bergman)]

Bill.

[Bill (Spencer Tracy)]

What?

[Trina (Ingrid Bergman)]

You're a funny guy, Bill.

[Bill (Spencer Tracy)]

Yeah? Why?

[Trina (Ingrid Bergman)]

I don't know. What do you do when you're not walking around with your chest lit up?

[Bill (Spencer Tracy)]

Lots of things. Maybe nothing at all. Sometimes I walk the stilts.

[Fay LaRue]

Stilts?

[Bill (Spencer Tracy)]

Yeah, up on Broadway.

[Trina (Ingrid Bergman)]

Oh, I know what you mean. Way up in the air, all those long wooden legs with a sign on your back.

[Bill (Spencer Tracy)]

Yeah, that's it.

[Trina (Ingrid Bergman)]

Is it fun?

[Bill (Spencer Tracy)]

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 dame, ain't you?

[Trina (Ingrid Bergman)]

Oh, I don't mean to be.

[Bill (Spencer Tracy)]

Forget it, Bill.

[Trina (Ingrid Bergman)]

I want to thank you. You've been so good to me.

[Bill (Spencer Tracy)]

I got you a free feed, if that's what you mean. I guess you need somebody to look after you.

[Trina (Ingrid Bergman)]

Maybe. Maybe you need somebody to look after you too, Bill.

[Ira]

Me?

[Trina (Ingrid Bergman)]

Oh, I don't mean like that, but, well, who. Who cooks for you, huh? Washes your clothes and things like that?

[Bill (Spencer Tracy)]

Nobody. I do it myself.

[Trina (Ingrid Bergman)]

But wouldn't it be better if you had somebody?

[Bill (Spencer Tracy)]

Now, listen, Hoosits. Don't go getting any funny ideas.

[Trina (Ingrid Bergman)]

Oh, no.

[Bill (Spencer Tracy)]

I don't like being tied down, see? I live alone because that's the way I like to live. 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 the way I'm gonna do things always, see?

[Trina (Ingrid Bergman)]

But I wouldn't tie you down, Bill. How could I?

[Bill (Spencer Tracy)]

Sure, how could you? I'm like the wind. You can't grab air, can you?

[Bragg]

Or.

[Ira]

And the Holy Spirit. Ever one God, world without end.

[Bragg]

Amen.

[Ira]

Those whom God hath joined together, let no man put asunder. Of course, this isn't a church, but I am a minister, and the words are the same in the eyes of God. You are now man and wife.

[Trina (Ingrid Bergman)]

Man and wife. Bill, did you hear?

[Bill (Spencer Tracy)]

Yeah, I heard.

[Trina (Ingrid Bergman)]

Those whom God hath joined.

[Bill (Spencer Tracy)]

Handcuffed, you mean.

[Fay LaRue]

Oh.

[Trina (Ingrid Bergman)]

Oh, Bill, you said you wanted to.

[Bill (Spencer Tracy)]

Yeah, sure. I got weak. But I told you what it means right next to nothing.

[Trina (Ingrid Bergman)]

Oh, I know, Bill. It's just the idea. I know.

[Flossy]

Hello, Trina.

[Trina (Ingrid Bergman)]

Hello, Flossy.

[Flossy]

Where'd you get all that energy from? Every time I see you, you're working.

[Trina (Ingrid Bergman)]

Oh, I was out of work for all year. Making up for lost time, I guess. This kind of work isn't real work.

[Fay LaRue]

It's fun.

[Flossy]

Yeah. You're the only woman I ever knew who had seven wash days a week.

[Trina (Ingrid Bergman)]

Oh, Bill's particular. Anything that goes next to his skin must be clean. I guess he's the cleanest man in 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 the stove. Bill's going to get me a real

[Flossy]

stove for a joint like this. What's the matter with the one you got?

[Trina (Ingrid Bergman)]

Ah, you can only make stew on it. I could cook Bill some wonderful things if I had a real stove. He's going to get me one too, soon as he gets the money.

[Flossy]

Whoever heard of a bindle stiff getting money?

[Trina (Ingrid Bergman)]

Now? What's a bindle stiff?

[Flossy]

A hobo can't stay put, except maybe in jail.

[Trina (Ingrid Bergman)]

Bill can make all the money he wants if he wants to. He's got personality, Bill has. He's different.

[Flossy]

He was different. Would he keep you here in a dump like this?

[Trina (Ingrid Bergman)]

What's the matter with you, Flossy? How can you say things like that? This isn't a dump. Not to me, it isn't. It's. It's like why. Oh, I can't find the word. You know them things they got in the middle of the streets where people can stay till traffic. Safe. What do you call them, huh?

[Flossy]

Safety zones.

[Trina (Ingrid Bergman)]

Yes, that's it. Safety zones. That's how I feel about this place. It's like a clearing in the forest. Quiet and safe. Peaceful. Oh, that's the only thing I don't like, those train whistles.

[Fay LaRue]

Hmm.

[Flossy]

I guess I know why you don't like him. Getting scared, aren't you? Always wondering if that man of yours will be on one of them trains someday.

[Fay LaRue]

No.

[Trina (Ingrid Bergman)]

No. Bill's good to me. Gives me everything I want.

[Flossy]

Yeah, except maybe a st.

[Trina (Ingrid Bergman)]

You see, Bill? Look at that one over there in the back of the window. Queen of the kitchen. A stove to be proud of.

[Bill (Spencer Tracy)]

Come on, let's get out of here. I ain't no window shopper.

[Trina (Ingrid Bergman)]

Oh, it's beautiful, isn't it? And cheap. Only $5, huh?

[Bill (Spencer Tracy)]

$5 for a stove.

[Trina (Ingrid Bergman)]

Oh, well, $5 down, that is. And only $2 a month for only 12 months and no interest.

[Bill (Spencer Tracy)]

Yeah, no interest is right. As far as I'm concerned, I don't go for nothing on the installment plan.

[Trina (Ingrid Bergman)]

In only a year, the store will be ours.

[Cecil B. DeMille]

A year?

[Bill (Spencer Tracy)]

You think I'm gonna hang around this town a year?

[Trina (Ingrid Bergman)]

Oh, it's such a beautiful all around kind of a store.

[Bill (Spencer Tracy)]

Forget it. Go on home.

[Ira]

Beat it.

[Trina (Ingrid Bergman)]

Aren't you coming, too?

[Bill (Spencer Tracy)]

Not yet. What's for supper tonight?

[Trina (Ingrid Bergman)]

Stew.

[Bill (Spencer Tracy)]

Stew? Go on home.

[Trina (Ingrid Bergman)]

All right, Bill. Come down close to me. I want to whisper something.

[Narrator]

What?

[Trina (Ingrid Bergman)]

I love you. Goodbye, Bill.

[Bill (Spencer Tracy)]

Kissing me in the street. Now, ain't that cute,

[Ira]

huh?

[Bill (Spencer Tracy)]

Queen of the kitchen. $5 down. Queen of the.

[Ira]

Hey.

[Narrator]

Break.

[Joey]

Brag.

[Bill (Spencer Tracy)]

Hello, Phil.

[Lowe's Commercial Announcer]

Pros. Save more on what you need to get the job done right. Right now at Lowe's. Get 15% off select custom entry and interior doors. Plus save $80 on the Dewalt 20 volt max 2 tool combo kit. Now just $169. And at the Lowe's pro desk, bring us your materials list and get a quote in minutes handwritten. A photo or even a sticky note is all you need. Keep your jobs moving faster and on budget at Lowe's valid through 7 8. While supplies last selection be by location.

[Bragg]

What's doing?

[Bill (Spencer Tracy)]

Nothing. I've been looking for you. How about that two bucks you owe me?

[Bragg]

What are you hounding me for?

[Bill (Spencer Tracy)]

I've been working my head off trying

[Bragg]

to get DOE to pay you off.

[Bill (Spencer Tracy)]

Why?

[Bragg]

I'm working right now.

[Bill (Spencer Tracy)]

You don't look it. What kind of work?

[Bragg]

Seven.

[Bill (Spencer Tracy)]

A summons. You get two bucks to throw. But this one's so tough, there's a

[Bragg]

bonus goes with it. 10 bucks for this one.

[Bill (Spencer Tracy)]

Why don't you serve it and get your money?

[Bragg]

Why don't I?

[Bill (Spencer Tracy)]

What do you suppose I've been trying

[Bragg]

to do for three days? It's for a dame and a show. A singer named Fay LaRue. You can't get to her.

[Bill (Spencer Tracy)]

What do you mean, you can't get to her?

[Bragg]

She's got a bodyguard.

[Bill (Spencer Tracy)]

I'm the third guy that's tried this week. 10 bucks, huh? Hey, suppose I serve this summons for you. I could use five bucks. Will you spit?

[Bragg]

I'm telling you, you can't do it. Every time she comes off the stage,

[Bill (Spencer Tracy)]

she's got a bunch of gorillas around her.

[Bragg]

You can't get near her.

[Bill (Spencer Tracy)]

You ever tried giving it to her while she's on the stage?

[Bragg]

Huh?

[Narrator]

You're nuts.

[Bill (Spencer Tracy)]

Okay, I'm nuts. Will you spit with me?

[Bragg]

Sure.

[Bill (Spencer Tracy)]

But you can't get to her. Those gorillas will murder you. I'll take care of them. I gotta touch a gorilla.

[Flossy]

I've given all my love to you. I've given you my heart. But what have you got for me? I've offered all my worldly good. I've really done my part. Now what have you done for me?

[Bill (Spencer Tracy)]

I got something for you. I got a summons. Here you are, Ms. LaRue.

[Fay LaRue]

Say, what is this?

[Bill (Spencer Tracy)]

A nice fresh summons. And you can't say I ain't got witnesses.

[Fay LaRue]

Get off of this stage before I have you.

[Bill (Spencer Tracy)]

The show is swell, Ms. LaRue. I'm going to thank the lawyer for getting me the tickets. So long. Oh, no, you don't.

[Flossy]

Eddie, take care of this guy.

[Bill (Spencer Tracy)]

Come on, Spud, we got trouble. Where is this guy?

[Flossy]

I'll braid him.

[Bill (Spencer Tracy)]

Take it easy, boys. I'm just leaving.

[Fay LaRue]

Yeah.

[Bill (Spencer Tracy)]

Where do you think you're going? I think I'm going to buy a stove. And I think I'm going to need a stretcher.

[Cecil B. DeMille]

Pay off.

[Bill (Spencer Tracy)]

I'm warned. Get us out, Spud.

[Joey]

Grand.

[Fay LaRue]

Get.

[Bill (Spencer Tracy)]

Why, you. Music. Play something. Keep your seats, ladies.

[Lowe's Commercial Announcer]

Music.

[Bill (Spencer Tracy)]

Who else would it be?

[Trina (Ingrid Bergman)]

I'm fixing dinner. It'll be read in a minute, I think.

[Bill (Spencer Tracy)]

Yeah. What's this book here?

[Fay LaRue]

That?

[Trina (Ingrid Bergman)]

Oh, that's the Bible. Ira gave it to me. He wants me to read it.

[Bill (Spencer Tracy)]

Yeah. There's one thing in here you don't want to miss.

[Trina (Ingrid Bergman)]

Oh, I do wish I had some kind of a stove.

[Sue]

Bill.

[Bill (Spencer Tracy)]

Here it is.

[Bragg]

Here.

[Bill (Spencer Tracy)]

Right here. Listen. The Song of Songs. Which is Solomon's. Get this. Thy cheeks are comely with rows of jewels.

[Trina (Ingrid Bergman)]

Oh, it's hard to cook with this kind of a fire.

[Bill (Spencer Tracy)]

Behold, thou art fair, my love. Thy lips are like a thread of scarlet.

[Trina (Ingrid Bergman)]

Ah, you can't get an even heat.

[Bill (Spencer Tracy)]

Thy neck is a tower of ivory. How fair and how pleasant thou art, o love. Thy neck is a tower of ivory. You know, you're a heck of a looking woman for a guy like me.

[Trina (Ingrid Bergman)]

Huh? I don't know if this is going to be very good stew.

[Bill (Spencer Tracy)]

Look at you. Skinny, no hips.

[Trina (Ingrid Bergman)]

I bet you I put the potatoes in too soon.

[Bill (Spencer Tracy)]

A man like me ought to have a woman who's a woman. You're nothing but bones.

[Trina (Ingrid Bergman)]

Yes, that's. That's just what I did. Put the potatoes into silver.

[Bill (Spencer Tracy)]

That's all yours. Bones. Do you know that?

[Trina (Ingrid Bergman)]

Well, I'm young, kinda.

[Bill (Spencer Tracy)]

That don't make no difference.

[Trina (Ingrid Bergman)]

Maybe it does. Maybe I'll feel out after.

[Bill (Spencer Tracy)]

No, you'll never look like a woman. It ain't in you ever to look like one.

[Trina (Ingrid Bergman)]

What difference does it make as long as you're good to me?

[Bill (Spencer Tracy)]

I ain't good to you. Don't get that idea in your nut. That's the way to spoil them, being good to him. You gotta step around if you wanna stay with me or get your teeth knocked out. I think I ought to knock him out anyway.

[Bragg]

Come here.

[Trina (Ingrid Bergman)]

What's the matter? What have I done? Bill, what's happened to your face?

[Flossy]

You're all cut.

[Bill (Spencer Tracy)]

Never mind my face.

[Cecil B. DeMille]

Here.

[Bill (Spencer Tracy)]

Oh, here, look at this.

[Flossy]

But you have cuts on a black eye.

[Bill (Spencer Tracy)]

Now, Bill, stop that. Will you stop? Here, look at this thing.

[Trina (Ingrid Bergman)]

What is it?

[Bill (Spencer Tracy)]

It's a receipt. That's what it is. 5 good hard earned bucks for the queen of the kitchen.

[Trina (Ingrid Bergman)]

Bill, you bought the stole.

[Flossy]

Oh.

[Trina (Ingrid Bergman)]

Oh, my stove.

[Cecil B. DeMille]

Shut up.

[Bill (Spencer Tracy)]

Now, take you got your stove and I feel like I oughta.

[Trina (Ingrid Bergman)]

What?

[Bragg]

Come here. Little old whozits.

[Trina (Ingrid Bergman)]

Oh, that's the first time you've ever kissed me like that. Oh. Oh, Bill, I love you. I love you so much.

[Bill (Spencer Tracy)]

Cut it out now. You women get some phony ideas. All right, come on now. Get to work. If that stew is burned, I'll pour it down your back.

[Narrator]

After a brief intermission, Mr. DeMille presents Spencer Tracy and Ingrid Bergman in Act 2 of A Man's Castle. And now, here are three young matrons pausing for a chat outside their favorite market.

[Flossy]

Well, girls, I must rush. I'm on my way to bridge club.

[Sue]

Nice to have seen you both. Drop in some afternoon when you have time.

[Fay LaRue]

Hmm?

[Flossy]

Some afternoon when you have time. If I had half the time Ruth Graham has to spend on herself, maybe I could look like a million dollars too.

[Sue]

Oh, I don't know. It isn'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 luxe soap beauty facial.

[Flossy]

Beauty facial? What do you mean, Sue?

[Sue]

Just what I said. A beauty facial with luxe soap. And it takes only about three minutes. But the trick is, do it regularly, every day. And it works too. Jim's been paying me compliments lately.

[Flossy]

Well, your skin certainly looks lovely, Sue. Guess I'll have to try those luxury soap facials after all. Nice, smooth skin's pretty important.

[Narrator]

Yes. Busy women everywhere find that a few minutes a day devoted to gentle, luxe soap care pay big dividends in loveliness. You see, luxe toilet soap has active lather that does a thorough job of removing dust, dirt and stale cosmetics. This rich, creamy lather leaves your skin feeling soft and smooth and looking flower fresh. It's so easy to take a luxe beauty facial.

[Sue]

You just pat the rich, luxe soap lather lightly in rinse with warm water, then a dash of cool pat gently with a soft towel to dry. Now touch your skin. See how soft and smooth it feels, how beautifully fresh it looks.

[Narrator]

Lovely screen stars use this gentle care daily. They trust their priceless complexions to luxe toilet soap because it's as fine a soap as they can buy. It's pure, really mild. Why not get three cakes of smooth, white luxe toilet soap? Tomorrow, try these active lather facials for 30 days. See if you're not delighted with the results. We pause now for station identification. This is the Columbia Broadcasting System,

[Ira]

Act

[Cecil B. DeMille]

two of a Man's Castle, starring Spencer Tracy as Bill and Ingrid Bergman as Trina. It's A warm summer afternoon a few weeks later in the busy Times Square district. The passersby gaze upward at a strange sight. A giant, 15ft tall, who strolls above them, his long wooden legs swinging easily, his trouser cuffs flapping in the breeze. Bill on Stilts chooses his steps carefully away from the admiring crowd. They take him down a side street to a row of tenements. There he pauses and leans comfortably on the windowsill of a room on the second floor.

[Bill (Spencer Tracy)]

Hey, mug. Mug, where are you?

[Joey]

Hello, Stilts. Gee, I'm glad to see you.

[Bill (Spencer Tracy)]

Hi, kid. How's the bum leg?

[Joey]

Oh, it's. It's all right. I can get around a little.

[Bill (Spencer Tracy)]

Thrown away that crutch yet?

[Joey]

No, but I will soon. Geez, Dils. I thought you died or something. Where you been?

[Bill (Spencer Tracy)]

Where are the Yanks playing this week?

[Joey]

Chicago.

[Bragg]

All right.

[Bill (Spencer Tracy)]

You wanted Babe Ruth to autograph a baseball for you, didn't you?

[Joey]

Yeah, but.

[Bill (Spencer Tracy)]

Well, I had to put it up to him, didn't I?

[Joey]

Did he? Did he?

[Bill (Spencer Tracy)]

He sure did. Look, here's the ball. To my pal Joey. Signed Babe Ruth.

[Joey]

Gee, Stills Gee.

[Fay LaRue]

Yeah.

[Bill (Spencer Tracy)]

I had to go all the way to Chicago to see the Babe.

[Joey]

Gee, still. Oh, thanks. Did you hop afraid?

[Bragg]

Yeah.

[Bill (Spencer Tracy)]

Rode the rods all the way. Ain't got the cinders out of my hair yet.

[Joey]

Oh, thanks. And Babe Ruth wrote this herself in person.

[Trina (Ingrid Bergman)]

Is that Stilts?

[Fay LaRue]

Joey.

[Flossy]

Look, Ma, look.

[Joey]

The baseball Stilts promised me with Babe Ruth's autograph. He signed it hisself. Stilts went all the way to Chicago to get it. Gee, I gotta show the kids.

[Sue]

Good afternoon, Stilts.

[Ira]

Hi.

[Sue]

We missed you. Have you really been west?

[Bill (Spencer Tracy)]

Only west of 8th Avenue. That was just a stall for the kid.

[Sue]

Oh. But what about the ball and the signature?

[Bill (Spencer Tracy)]

Ah, that's forgery. 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.

[Sue]

Oh, Stilts, how can I go on taking money from you when I. I

[Flossy]

don't even know who you are?

[Bill (Spencer Tracy)]

What difference does it make? I got no use for money. You need it. It's just a case of supply and demand.

[Sue]

Why won't you tell me your name?

[Bill (Spencer Tracy)]

I never asked you yours, did I? No, I got no use for names.

[Sue]

But I want to know so's I can thank you.

[Bill (Spencer Tracy)]

Got it. If you pull any of that, I'll stay away from here. As a matter of fact, I'm going to stay away a little while anyway. Beginning to feel like a native around here. I'm blowing town for good. Good or bad, who knows?

[Sue]

Where are you going?

[Bill (Spencer Tracy)]

That depends on which freight I hop.

[Sue]

You. You don't like me to thank you,

[Bill (Spencer Tracy)]

but I. Ah, forget it. Only get this. I've been slipping your chicken feed, see? But I might get hot in a crap game some night and clean up. And when I do, I'll send you a heavy chunk of dough some fine morning. Then you can pack up and get out of here. And take that kid to the country. Maybe he can't have freights, but anyway, you can watch him go by. That's better than nothing in it. Well, so long.

[Sue]

So long, Stills. God bless you.

[Trina (Ingrid Bergman)]

Come in.

[Ira]

Hi.

[Bragg]

Atrina

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[Trina (Ingrid Bergman)]

Oh, hello, brag.

[Bragg]

Where's Bill?

[Trina (Ingrid Bergman)]

Out somewhere.

[Bragg]

Where?

[Trina (Ingrid Bergman)]

I don't know.

[Flossy]

Why?

[Bragg]

If I had a wife like you in my shack, I'd be home all the time. The trouble with Billy don't appreciate you. That's some man you got yourself, kid.

[Trina (Ingrid Bergman)]

He suits me.

[Bragg]

Yeah, but do you suit him? You wouldn't think though from the way he's always playing you down, crabbing about how skinny you are.

[Trina (Ingrid Bergman)]

Well, I am skinny.

[Bragg]

No, you're not. Slim, but not skinny. I know what I'm talking about.

[Bill (Spencer Tracy)]

Yeah, sure.

[Bragg]

You're a good looking kid. I've been watching you a long time. Ever since you come here.

[Trina (Ingrid Bergman)]

You better not let Bill find that out. He's got a temper, Bill has. And he's liable to break you in half. Right smack in half.

[Bragg]

Oh no, he wouldn't. Bill's too busy.

[Trina (Ingrid Bergman)]

Busy with what?

[Bragg]

All I know is there's a blonde in his show on Broadway that's been on his trail lately.

[Trina (Ingrid Bergman)]

Blonde show?

[Bragg]

Yeah, he made a killing that time he served A summons on that dame. He beat up two of her gorillas and she's kind of took a fancy to him. Some dames are like that. I guess he goes for her too.

[Trina (Ingrid Bergman)]

How do you know?

[Bragg]

Because he told me.

[Trina (Ingrid Bergman)]

You're a liar. Bill's no cheat. If he wanted anybody else, he'd tell me first.

[Bragg]

Well, if he ever does, you know where I'm at.

[Sue]

You.

[Trina (Ingrid Bergman)]

Even if I never knew Bill even if you were the only one left in the world, you couldn't get near me. How do you like that?

[Bragg]

Swell. Gives me something to work for. Different men work different ways. Me, I got one principle. Take your time and you're worth it.

[Narrator]

Trina, you're swell.

[Flossy]

Get out of here.

[Joey]

Brag.

[Trina (Ingrid Bergman)]

Stay out.

[Bragg]

Sure, there's no hurry. No hurry at all.

[Fay LaRue]

Sit down, Bill. Make yourself comfortable.

[Bill (Spencer Tracy)]

Thanks. What's on your mind?

[Fay LaRue]

Ms. LaRue, I've been trying for a month to get in touch with you. I asked at the lawyer's office and they told me a guy named Bragg served that summons. When I spoke to him, he told me it was you.

[Bill (Spencer Tracy)]

That's right.

[Fay LaRue]

You know, when you served those papers on me you let me in for a nice little suit. 10,000 smackers for alienation of affections.

[Bill (Spencer Tracy)]

Well, what do you want to go around alienating affections for? It's your own fault, the way I see it. What is the party for, Ms. LaRue?

[Fay LaRue]

Just to get acquainted. You know, you certainly showed up. Those two mugs I kept with me. One of them's just recuperating midgets. Yeah, well, I gave him the air. Right now I'm in the market for a new bodyguard.

[Bill (Spencer Tracy)]

You don't need no bodyguard. You look like you can take care of yourself all right.

[Fay LaRue]

I always have.

[Bill (Spencer Tracy)]

Yeah, Well, I gotta beat it.

[Joey]

What for?

[Fay LaRue]

Stick around. I need a couple of laughs. Anyway, it's raining and there's no matinee today. You don't have to be afraid of me.

[Bill (Spencer Tracy)]

Me, I ain't afraid of nobody.

[Flossy]

That's the brave little boy.

[Fay LaRue]

Listen, I figure maybe I'm not gonna be around when that suit against me comes up. I got a chance to go to South America.

[Bill (Spencer Tracy)]

Yeah, South America. That's the place, boy. Rio de Janeiro. You ever been in Rio?

[Fay LaRue]

No, have you?

[Bill (Spencer Tracy)]

No, but I'm going someday. Oh, there's a place, Rio. All they do down there is dance and play guitars. I met a little dancer from there once. She was.

[Fay LaRue]

Oh, well, I suppose you know all about women.

[Bill (Spencer Tracy)]

I know one thing about them. All of them. What they're all female.

[Fay LaRue]

Is that a compliment or a pan?

[Bill (Spencer Tracy)]

It's a fact.

[Fay LaRue]

Well, don't go. Say, how long does it take you to get acquainted anyway?

[Bill (Spencer Tracy)]

Me? I'm easy to meet and hard to forget.

[Fay LaRue]

What?

[Bill (Spencer Tracy)]

What's a joke?

[Fay LaRue]

Oh, nothing. You're all right. I like you better all the time. You grow on me.

[Trina (Ingrid Bergman)]

Yeah, yeah.

[Fay LaRue]

Sit down. You know, maybe you ought to see Rio.

[Trina (Ingrid Bergman)]

I bet you'd really like it.

[Fay LaRue]

I bet I would, too. What are you laughing at?

[Bill (Spencer Tracy)]

You women get some phony ideas. All right, some phony ideas.

[Trina (Ingrid Bergman)]

I put it back on the stove to warm up.

[Ira]

Hmm? What?

[Trina (Ingrid Bergman)]

Your dinner. I'm warming it up.

[Bill (Spencer Tracy)]

Don't bother. I had dinner.

[Fay LaRue]

Oh,

[Trina (Ingrid Bergman)]

it was hot today, wasn't it?

[Bill (Spencer Tracy)]

Why don't you say what's on your mind? Why don't you squawk? Cause I come home late for dinner.

[Trina (Ingrid Bergman)]

Well, you have a right to come home late, Bill.

[Bill (Spencer Tracy)]

Maybe I should have telephoned.

[Trina (Ingrid Bergman)]

How could you? We haven't got a phone.

[Bill (Spencer Tracy)]

Maybe I ought to make up excuses for being late, huh?

[Trina (Ingrid Bergman)]

Of course not.

[Flossy]

You're your own boss.

[Bill (Spencer Tracy)]

You're darn right I am.

[Trina (Ingrid Bergman)]

Oh, Bill, you're tired. Why don't you lie down?

[Bill (Spencer Tracy)]

I don't want to lie down. I'm going out for a walk. I got to get some air.

[Trina (Ingrid Bergman)]

All right.

[Bill (Spencer Tracy)]

See you later. Hi, Ira.

[Ira]

Evening, William.

[Bill (Spencer Tracy)]

What are you digging for?

[Ira]

Just weeding out the garden. Weeds grow faster than you can pull them out.

[Bill (Spencer Tracy)]

That's a dying looking layout if I ever saw one.

[Ira]

Well, you've got to give them time to come up. There's no special hurry.

[Bill (Spencer Tracy)]

What kind of a dinghy? Call that one there, that tired one over there.

[Ira]

That one? That's a zinnia.

[Narrator]

They're all zinnias.

[Bill (Spencer Tracy)]

What'll you take for that old sleepy one?

[Ira]

Well, I'd rather not sell them.

[Bill (Spencer Tracy)]

I'll give you a dime for it.

[Ira]

You must want that flower pretty bad. I tell you what I'll do. I'll pick a bunch for you and

[Narrator]

give them to you.

[Bill (Spencer Tracy)]

What did I want with flowers? Let me know how much they are and I'll pay you. Tomorrow, when you get done picking them, just stick him in the window where Trina will see him. Will you?

[Ira]

All right.

[Sue]

Will you?

[Bill (Spencer Tracy)]

What's going on down at the dock? There's a crowd down there.

[Ira]

Oh, not very important. Bragg's making a speech to some of the tenants.

[Bill (Spencer Tracy)]

Beefing again, huh? Well, I got a beef for him, too. Why should certain guys have all the money and you and me have nothing? Why they're on the inside, that's all. They tell you to go out and get a job. What job? There ain't no such animal. Look at me.

[Bragg]

I'm skilled labor.

[Bill (Spencer Tracy)]

One of the best toy packers in the business. What's a toy packer?

[Bragg]

Shipping, Bill.

[Bill (Spencer Tracy)]

Packing toys to ship. I'm one of the best men in the business. Used to work for Stark and Lee, where Ira works. And they let me out without any notice. Not a day for getting drunk. Me, say, I never got drunk on the job in my life.

[Bragg]

They claimed some stuff was missing.

[Bill (Spencer Tracy)]

Just the same old alibi to let

[Bragg]

me out and save a couple of dollars expenses.

[Bill (Spencer Tracy)]

Listen, Bragg, we know you. If they let you out, it was your own fault.

[Fay LaRue]

All right?

[Bragg]

Don't believe me. Walk out on me. You'll see someday.

[Bill (Spencer Tracy)]

Looks like you lost your audience, Brag. You should never spiel around suppertime.

[Bragg]

Yeah, that's it. If they had brains instead of stomachs,

[Bill (Spencer Tracy)]

they wouldn't be what they are.

[Bragg]

I'm sick of them. I'm gonna blow this dump soon as I get some dough.

[Bill (Spencer Tracy)]

That'll be never.

[Bragg]

Is that so? Listen, that toy factory I was talking about?

[Bill (Spencer Tracy)]

They fired me, didn't they?

[Bragg]

They owe me something, and I'm gonna collect.

[Bill (Spencer Tracy)]

Get this, Bill.

[Bragg]

They got an old tin can they call a safe.

[Bill (Spencer Tracy)]

Every Friday they get 10 grand for

[Bragg]

the payroll and it stays in the safe till Saturday noon.

[Bill (Spencer Tracy)]

It'd be a pushover, Bill, if you went in with me. Five grand apiece, Bill. What do 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 while I'm away and she don't like it. I told her I'd speak to you about it. There's only one language you can understand, brag, and this is it. Good night. Brag.

[Trina (Ingrid Bergman)]

What's the matter? It's only 10 o'.

[Fay LaRue]

Clock.

[Bill (Spencer Tracy)]

Did I ask you?

[Trina (Ingrid Bergman)]

No.

[Bill (Spencer Tracy)]

Well, then shut up or I'll let you have a couple in the river.

[Flossy]

No, Bill. Stop.

[Bill (Spencer Tracy)]

Did I hurt you?

[Trina (Ingrid Bergman)]

Oh, no. Not when I know you didn't mean it.

[Bragg]

No.

[Bill (Spencer Tracy)]

Suppose I slugged you hard.

[Trina (Ingrid Bergman)]

You wouldn't.

[Bill (Spencer Tracy)]

Don't be so sure.

[Trina (Ingrid Bergman)]

Bill.

[Ira]

What?

[Trina (Ingrid Bergman)]

I got your flowers. They're beautiful.

[Bill (Spencer Tracy)]

Those things ain't even got any smell.

[Trina (Ingrid Bergman)]

Ira told me you bought them to me.

[Bill (Spencer Tracy)]

Gone.

[Trina (Ingrid Bergman)]

What kind are they, Bill?

[Bill (Spencer Tracy)]

You mean you don't know?

[Fay LaRue]

No.

[Bill (Spencer Tracy)]

No kidding. Are you that dumb? You don't know they're. What do you call? They're exemias.

[Trina (Ingrid Bergman)]

Are you sure?

[Bill (Spencer Tracy)]

Certainly I'm sure.

[Trina (Ingrid Bergman)]

Well, I don't care what kind they are. They're lovely.

[Bill (Spencer Tracy)]

Throw them away. They're all shot.

[Trina (Ingrid Bergman)]

No, go on.

[Bill (Spencer Tracy)]

They're no good. I'll get you some good ones. Big ones.

[Trina (Ingrid Bergman)]

No, no, no. I want these.

[Bragg]

Okay.

[Trina (Ingrid Bergman)]

Bill, do you like being with me?

[Bill (Spencer Tracy)]

I ain't so nuts about it. You're pretty skinny.

[Trina (Ingrid Bergman)]

You're not tired of me yet, are you?

[Bill (Spencer Tracy)]

I don't know. Maybe. Hey, listen, what's the idea of keeping that skylight closed? When I rented this dump, I put that in special. What do you keep it shut for?

[Trina (Ingrid Bergman)]

Well, I. I thought it might rain or something.

[Bill (Spencer Tracy)]

Well, suppose it does. Rain's good for you. Makes you grow. There. That's the way to live. You can breathe now.

[Trina (Ingrid Bergman)]

Why do you always keep looking up at the sky?

[Bill (Spencer Tracy)]

Because when you're dead, you get a hunk of earth. When you're alive, you want to hold on to your hunk of blue. That's all I got in the world. That's all anybody's got, is that hunk of blue.

[Trina (Ingrid Bergman)]

Peter, I've been thinking. Thinking There couldn't be a heaven much better than this.

[Bragg]

Cor. There.

[Trina (Ingrid Bergman)]

I mean, when it's quiet all around and we are close, like now.

[Bill (Spencer Tracy)]

You know, I never noticed it, kid, but your eyes are sky color, sort of. You got a hunk of blue in each glim. Yeah, but that don't stop me from clouting you on the chin any minute. Come here. You're all right. You're a swell kid. I like you plenty.

[Trina (Ingrid Bergman)]

Do your bit.

[Bill (Spencer Tracy)]

Yeah, but don't get figured on that too much. Cause how much I like a woman ain't nothing to bet money on. Don't let yourself get in too deep, see?

[Trina (Ingrid Bergman)]

Oh, you. You mean you.

[Bill (Spencer Tracy)]

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 in my mouth like wet hen feathers. I'm just as apt to to take a stroll for myself. Is not.

[Trina (Ingrid Bergman)]

Maybe that won't be right away, huh? I mean, not tomorrow quite so soon.

[Bill (Spencer Tracy)]

You can't tell. No one knows how a guy's have to feel some morning same.

[Trina (Ingrid Bergman)]

Listen, Bill, you like babies, don't you?

[Bill (Spencer Tracy)]

What's the difference if I like them or not?

[Trina (Ingrid Bergman)]

It would make a difference, a big difference if you didn't.

[Ira]

Why?

[Trina (Ingrid Bergman)]

Because you're going to have one.

[Bill (Spencer Tracy)]

What?

[Trina (Ingrid Bergman)]

I've known it a long time. Several months. I thought I'd Be afraid to tell you, but. But now I'm not afraid of anything.

[Bill (Spencer Tracy)]

Say, listen.

[Joey]

No, no.

[Trina (Ingrid Bergman)]

Don't say anything, Bill, till I finish. I want you to know something. It's your baby and mine. But you'll have nothing to worry about. I. I didn't mean to tell you at all, but it's just too wonderful to keep to myself. Oh, you can't understand it, Bill. You're a man, but you listen.

[Joey]

Oh.

[Trina (Ingrid Bergman)]

Oh, no. You needn't look at me like that. I'm not afraid of you, darling. I've changed a lot. Only a little while ago, I was all alone. Then you came along and there were two of us. And soon 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.

[Flossy]

No matter what.

[Trina (Ingrid Bergman)]

No matter where you go, no matter

[Flossy]

what you do, I've got you.

[Trina (Ingrid Bergman)]

I've got you.

[Bill (Spencer Tracy)]

Wait a minute.

[Trina (Ingrid Bergman)]

Yes, Bill?

[Bill (Spencer Tracy)]

Is this on the level?

[Trina (Ingrid Bergman)]

Yes.

[Bill (Spencer Tracy)]

Let me out of here.

[Trina (Ingrid Bergman)]

Are you leaving me, Bill?

[Bill (Spencer Tracy)]

What if I was you? Got no kick?

[Trina (Ingrid Bergman)]

No. No. I suppose I'd be lonely again the way I was before I met you. But it wouldn't be the same exactly. I've got something to look forward to now.

[Bill (Spencer Tracy)]

I'll say you have.

[Trina (Ingrid Bergman)]

I'll never be lonely when my son comes.

[Bill (Spencer Tracy)]

How do you know it'll be a son?

[Trina (Ingrid Bergman)]

I prayed for a son.

[Bill (Spencer Tracy)]

I thought you didn't believe in that sort of stuff.

[Trina (Ingrid Bergman)]

Sure I do.

[Bill (Spencer Tracy)]

You told me you didn't.

[Trina (Ingrid Bergman)]

I lied. I didn't want you to get sore at me. I guess you're angry now, aren't you?

[Bill (Spencer Tracy)]

Why should I be? It's your funeral.

[Trina (Ingrid Bergman)]

Yes. Yes, it's my funeral. I'm going to stand on my own feet now. I'm going to bring my son into the world and I'm going to take care of him and love him always.

[Bill (Spencer Tracy)]

As far as I'm concerned, you two.

[Bragg]

Always.

[Trina (Ingrid Bergman)]

That goes without saying. But you're a free man, Bill. As free as a bird. Remember that.

[Cecil B. DeMille]

I will.

[Bill (Spencer Tracy)]

Brag, Brag. Come out. Open up.

[Bragg]

What do you want from me?

[Bill (Spencer Tracy)]

I want to scram out of here right away, tonight. Only it so happens I can't go unless I leave some money behind, see? Enough to take care of somebody, a couple of people, for a long time. I gotta have plenty of money, see?

[Bragg]

I haven't got a dime, Bill. Not a dime.

[Ira]

No.

[Bill (Spencer Tracy)]

But you know where to get it.

[Bragg]

Oh, you mean the toy factory? Yeah.

[Bill (Spencer Tracy)]

Now spell it. It's a cinch, Bill.

[Bragg]

A cinch.

[Bill (Spencer Tracy)]

How about Ira? He's the watchman down there. Ira? That's the easiest part of it. All the guy does down there is snooze. We could walk away with the building

[Ira]

and he wouldn't know it.

[Bill (Spencer Tracy)]

All we need's a couple of drills and some gunpowder and boom. Yeah. What's the best time?

[Bragg]

About one in the morning.

[Ira]

All right.

[Bill (Spencer Tracy)]

I got something to attend to first down around Broadway. Then I'll meet you half past 12 on 39th and 8th.

[Bragg]

I'll meet you, Bill.

[Bill (Spencer Tracy)]

I'll have all the stuff ready. Yeah, we'll be on time. And keep your mouth shut.

[Narrator]

In just a moment, Mr. DeMille and our stars, Spencer Tracy and Ingrid Bergman. Will bring us Act 3 of A Man's Castle. While we're waiting, here's what happened. At a wedding reception out in Beverly Hills. Suzanne Martin, a bridesmaid, has caught the bride's bouquet.

[Bragg]

And now, Suzanne, I.

[Narrator]

Look, you caught the bride's bouquet.

[Bill (Spencer Tracy)]

And you know what that means.

[Flossy]

Well, but, David, I.

[Narrator]

Darling, let's tell everybody about us now. I. Suzanne, I love you so. You're so sweet. When a man says the girl he loves is 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, clever girls know how important it is to keep this charm of flower freshness. To protect it carefully. And for girls like these, there's always romance ahead. Screen stars tell you about a truly delightful way to protect this most important charm. They use their complexion soap, Luxe Toilet Soap. For their daily beauty bath too. You see, Luxe Toilet Soap has creamy active lather that's thorough. It just floats away. Perspiration, dust and dirt in a twinkling. Yet so gently that it seems to caress the skin, soothe and refresh you. You'll find this luxurious bath leaves you feeling wonderfully dainty and fresh from top to toe. Just try Lux Toilet Soap for your daily beauty bath. You'll love its delicate fragrance. A flower like fragrance that clings. Put a note like this on your shopping list.

[Sue]

Now, tomorrow, Lux Toilet Soap. To make me sure of skin that's sweet.

[Narrator]

Now Mr. DeMille returns to the microphone.

[Cecil B. DeMille]

The curtain rises on the third act of a Man's Castle.

[Announcer]

Best thing that's ever happened to you, financially. Go easy. Sold my car on Carvana. Amazing offer, really. I hit 200 on a scratcher. Did the scratcher come to your house and hand you a check?

[Ira]

No.

[Announcer]

How many scratchers did you hit to get that? I Hit a button on Carvana.com once.

[Bill (Spencer Tracy)]

Okay, that's fair.

[Announcer]

It's like the lottery, except you always win. Not like the lottery at all, actually. Exactly. Inexplicably good offers worth bragging about. Sell your car today on Carvana. Pick up fees may apply. Queen Carvania stood haloed by the morning sun.

[Cecil B. DeMille]

An army hung on her every word.

[Flossy]

My champions, I have sold my chariot on Carvana. Twas a lovely suv an inexplicably queenly offer. They're even coming to the castle to collect it. Tonight we feast. An offer you can feast on. Sell your car today on Carvana. Pickup fees may apply.

[Cecil B. DeMille]

It's a few hours before the robbery planned by Bill and Bragg. Over on Broadway. The last act of a musical comedy is in progress. And Bill is waiting in the wings to see Fay LaRue. At the finish of her number, she runs from the stage into Bill's arms.

[Fay LaRue]

Hello. Hard to forget.

[Bill (Spencer Tracy)]

I gotta see you a minute.

[Fay LaRue]

Come over here. You look worried. Hard to forget, but you shouldn't. We're closing the show next week and it looks like that trip to Rio's in the bag. How does that sound?

[Bill (Spencer Tracy)]

Great, but I can't go.

[Fay LaRue]

Can't go? Are you kidding?

[Bill (Spencer Tracy)]

I told you my trademark, didn't I? Subject to change without notice.

[Fay LaRue]

I know, but I've arranged everything.

[Bill (Spencer Tracy)]

Sorry, but I can't go.

[Fay LaRue]

What's happened?

[Bill (Spencer Tracy)]

I let myself in for something on the installment plan.

[Trina (Ingrid Bergman)]

Well, what is it?

[Bill (Spencer Tracy)]

I'm in a jam.

[Fay LaRue]

Oh, I guess I know what it is. It's a girl.

[Bill (Spencer Tracy)]

You're a fortune teller.

[Fay LaRue]

It is, isn't it?

[Bill (Spencer Tracy)]

Search me. I won't know myself for a while.

[Fay LaRue]

Oh, I see.

[Bill (Spencer Tracy)]

And I won't be around then to find out.

[Fay LaRue]

Listen, don't be a SAP. If you're taking it on the run, you might as well run to Rio.

[Bill (Spencer Tracy)]

No, no. It's different now. I don't know why, but it is. So long, good luck.

[Fay LaRue]

Easy to meet and hard to forget.

[Bill (Spencer Tracy)]

What'd I tell you, Bill?

[Bragg]

I could open the safe with a nail file.

[Bill (Spencer Tracy)]

You ain't got it open yet.

[Joey]

Shh.

[Bill (Spencer Tracy)]

Not so loud. Hey, hey, look at this.

[Bragg]

What are you doing there?

[Bill (Spencer Tracy)]

Look at this gadget.

[Narrator]

What is it?

[Bill (Spencer Tracy)]

Ain't that a hot one? Wait till I wind it up and see what it does.

[Bragg]

Say, what are we here for? To kick in this safe or play with toys? Come on.

[Bill (Spencer Tracy)]

Just a second. I want to see how it works. Cut that out. You mean that? Keep your hands off.

[Bragg]

What's the matter with you? You Want to wake up Ira?

[Bill (Spencer Tracy)]

If this wakes him up, what's going to happen when you blow that safe?

[Bragg]

I still think you ought to go back and tap him on the head

[Bill (Spencer Tracy)]

like I told you? I'd feel a lot better if he

[Bragg]

was gagged and tied up.

[Bill (Spencer Tracy)]

Nah, Ira wouldn't hurt a fly.

[Bragg]

Well, just the same, you better go over and open that window there.

[Bill (Spencer Tracy)]

What for? We're up three stories. There's a fire escape. Sure is a swell night out. Look, you can see the old river from here and the camp, too. The moon sure looks slick on that water. Yeah. I think when I blow out of here I'll hit the waves instead of the tides. Maybe on a freighter. Did you ever go downtown and get the smell of them ships that come in from China and them places? Hmm. I wonder what little Hooses is doing. I want to take this toy home to her. She can give it to the kid.

[Bragg]

Will you can that and lend me a hand?

[Bill (Spencer Tracy)]

We ought to get out of here, Bill. Listen, will you shut up?

[Bragg]

What's the matter with you?

[Bill (Spencer Tracy)]

You know I don't like this job.

[Bragg]

What?

[Bill (Spencer Tracy)]

I don't like it.

[Bragg]

Are you knocked?

[Bill (Spencer Tracy)]

Maybe, but I got a funny idea. I always got along before without pulling this kind of a stunt. I got along swell. I don't want to change my luck.

[Bragg]

You mean you're walking out?

[Bill (Spencer Tracy)]

Yeah. I'll see you around.

[Bragg]

Oh, no, you don't.

[Narrator]

Get back here.

[Bill (Spencer Tracy)]

You ain't gonna try to stop me, are ya?

[Bragg]

No, but.

[Bill (Spencer Tracy)]

Then shut up. If I feel like walking, I'll walk.

[Bragg]

Bill, listen. There's someone outside.

[Bill (Spencer Tracy)]

It's Ira. Get out the window.

[Cecil B. DeMille]

Who's in here?

[Bill (Spencer Tracy)]

Get out, quick. Stand or I'll shoot. Don't move, you hear?

[Bragg]

Sure.

[Bill (Spencer Tracy)]

Hi, Ira.

[Ira]

Bill?

[Bill (Spencer Tracy)]

Yeah, Bill. Say, for a guy that reads Bibles, you shoot pretty straight, don't you? You son of a gun. You might have killed me.

[Ira]

Served you right if I did. Somebody ought to teach you a lesson. Young squirt like you going around robbing places.

[Bill (Spencer Tracy)]

Yeah, it's a low down thing to do with that, ain't it? If you had to have money as bad as I do, you wouldn't be so particular.

[Ira]

Who was that man with you?

[Narrator]

The one who got away?

[Bill (Spencer Tracy)]

Him? I don't remember. I never met the guy before tonight.

[Narrator]

I see.

[Bill (Spencer Tracy)]

All right, Bill. What's the matter, Pop? What are you looking so sorry about? You disappointed in me?

[Ira]

I'm not thinking of you. I'm thinking of your wife.

[Bill (Spencer Tracy)]

My wife?

[Ira]

Your wife, Trina, who trusted herself into your hands. Who Looks up to you.

[Bill (Spencer Tracy)]

My wife. I never thought of Trina as a wife. We should just. Trina. What's that racket? Somebody set out the burglar alarm. There'll be cops all over the place

[Narrator]

in a few minutes.

[Ira]

Well, what are you standing there for?

[Bill (Spencer Tracy)]

Go on, beat it.

[Trina (Ingrid Bergman)]

Hurry, before they get here.

[Flossy]

Go on.

[Bill (Spencer Tracy)]

Okay, Ira.

[Joey]

Thanks.

[Trina (Ingrid Bergman)]

Did you call me, Brad?

[Bragg]

Yeah. Come in, quick.

[Bill (Spencer Tracy)]

It's about that guy of yours, Bill.

[Joey]

What?

[Bragg]

Yeah, he got nabbed robbing the safe

[Bill (Spencer Tracy)]

at the toy factory.

[Bragg]

They caught him with the goods.

[Trina (Ingrid Bergman)]

No, no, you're lying. Brag. Bill wouldn't do a thing like that. Bill isn't a thief.

[Cecil B. DeMille]

That's just it.

[Bill (Spencer Tracy)]

Stepping out of his class. That's why he got caught. And he was shot too, trying to get away.

[Joey]

Shot?

[Bragg]

Wait a minute, honey. Don't get upset. He may go up the river for a spell, but I'm still around. I'll always be around, baby, to take care of you.

[Flossy]

Let me out of here.

[Bragg]

There's no hurry. I'll be here. Only with Bill and the jug, you're gonna need a man around. Come on, kids. You might as well shake yourself out of it. Moon around won't get you no place. He's gone, ain't he? I tell you, he's gone.

[Flossy]

You're a liar, Bragg. He ain't gone, Flossie. Bill just got home. I saw him go in the shack a minute ago.

[Trina (Ingrid Bergman)]

Bill.

[Flossy]

Bill. I was mighty decent of you, Bragg, to offer to take care of Trina. I didn't know you had it in you.

[Bragg]

Look, Flossie, nobody asked you to butt in.

[Flossy]

I'm getting sick of your two time and Bragg. Very sick.

[Bill (Spencer Tracy)]

Ah, shut up.

[Trina (Ingrid Bergman)]

Let me fix it. Hand me that bandage.

[Bill (Spencer Tracy)]

It's all right, I'm telling you. Just graze me. Plowed a little meat off. What's eating you? You think it was you got drilled instead of me?

[Trina (Ingrid Bergman)]

I wish it was me. Why did you do it, Bill? Why?

[Bill (Spencer Tracy)]

I couldn't check out leaving you high and dry, could I? That dough would have taken care of you fine, but I flopped.

[Trina (Ingrid Bergman)]

I'm glad you did. I wouldn't have taken that money anyway. I'd have given it back.

[Bill (Spencer Tracy)]

Yeah? How do you suppose you'd have got along? It takes money to have a kid, don't it?

[Trina (Ingrid Bergman)]

You're a strong, husky man. You're awfully afraid of a little bit of a thing isn't even born yet. If I'd known it would scare you so much, I never would have told you. I would have gone away. Myself. I didn't know you were such a coward, darling.

[Bill (Spencer Tracy)]

Coward?

[Trina (Ingrid Bergman)]

Sure. Afraid of a baby. Why, they're born all the time. If they happen to be men. Kids, they never grow up. Just keep reaching for the clouds all the time, listening to train whistles. You're so silly. Robbing safes to get money when you always said you had no use for money.

[Bill (Spencer Tracy)]

It wasn't for me.

[Trina (Ingrid Bergman)]

For me, I know. But I don't need any. I don't need anything, not even you. It isn't as if you ever said you loved me. You never did. I don't blame you. Don't you 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 you like. Maybe someday you'll come back.

[Flossy]

Not for good.

[Trina (Ingrid Bergman)]

I don't mean just to visit. You might get lonely sometime and curious. Want to know what your son looks like. Maybe. Well, even birds can't fly all the time, can they? They get tired and have to come home. Sometimes. They have nests, haven't they?

[Bill (Spencer Tracy)]

Trina?

[Flossy]

Oh, Bill.

[Trina (Ingrid Bergman)]

Bill, please. I want you to feel right. I want you to be happy. I'll do anything if you'll only be happy. I'll give up anything, but please, please be happy.

[Flossy]

Bill.

[Bill (Spencer Tracy)]

Yeah, what?

[Flossy]

You better get out of here now. The cops are on their way.

[Bill (Spencer Tracy)]

How do you know?

[Flossy]

I got inside information from a stool pigeon, pal of mine. Your freight train's waiting. You better hop aboard.

[Bill (Spencer Tracy)]

No, no, I'm sticking around.

[Flossy]

Take my word for it. If you hang around here, you're due for the stir, and I don't mean a weekend. The quicker you scram, the better.

[Bill (Spencer Tracy)]

No, I ain't gonna leave Hoozits.

[Flossy]

Well, you dumb SAP. Why don't you take her with you? Did you ever think of that?

[Bill (Spencer Tracy)]

No. What about it, kid? Do you want to go wherever you go? You know what it means, wherever you go?

[Trina (Ingrid Bergman)]

Bill.

[Bill (Spencer Tracy)]

All right, get your things. What are you thinking of?

[Trina (Ingrid Bergman)]

I'll certainly miss it. It was such a beautiful stove.

[Bill (Spencer Tracy)]

You can always get another one on the installment plan. A better one, too.

[Trina (Ingrid Bergman)]

Oh, it'll never be really ours unless we stay in one place long enough to pay for it. And you wouldn't want that, Bill. You want to be free.

[Bill (Spencer Tracy)]

Yeah. You know, I've been thinking a lot about that freedom business. I believe in it. It's great stuff, but. Well, maybe it ain't always a question of Keeping on the move. You know, there's another kind of freedom, too. Up here in your head and here in your chest where your heart is.

[Flossy]

Bill.

[Bill (Spencer Tracy)]

Right now, I got a funny feeling, Trina. You know, even birds got a homing instinct. And I got a feeling we're going home.

[Trina (Ingrid Bergman)]

Home? Where is it, Bill?

[Bill (Spencer Tracy)]

I don't know. Somewhere. Someplace that suits us. Yeah, we gotta find it soon, too. You know, a freight car ain't no place to bring up a kid.

[Trina (Ingrid Bergman)]

Oh, Bill.

[Bill (Spencer Tracy)]

Little hoozits. Funny little hoozits.

[Cecil B. DeMille]

The curtain comes down on a man's castle as the night freight carries Bill and Trina to New Hope and a new life. Right now, to Spencer Tracy and Ingrid Bergman, we say, well done.

[Bill (Spencer Tracy)]

Thank you. Thank you, CB It's a pleasure to come back to the Lux Radio Theater. Especially when such a really fine actress as Ingrid Berkman is here, too.

[Cecil B. DeMille]

That much of a compliment from Spencer Tracy is something to remember, Ingrid.

[Trina (Ingrid Bergman)]

Yes, I won't forget a word of it. But Spencer may be sorry he went overboard like that.

[Bill (Spencer Tracy)]

Overboard? He's coming along great with the American

[Trina (Ingrid Bergman)]

language, CB well, you see, Mr. DeMille, when I made a picture with Spencer, in between takes, he gave me lessons in American slang.

[Cecil B. DeMille]

Well, just to please me. Ingrid, don't spend too much time on the slang, okay? I was afraid of that. Spence, there's one thing everyone would like to find out right now. What's your next picture assignment? What are you working on?

[Bill (Spencer Tracy)]

Well, I'm kind of working on two pictures at once now, CP I'm working on the new Katharine Hepburn picture, the

[Narrator]

Woman of the Year.

[Bill (Spencer Tracy)]

And also Tortilla Flat with Hedy Lamar.

[Cecil B. DeMille]

Hedy Lamar, Hedy Lamar and Katharine Hepburn. Sounds like very pleasant work.

[Trina (Ingrid Bergman)]

Yes, I feel very jealous, Spencer. Now, Mr. DeMille, I'd like to add my compliments to all those you have received on your product, Luxo. This has been my first chance to tell you, but I think Lux soap is a grand help in complexion care.

[Cecil B. DeMille]

For further comment on Lux soap, I refer the ladies to any nearby screen which shows a close up of Ingrid Bergman.

[Bill (Spencer Tracy)]

What's going on around here?

[Cecil B. DeMille]

Next week, CB Next week, Spence, we have a comedy that breaks the speed limit on laughs. It's the Doctor Takes a Wife, adapted from the Columbia picture. And our stars will be Melvin Douglas and Virginia Bruce. It's the story of a doctor who marries an author. A lady who's written a best seller glorifying the state of spinsterhood. I'm sure you'll see the possibilities of that situation with two accomplished players like Melvyn Douglas and Virginia Bruce in the starring parts.

[Bill (Spencer Tracy)]

It sounds like a winner to me. Good night, C.B.

[Trina (Ingrid Bergman)]

good night, Mr. DeMille.

[Narrator]

Good night.

[Cecil B. DeMille]

Good night. And the four star ratings. Our sponsors, the makers of Luxe Toilet Soap. Join me in inviting you to be with us again next Monday night. When the Lux Radio Theater presents Melvyn Douglas and Virginia Bruce in the Doctor Takes a Wife. This is Cecil B. DeMille saying good night to you from Hollywood.

[Bill (Spencer Tracy)]

Ladies and gentlemen.

[Narrator]

Every year at this time, Christmas seals begin to make their appearance. And on millions of letters and packages. In the past, this annual campaign has financed a nationwide battle against 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 to buy Christmas seals once again. Or perhaps some have already been sent to you. Buy all you can. Remember that every penny goes to help stamp out tuberculosis. Spencer Tracy appeared tonight through the courtesy of Metro Goldwyn Mayer Studio. Tune in next Monday night to hear Melvyn Douglas and Virginia Bruce in the Doctor Takes a Wife. Our music was directed by Lewis Silvers. And your announcer has been Melville Ruick.

[Bill (Spencer Tracy)]

This is the Columbia Broadcasting System.