Lux Radio Theatre - So Big

Summary

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Lux Radio Theatre – “So Big”

Podcast: Harold's Old Time Radio
Episode Date: July 23, 2026
Host: Harold's Old Time Radio
Stars: Ida Lupino (Selena), Robert Stack (Purvis & Dirk)

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Episode Overview

This episode of Lux Radio Theatre presents an adaptation of Edna Ferber's classic American novel, “So Big.” Set in rural Illinois in the late 19th and early 20th centuries, the story follows the life and sacrifices of Selena Peake De Jong, a resilient woman who transforms hardship into hope and places the pursuit of beauty and meaning—“emerald”—above material wealth—“wheat.” The radio drama explores themes of perseverance, generational ambitions, and the timeless challenge of holding onto one’s ideals in the face of pragmatic concerns.

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Key Discussion Points and Dramatic Highlights

1. The Wheat and the Emerald – Setting Up the Theme

• Selena’s father’s wisdom:

  “There are two kinds of people in the world who really count. One kind is wheat. The other kind is emerald. The wheat are of the earth who feed the body. The emerald are the people of fire who feed the hungers of the soul. And both kinds give.” (02:24, Selena reminiscing)

• Selena’s hardship: After her father’s sudden death and the loss of their fortune, Selena must fend for herself, quickly transitioning from privileged girl to struggling schoolteacher.

2. First Experiences in New Harlem (Chicago’s Farmlands)

• Getting the teaching post:
  • Mr. Hempel arranges Selena’s job in New Harlem through business ties:

    “Don’t thank me, thank the hog.” (04:09, Mr. Hempel regarding how Selena got the job)

• Introduction to farm life: Selena’s curious, romantic view clashes humorously with the practical, stoic Dutch farmers.
  • Selena: “A produce wagon? It’s a magic carpet, Julie. Father always said it’s all adventure in the finding of treasure.” (03:50)

3. Relationships with the Pool Family

• Selena and Rolf:
  • Rolf’s yearning for beauty and learning mirrors Selena’s outlook; she becomes his inspiration.

    “Cabbages are beautiful.” (07:46, Selena’s lesson to Rolf)

  • Rolf’s earnestness:

    “I will carry wood for the school. I will start the stall going every morning. I will fight the big boys and make trouble in class. And I that is fond a hired man into some joke about cabbages.” (05:49)

• Selena’s mentorship: She nurtures Rolf’s mind with literature and promises him and Purvis tutoring.

4. Romantic Subplot – Selena and Purvis De Jong

• Box social auction:
  • A moment of small-town humor and rivalry as baskets (and hearts) are auctioned.

    “$2 for that. $2.25... $3.25... $4.50...” (11:47, escalating bids for Selena’s supper)

• Early marital struggles:
  • Hardship, dreams, poverty, farming know-how, and deep affection are themes as Selena and Purvis carve out a life together.

    “Paint the shabby furniture, cook, sweep, darn, tend chickens, milk cows. Grow old with toil, but grow strong with it.” (21:42, Selena narrates her new life)

5. Generational Aspirations – The Birth of Dirk ("So Big")

• The naming scene:

  • “Dirk. I like that. Already he knows his name. See how he reaches up. Up for a handful of stars. Oh yes. You’ll go high enough to touch them one day. So big, so tall in the heart. So big.” (25:19)

• Hopes for the next generation: Selena is determined Dirk will have more, not be confined to farm life.

  • “I farm all right, but so big isn’t going to be a truck farmer.” (26:13)

6. Tragedy and Perseverance

• Purvis’s death:
  • Moving depiction of the relentless hardships of farm life.

    “He’d have wanted you to remember him as strong, alive and brave and strong.” (28:30, Selena)

• Maternal resilience: Selena adjusts and overcomes, selling vegetables in a man’s world.

  • “Women belong at home.” / “Not when they have to make a living.” (30:03, exchange at the Haymarket)

7. Full Circle – Reunion and Looking Forward

• Selena meets old friend Julie Hempel:
  • Revisits the past while affirming her choice to stay on the farm, aiming for her son’s better future.

    “He’s emerald. It means he has a gift, and I have a plan for him.” (33:30)

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Act 3: Dirk’s Coming of Age and Societal Success

8. Dirk Grown – Success and Discontent

• Graduation and ambition:
  • Dirk receives his architecture degree; mother’s pride confronted by subtle alienation.

    “Job? What job?” … “I’ve got a job as a draftsman there.” / “$30 a week.” (37:06)

• Paula Hempel as love interest:
  • Social aspirations versus inner fulfillment play out as Paula encourages material ambition.

    “Haven’t you seen enough poverty in your family, Dirks?” (39:43)

• Mother’s disappointment:
  • Selena urges Dirk not to lose his creative soul:

    “You can’t desert beauty, giving of the lovely things you’re talented to give.” (41:06)

9. The Choice – Art, Money, and Meaning

• Dirk’s career shift:
  • Gives up on architecture for more lucrative but less fulfilling work.

    “I’ve quit drafting. I’ve given up designing. Dirk Hollis has moved me into sales and promotion. I’m already making more in a month than I used to make in a year.” (40:48)

• Dallas O’Mara, the artist:
  • Dirk is drawn to Dallas, who values artistry and authenticity over society’s status. Their chemistry underscores the story’s core conflict.

    Dallas: “Doing something you believe in. Giving all you’ve got for their money. But giving, I understand.” (44:05)

  • Dallas rejects Dirk’s ambitions:

    “You haven’t a mark on you and your hair isn’t even mussed. I’m terribly sorry, but that’s how it is. You’re all smooth, and I like ’em bumpy.” (47:05)

10. Lessons Learned and Closing Reflections

• Confronting failure and rediscovering purpose:
  • Dirk loses Dallas and confesses to Selena his regrets:

    “I deserted Beauty and beauty turned on me. I was too stupid to see it, to know that you were Beauty your whole life. And the way you looked at life. She was so much like you. You were both Emerald. And I lost you. I lost you both.” (48:48)

• Selena’s wisdom:
  • “Beauty is never lost. It isn’t a person or a thing, but a spirit, a feeling inside you. It’s earth and light and fire, wheat and emerald. They can be everywhere…” (49:11)
  • Dirk contemplates returning to his art, finally embracing his mother’s lesson about authentic fulfillment.

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Notable Quotes & Memorable Moments

• On aspirations:

  “You’ll go high enough to touch them one day. So big, so tall in the heart. So big.” – Selena (25:25)

• On values:

  “Asparagus is beautiful. Cabbages are beautiful.” – recurring motif, Selena (42:12 and elsewhere)

• On lost purpose:

  “I deserted Beauty and beauty turned on me.” – Dirk (48:48)

• On beauty and giving:

  “Beauty is never lost. It isn’t a person or a thing...It’s earth and light and fire, wheat and emerald. They can be everywhere...” – Selena (49:11)

• On relationships and meaning:

  “There are different kinds of love...the love of beauty. And for those who share that love with you...And then there’s the love that severs. I love you both.” – Selena to Rolf (20:30)

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Important Timestamps

• [02:24] – Selena’s father explains the wheat and the emerald.
• [05:49] – Selena’s and Rolf’s early bond over learning and dreams.
• [11:47] – The humorous and pivotal supper basket auction.
• [21:42] – Selena adapts to farm life; poetic narration of hardship.
• [25:19] – Naming of Dirk, dreams for his future.
• [28:30] – Purvis’s death and Selena’s renewed strength.
• [30:03] – Gender and labor at the Haymarket.
• [33:30] – Selena’s plan for Dirk as “emerald.”
• [36:46] – Dirk’s graduation and career uncertainty.
• [40:48 & 41:06] – Dirk abandons design for money; mother’s disappointment.
• [44:05] – Dallas articulates the true meaning of giving/artistry.
• [48:48 & 49:11] – Dirk’s regret and Selena’s enduring wisdom.

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Tone and Style

• The drama balances sentimentality and realism. Selena’s poetic optimism is offset by the dry, sometimes gruff humor and bluntness of the Dutch farmers, creating genuine warmth and humanity.
• Key emotional beats are marked with lyrical, almost metaphorical language regarding beauty, toil, and purpose.

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Conclusion

This adaptation of “So Big” powerfully dramatizes the hardships and hopes of early 20th-century America through the lives of Selena Peake De Jong and her family. Listeners witness how ideals, ambition, and generational sacrifice play out across a lifetime, ultimately affirming that genuine fulfillment comes from remaining true to both “the wheat” and “the emerald” within us all.

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Transcript

[A]

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[B]

Lux presents Hollywood. Lever Brothers Co. The makers of Lux Toilet soap brings you the Lux Radio Theater, starring Ida Lupino and Robert Stack in so Big. Ladies and gentlemen, your producer, Mr. Irving Cummings. Greetings from Hollywood, ladies and gentlemen. Tonight's play, so Big, is based on the novel by that popular American author, Edna Thurber, and was a bestseller for many years. As our stars, we have that fine actress who has distinguished herself in so many theatrical fields, Ida Lapino, co starring with Robert Stack, whose talent places him among our most popular leading men. We will meet our stars after the play when I will preview a song from Warner Bros. A Star Is Born, starring Judy Garland and James Mason. But right now, our good friend Ken Cox, act one of so Big, starring Ida Lupino as Selena and Robert Stack as Purvis and Dirk the Young.

[C]

My father, Simeon Peak, loved people. But he used to say, there are two kinds of people in the world who really count. One kind is wheat. The other kind is emerald. The wheat are of the earth who feed the body. The emerald are the people of fire who feed the hungers of the soul. And both kinds give. My father gave desperately ill. With his whole fortune slipping away, he stood in the Chicago Fleet Exchange, trading, bidding, maneuvering, fighting vainly to save what he could for me. He died on his feet. And there I was, fresh out of private school, alone in the world and penniless. But I had a schoolmate claim, Julie Hempel. And she and her bluff father were sweet. They were givers. Oh, I want to thank you, Mr. Hempel, for getting Me? This job. Don't listen to her, Father. But really, Julie dear.

[B]

Nothing to it, Ms. Peake. Simple matter of hogs.

[C]

Oh, Father, how do hogs enter into it?

[B]

The Dutch farmers of New Harlem, that's just outside of Chicago, sell hogs to my butcher shops. Say they need a schoolteacher. I say my daughter Julie has a friend who'd be a crackerjack schoolteacher. And if they want to keep on selling me poker.

[C]

Yes, Father, Selina sees your porn. Indeed I do, Mr. Hempel.

[B]

Anyhow, Hoggs did it. $30 a month and you board with class, pool, Ladies Truck Farm. He's picking you up in his produce wagon in, let's see, 55 minutes.

[C]

A produce wagon? It's an adventure, Julie. Father always said it's all adventure in the finding of treasure. All of life. Watch closely, Father used to say, and whenever you go, you'll see all the wonders of Baghdad. Oh, but a produce wagon. It's a magic carpet, Julie. Oh, Mr. Hempel, thank you again.

[B]

Thank the hog.

[C]

Mr. Poole.

[B]

Yeah?

[C]

What are those things growing in the fields? The ones with the cunning green top?

[B]

All vegetables is green.

[C]

Well, beets aren't, radishes aren't. I know that much.

[B]

Always on top. It's green.

[C]

Oh, really?

[B]

It's raining.

[C]

My, that's astonishing. Oh, no, you're wrong, Mr. Poole. There are red ones out there, see?

[B]

Maybe cabbages. Some green, some red.

[C]

Aren't they lovely? What do they remind you of, Mr. Poole?

[B]

Sauerkraut.

[C]

They're beautiful.

[B]

Cabbages is beautiful.

[C]

Oh, yes. Don't you think?

[B]

Cabbage. It's beautiful. Yeah. Mar I bring the school teacher. Come in, come in.

[C]

Thank you. M y y come and hurry so fast I can more polite. It is Bishop n parlor.

[B]

The new school teacher. My wife.

[C]

Hello, Mrs. Poole. Pleased to meet sneak. You're welcome. I feel very welcome. Lay off your things. I help you. Thank you.

[B]

I go for my boy Ross to carry the trance trous. There. You keep your tongue head looking now.

[C]

Such pretty clothes. So. Thank you. Why are you looking at me? My, how you are young. Come, your room is up. My rose brings up your trunks. Oh, but it's very heavy. Is he a big boy? Oh, he works my field. Is he? Oh, you like your room? Yes, yes, it's quite nice. It's just that you have such nice things. And you are young, Mrs. Poole. You can't be very old. I mean, I am 30. 30? Well, I'm very young. I too had pretty things. Come see what is in this old chest. I had a pretty Dress once. Oh, my wedding dress. May I. May I try it on sometime? It's so lovely. Oh, no. Unless you get married, it brings bad luck. But you get married to New Holland Dutchman. I let you wear it where I should put down the trunk. You must be Rose. Right down here or anywhere. And bring teacher some hot water to wash up. Supper is soon. Double dick roll. Why, you're just a boy. I work by the farm. Don't you go to school? I drove dead cat to school, Linda. But why? I don't do it anymore. Oh, thank you, Rose. I do a pole cat through school. Lindo and school close to a league. I could then slip in and play by the piano. Piano? Who taught you? A teacher once a little. She gave me also a foot and book. A word book. A dictionary. Thousands and thousands of words, all different. Ralph, when I unpack, I'll give you books. The Three Musketeers. Byron's poems. Tennyson. A life of Mozart. Who? Mozart. He played the piano and wrote great music. And. And you will give me these books to read. And when school begins, I'll give you private lessons. After school, I will carry wood for the school. I will start the stall going every morning I will fight the big boys and make trouble in class. And I that is fond a hired man into some joke about cabbages. Oh, yes, Yes. I said they were beautiful. What is so funny? Cabbages are beautiful. Emerald.

[B]

What?

[C]

Nothing, Rose, but we are going to. Wonderful. Rose. That's excellent.

[B]

Is it?

[C]

I wonder if you realize how much progress you've made during the winter. Your studies and your piano. Yes. The potatoes I keep in my pocket. Whatever for? To squeeze, to strengthen. Stretch the fingers for the piano. So cabbages are beautiful.

[B]

Potatoes can make music.

[C]

Charles, I've never seen you laugh before. Tell me something. What is it? You go to box supper next Saturday. Well, I don't know anything about it. It's in the hall over the general store to raise money for the new church organ. Each lady brings a basket supper for the men to bid on. She. She has to eat fit the man who buys a basket. Oh, well, I suppose I should help the cause along. Oh, yeah. I too. Look. What is that? I don't know.

[B]

Something I make up. Maybe it is the box supper. Polka. Times is 65 cents for this supper basket. Do I hear 75?

[C]

75.

[B]

I have 75 cents. Who'll make it 80?

[C]

80 cents. 80. I have 80.

[B]

Do I hear 85? I have 40. Cornelia von Ningen's supper basket. One of the Prettiest girls in New Holland.

[C]

80. 80.

[B]

Wants 80 twice. 80 cents. And that's the last.

[C]

Excuse me. I'm sorry, please. I'm late. I'm sorry, teacher. Oh, such a crowd. And I brought a supperbox. Let me through to the auctioneer.

[B]

Give it to me. Oh, I'll take it to him.

[C]

Oh, thank you very much.

[B]

That little box is supper.

[C]

Oh, just sandwiches and cupcakes.

[B]

That man can starve. Never mind. Give me the look.

[C]

Thank you so much.

[B]

Hey, home. Ah, you're finished. Not yet. One more supper to walk.

[C]

Who is he, Margie? He's a widow. He has farmer. Always bad luck with crops. My, he's very good looking, isn't he, huh? Yeah, yeah, yeah.

[B]

So I guess here's a little trifle about your size. If the food in here ain't enough for you, you can tie this pretty ribbon in the lady's hair. You make big noise if you smell

[C]

spices on that pervasive young fox. That good man.

[B]

Ms. Selena Peak. It says here Ms. School Teacher Peak. Maybe there's a beautiful cabbage all tied up pretty inside, huh?

[C]

Not the bidding. You talk too much.

[B]

All right, gent, who starts the bidding? What am I dead? What am I bidding? Five cents.

[C]

Oh. Hey, you.

[B]

Who beat five cents? Who says it? He's so funny. He beats five cents. You the hawk? Who, me?

[C]

Purpose?

[B]

Not me.

[C]

He lies in his teeth.

[B]

Oh, please answer me. The hawk. You bit. 5 cents. 55 cents. Perhaps you don't get louder. 55 cents. I have 55 cents.

[C]

$1. Rose again.

[B]

Young Rose Pooh bids $1. $2 for that.

[C]

$2.

[B]

2. 25. $3.

[C]

$3.25. Rose.

[B]

Pool.

[C]

Papa killed you.

[B]

3.25. I have $3 and 25 cents. Do I hear 3.50? 3.50. $4.50.

[C]

Oh, listen everybody. They're only little jelly sandwiches. And the cupcakes fell in a little. $4 and 68. Oh, Rolf, you very nice penny.

[B]

$5.

[C]

$5. Johnson. Isn't that foolish to throw away a lot of money?

[B]

You trips the market. I. I could make it back.

[C]

Rolf. Where were you running? Rolf, Poor boy.

[B]

Excuse me, please.

[C]

Roll. You hear your mother? Why did you do it?

[B]

I look so little. They were making fun of you. Laughing. I get it back if.

[C]

If what?

[B]

If I could make quicker figures arithmetic. Them Haymarket fellas are too sharp. They do numbers in their heads like that.

[C]

Well, I could help you. Wouldn't you like to come over to the pools where I stay, say, two evenings a week and study oh, it's trouble for you? No, it's never trouble. Teach people who want to learn.

[B]

Ya ya what we need to study. Figures like you say, Mr. Chuck.

[C]

So two evenings a week through the long winter, Purvis de Young came across the dreary fields for his lessons. Rolf with jealous.

[B]

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[A]

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[C]

what could I do? He was such a boy. Bust with such promise in him, such talent and fire. Fire of emerald and Purvis the young with wheat. Spring came, but one cold rainy night, Purvis didn't show up for his lessons. The next afternoon during recess, Rose came to the schoolhouse with word from Purvis. Purvis Beyonces tell you he can't come for his letter. Phyro is sick. Rheumatic fever. Oh, but that can be very serious. His farm is in the Lowlands. Ms. Teacher Very or in summer baked hard no good to work. Not fit to live on. Not fit for anybody to live on. Rolf, are you by any chance trying to protect me from something? It's very hard life farm. Well, don't worry. I won't marry a truck farmer. Thank you, Miss Teacher. Goodbye, Rose. Or Would I? Perfect. Herbert the Young. Are you all right? May I come in? The door was unlocked, so I went in. Never, never had I even dreamed of such pitiful poverty. Everywhere there was dust, nowhere a touch of color or creature comfort. A dense grayness just seemed to cling to everything. Here, in this unspeakable dreariness, how could gallantry live? And yet it did. For Purvis the young was wheat a giver, but what did he receive? Now? I wanted to sit down and cry, but then I heard his voice from the doorway. Oh, I'm glad you're up and about.

[B]

It's such a bad weather. You come here.

[C]

Well, I heard you were ill, so I brought you the books and you can keep up your study.

[B]

Sit down, sit down.

[C]

Thank you. Slate seems hardly necessary. One can write in the dust here. Such housekeeping.

[B]

Yeah, yeah, maybe so. Is all I can do to keep going to farm.

[C]

Well, here we are. Now, this is the problem where we left off.

[B]

Yeah, that problem. It worried me.

[C]

I was worried too, perhaps about you, my teacher. Maybe we'd better get on with the problem.

[B]

Yeah.

[C]

Now, the owner of the Southwest quarter sells a strip of land 20 rods wide along the south side of his farm.

[B]

Yeah.

[C]

So how much does he receive? At $150 per acre. Go ahead.

[B]

35.

[C]

No, no, pervas, I've told you, I

[B]

cannot think is there's no need to learn.

[C]

But there is, I say.

[B]

I don't figure to sell the land.

[C]

That has nothing to do with it, Purvis. It's a problem to be solved and a principle to be learned.

[B]

Land without land is no good for woman. I don't figure to sell my land, Selena. I'm strong. I can break the land. I'll make a good farm out of it. For us, Selena.

[C]

For us. Oh. Oh, no. Goodbye, Pervit.

[B]

Lena. Dot Cold for.

[C]

Dina.

[B]

Little dina. Act two of so big. Starring ida lupino as selena and robert stack as purvis and dirk df.

[C]

True to her promise, Marcha Poole let me wear the wedding gown that I had once appeared admired. As she fitted her gown to me, I kept staring at her face. Toil worn and old. But she wasn't old. She was young. And all at once I was afraid. Marcher. Tell me, did you feel scared when you thought of marrying Clarke Poole? Scared? I ran away. Fine. Didn't you? Like last class? I ran not far. I came back. Nobody ever knew. I ran even. But I ran. Why did you come back from life? You cannot run away. Turn around, Ralph. I must take him. You are Such a skinny one. I turned around and saw Rolfe in the doorway. He stared at me with such terrible rebuke, such anguish, that a pain tore across my own heart. I started to call to him, but he turned with a sob in his throat and ran. And there I was in March's wedding gown and my bare feet, running after him. Selena, Selina, let us. Running after Ralph, stumbling in the darkness, following him almost as blindly as he fled. He's finding him, sobbing against the hate, beating the earth with his clenched croak. Rose, please listen.

[B]

You lied.

[C]

You lied to me. You lied. I know, Rolf. Yes?

[B]

You said you would die. Mary's father.

[C]

Yes, I said that. But I didn't lie, Rose. When I said it, I believed it.

[B]

Going to marry me, dear?

[C]

Oh, Rose, you must understand his loneliness and mine as you do your own loneliness. Please try to understand that there are different kinds of love. The love of beauty. And for those who share that love with you, like you and I. And then there's the love that severe. Next hertz to yours. I love you both. And I'll always, always need you both. The emerald people, the wheat. Oh, please go to my wedding, Rose. Make a safe br.

[B]

Selena. Lena, wake up. Get up to the lazy bones.

[C]

It's after four, but it's still dark.

[B]

But daylight is soon. You're a farmer's wife now. Time to get breakfast and hurry now, little Lena. One whole day I've lost already getting married. Hurry,

[C]

Hurry. You're a farmer's wife now. Paint the shabby furniture, cook, sweep, darn, tend chickens, milk cows. Grow old with toil, but grow strong with it. But when purvis a young farmer, your husband comes home from market in a downpour cheated and sick with fever. Love him and fight for him,

[B]

But hey, market, they cheat me again.

[C]

Don't fret, Purvis. Lie quietly. It's all right.

[B]

Steve's at the Haymarket. 25 cents for sack of potatoes, cabbages, 100 heads for $2.

[C]

Next time I'll go with you.

[B]

No, no. The young woman does not go to Haymarket. You hear?

[C]

Next time this, the young woman will go to the Haymarket. We'll teach them a little arithmetic. I'm not a young bride anymore. Perth.

[B]

I'm sorry, little Lena. I'm even sorry your flower beds did not grow.

[C]

Nothing does well in that soil. But it will someday. We must drain it, fertilize it with potash and phosphate.

[B]

Well, well. Little school teacher is now a farm expert. Where do find you learn these wise things about farms?

[C]

I sent To Chicago for a book

[B]

or vegetable farm out of a book. It was funny. So, Selena, we will read the Chicago book when things will jump out of the earth like magic. And next summer will become a kingdom. My baddie.

[C]

It's already a kingdom to me. I love that stubborn piece of earth. Aren't they? It's my home. Your work is in that land. And my heart is there. And everything that is in it, that is there. And that will be I love.

[B]

I'm proud that I, Dirk de Jong, was born on a farm. And that my father was Purvis de Jong, whom some men called a failure. And that my mother was Selena Peak De Jong, who was a

[A]

this episode sponsored by She's Birdie. You lock the hotel room door, then check it again. And maybe one more time. Because even the nicest room can feel unfamiliar at night. That's why She's Birdie created birdiebox with She's Birdie. You can bring peace of mind with you. BirdieBox is a portable travel door alarm for hotels, dorms, Airbnbs and anywhere you stay away from home. Just attach it to the door frame, switch it on, and if someone opens the door, Birdie Box blasts a loud siren and flashing alarm to alert you and everyone nearby. Because the best part of travel isn't worrying. It's sleeping soundly. Birdie Box from She's locking in peace of mind wherever you stay. For safer, more confident travel, visit she'sbirdie.com that's S H-E-S-B I-R-I-E.com paying for college

[B]

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[C]

What are we going to name him after my father?

[B]

Lena could. Maybe we call him Duck.

[C]

Dirk. Dirk. I like that

[B]

already. He knows his name.

[C]

See how he reaches up. Up for a handful of stars. Oh yes. You'll go high enough to touch them one day. So big, so tall in the heart. So big. We'll get a loan from the bank and under drain the clay soil and we'll put in asparagus.

[B]

Asparagus.

[C]

It's the new thing. Pervit.

[B]

I make no difference. No De Jong has ever made debts.

[C]

No De Jong. De Jong. I'll change my son's name.

[B]

All right. But you spoilt his nap with loud talk. So you sew him that sack suit for school.

[C]

I farm all right, but so big isn't going to be a truck farmer. And if you take a bank mortgage and drain the Southwest Acres.

[B]

Oh, listen to the book from Chicago McDot.

[C]

Oh, Purvis. Yes, Come in, Rose, come in. What is it? Where are you going with that suitcase? I thought I would bring back these books you loaned me before I go away.

[B]

Oh, Ray.

[C]

Where Rolf? Why, I don't know. Maybe somewhere they got some fires to be built in a music school. Oh, I used to know some people in Chicago. The Hempels. They got me my job here. I wish I could send you to them. But I haven't the slightest idea of where to reach the Hemples. And it is all right. I've Ricardo alone. But keep the books, Rolf. All right. Good luck to you. We'll miss you. Goodbye. Goodbye. Goodbye. Goodbye, Rose. Mom. Mom, come quick. Fall sick.

[B]

Oh, it's a dog.

[C]

Mom, hurry. What is it? What's the matter? Derek. Paris.

[B]

Look. Flowers. Our queen.

[C]

I begged you not to go to the market today. Oh, Derek. Help.

[B]

Flowers or queen? Mom.

[C]

Dirt. Take the wagon. Tell Dr. Brenner it's the fever again. Hurry.

[B]

I lift mine eyes under the he then cometh. Help. My help is of the Lord who made heaven and earth. The Lord is my keeper. The sun shall not strike thee by May, nor the moon by night. He will guard thy soul. The Lord will guard thy going.

[C]

Amen. So big. He'd have wanted you to remember him as strong alive and brave and strong. And he was such a will. So brave and stubborn and above all, true to him. Think of him as driving home all the way so thick with flowers for your mother. Dirk. Yes, Mom? How big is the man in my family now? So big. So big.

[B]

But I wasn't so big. I was only nine years old. Mother and I could raise the vegetables all right, but we had to sell them. The only place around where they could be sold was the Haymarket. And we soon discovered that the Haymarket was a man's world.

[C]

Turnips, cabbages, beets. Large, firm cabbages, beets. Only 25 cents a sack. Nice beans, Lisa. Look. Wonderful tomatoes. Just look.

[B]

Now, lady, you might as well know we don't do no business with women.

[C]

Why not?

[B]

Women belong at home.

[C]

Not when they have to make a living.

[B]

I'll tell you what I'll do. That stuff on your wagon. Curling at the edges and drying out. Pay your dollar for the whole load for fertilizer.

[C]

Oh, no. You won't use my vegetables for fertilizer.

[B]

All right. Suit yourself, lady. Suit yourself, chief.

[C]

Mom, what are we going to do? I know exactly what we're going to do. We are going to sell this load house to house. We're going to Chicago. Where? Baghdad. So big Baghdad. Whoa, there. Whoa, there. Is this where we sell a mock? It's a kind of nice street. Well, I. I wanted to show you the houses here. What do you think of that big house over there? That brick one? Yes, dear. Kind of ugly. Mm. It is rather grim and forbidding, isn't it? Looks scary to me. I used to live in that house. I loved it with your grandfather Pete. You must have been rich. I guess I must have. Didn't you think it was ugly? Tell me, so, pig. How would you have built it? Me? Well, I'd put in big windows to let in lots of sunlight in the wintertime. And I'd make it all light and pretty without that tar on it that makes it look like a new fort. Go on. And I take off all those fancy knobs and bumps. Don't do anything except look ugly. Lots of things. Emerald. You are emerald. What's that? Emeralds are green. You mean I'm a green horse? No, no. Far from it. So big. I beg your pardon? You boo. A lady in an automobile. Mom. You know her? No. Me. You mean me? Yes. Do you have a peddler's license? Why, no, I don't. Do I have to? As far as I'm concerned, I'd like to have vegetables my door. But last week a peddler tried it and got a heavy fine. Thought I'd just warn you. Thank you. But my mom lived here once. That house was hers. Justinian Piglet. Selena. Selena Penny. Julie Hempel. Selena. Oh, my dear. My dear. I've never known you. I know. It's been a thousand years. I'd never have recognized you. What happened? The hogs did it. Mama, can we ride my pony again? No, dear. Derek and Mrs. DeYoung are just leaving. I like your little girl, Mr. Hempel. And Julie. Oh, thank you, Derek. She's like a little princess of Baghdad, huh?

[B]

Oh, Paula. Oh, that's my granddaughter, young fellow. Selena, I still want to buy your farm. Put it on a paying basis.

[C]

Dick could live here with us then. Mr. Hemples, I want to keep the farm. I'm going to borrow money and drain the land and plant asparagus and. I'll help you. Oh, no, dear. You're emerald.

[B]

What's that?

[C]

It means he has a gift, and I have a plan for him.

[B]

Now, don't try to live the boy's life for him, silly.

[C]

Oh no, I shan't do that. I only want him to get full value out of his life so that he'll be rich. Oh, not in money perhaps, but in the treasure. My father always talked about the wealth of realizing the best in you so that you can give the best. You don't know what I'm trying to say now, jerk, do you? But you will one day. Oh, you're going to be so big.

[A]

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[C]

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[B]

The curtain rises on Act 3 of so Big, starring Idolapino Estelina and Robert Stack as Dirk.

[C]

It was hard to believe that young man up there on the platform receiving his diploma, his degree, Bachelor of Architecture, was my my little boy, Dirk De Jong. But he was no longer a little boy and he no longer belonged completely to me. There were two women in his life now, his mother and Paula Hempfeld, the little princess of Baghdad. Grown up. We Both congratulated him in the reception hall. Bachelor of architecture.

[B]

Oh, just think, that's what the big white paper says, Mother.

[C]

Big white papers with big signatures run this world, darling. So you can put your money on that diploma.

[B]

Oh, listen to Paula, the beautiful cynic.

[C]

Now, a little caution, children. It may be years before you're a registered architect, son. Long hard apprenticeship is a draftsman.

[B]

Well, I've got some pretty fair contacts.

[C]

I'd say they're excellent. You've got a job to step into, I'll say that.

[B]

Job? What job?

[C]

Remember those designs you submitted to Hollis and Sprague last winter? Oh, I know that. They phoned the house before I left.

[B]

I've got a job as a draftsman there.

[C]

$30 a week.

[B]

Uh huh. Well, that's not so bad for a start.

[C]

No, it's not bad. It's a start for us.

[B]

Well, there's your mother and granddad, Paula. Mr. Humphrey August here we. How does Ms. Sprague? Drafting room beyond speaking.

[C]

Congratulations, darling.

[B]

For what?

[C]

Selena told me about your wonderful raise.

[B]

Well, my wonderful raise now puts me in the $35 a week bracket. And I've only been here two years.

[C]

Then shall we try it my way, darling?

[B]

And I'm ripe for a change. Quite a lot of change.

[C]

Grandfather's giving a little dinner party tonight. Dick Hollis, your boss, will be present. Will you?

[B]

You call him Dick. Of course I'll be there.

[C]

Mrs. Gilman Robinson will also be there. She's in the process of planning a new quarter of a million dollar cottage. Take it from there, John boyce. Dinner's at 8.

[B]

Thanks, Paula. See you to.

[C]

Oh, darling. Darling, you were absolutely wonderful. You devastated Hollis, Paula, Won't they hear you in there? You certainly had Hollis in a may mood after Mrs. Robinson went to bat for you.

[B]

Mrs. Robinson has some very valid notions about architecture. And she has taste. Well, of course.

[C]

That's what was so wonderful about you having the cheek to tell Mrs. Lakeshore Drive how to do her house.

[B]

I wasn't trying to tell her.

[C]

My dear boy, that's your charm. It gets me too. A couple of more years, darling, and I'll head this project on a paying basis. But we'll build on the far north shore.

[B]

Paula, I'm very fond of you. But it seems to me you could do better with any one of a dozen Chicago princelings.

[C]

So I could. Including De Carlos himself. But I know what I want. Dirty, important business at Hollis and Sprague is in contracting and selling.

[B]

But that's not what I want. I'm no promoter. I'm an architect.

[C]

Dirk Hollis is right. He won't wait too long for you to decide to be successful and give up designing. Oh, you could still call yourself an architect and you'd be so successful. Haven't you seen enough poverty in your family, Dirks?

[B]

Yes.

[C]

Leave things to me then. Try it, Dirk, will you?

[B]

Emerald.

[C]

What's that?

[B]

Let's have a go at it anyhow. Let's. Let's try it. Yes, indeed. Mrs. Hutchinson, the whole idea of our home designing is to express the character of the owner. Pardon me. Splendid. Thank you. And it's so nice to see you again at the Alexanders. Goodbye, Mrs. Hutchison.

[C]

And hello, Mr. DeYoung.

[B]

Mother, how nice to see you.

[C]

That abrupt girl in your outer office seemed to feel differently. Does she own stock in you?

[B]

Well, as you see, I'm a. I'm a big man these days. A big man.

[C]

It won't be long now. I'll be walking down Michigan Boulevard and I'll hear people asking who designed that magnificent building?

[B]

Uh huh.

[C]

And I'll say, oh, that's merely an early effort of my son, Dirk Dion.

[B]

Still living in Baghdad, eh?

[C]

Aren't you?

[B]

Mother, I've quit drafting.

[C]

You've quit? But your career.

[B]

I've given up designing.

[C]

Oh.

[B]

Dirk Hollis has moved me into sales and promotion. I'm already making more in a month than I used to make in a year. I was afraid you wouldn't understand.

[C]

We had a plan. Ever since that we drove to Chicago with the vegetables and I saw your gift. Oh, Dirk, you can't desert beauty giving of the lovely things you're talented to give.

[B]

Just wait until the big money starts rolling in.

[C]

And that's become your idea of success?

[B]

All of my crowd are in the money except me. Paula, now, Mother Paula.

[C]

And that tight little circle of rubber stamps you move in.

[B]

Oh, Dirk, not so big. Excuse me, Mother. Hello? Oh, yes, Mr. Hollis. The Edmonton murals was just about to call you by the name of the artist and the address. Dallas o'. Mara. That's quite a name. Yes, sir. I've got it. I'll make an appointment for lunch the minute I hang up. Right.

[C]

I sort of hoped you could lunch with me at the Drake.

[B]

The Drake, no less.

[C]

They have asparagus de jong on the menu. I wanted to see it in print. It sounds like such a little thing, but it's something I did. It's mine. A certain beauty.

[B]

Asparagus.

[C]

Cabbages are beautiful. Asparagus is beautiful. Yes, dear.

[B]

Oh, Mother. I can buy beauty by the Square yard from any one of these stringy haired geniuses. Like this. Like this Dallas o'.

[C]

Mara, I'm sure. Have a nice lunch, Dirk. Yes?

[B]

Ms. Dallas O'?

[C]

Meara? Yes.

[B]

The. The artist.

[C]

Yes. Won't you come in?

[B]

Thank you.

[C]

You know a Dallas o' Mara who isn't an artist?

[B]

No. No.

[C]

Are you interested in art?

[B]

Oh, yes, very much. Say, that canvas there is very good.

[C]

Thank you.

[B]

Very good. I mean the draftsmanship. You see, I'm an architect.

[C]

Thanks for that. I thought you were a stuffy front man. I was expecting from Hollis and Sprague.

[B]

Oh, well, maybe we just won't answer when he rings.

[C]

Maybe we won't at that. Really, I haven't made up my mind yet to do.

[B]

Oh, temperamental.

[C]

Don't use that word. Every phony does it when he runs up against a little logical honesty. By the way, why are you here? You just didn't happen to spot my unearthly loveliness in a crowd and fall madly, madly in love with me?

[B]

I'd have preferred that.

[C]

Oh, you're the man from Hollis and Spray.

[B]

I'm afraid I am. Oh, golly.

[C]

Forgive me, will you?

[B]

Only we forget about luncheon. Talk it over dinner instead. Or we can really relax.

[C]

Well, it's the very least I can do. But mind you, I still might not do those murals unless I can do something with a. With a splash of splendor in it.

[B]

Splendor?

[C]

If you're really an architect, you may know what I mean.

[B]

I'm really an architect.

[C]

It means not accepting money under false pretenses. Doing something you believe in. Giving all you've got for their money.

[B]

But giving I understand.

[C]

I'm not sure you. But I'll go out with you anyhow because you're pretty and you may even take me to the Ralph Pool concert tonight.

[B]

Ralph Pool? I knew him back in New Holland.

[C]

Really? I met him in Paris. Wonderful.

[B]

The number was programmed as Concerto in C by Rolf Poole. Little Rolf Poole of New Holland, Illinois, who had once worshiped my mother. Well, Rolfe had done well. This was an event. I saw Paula Hempel in the Hempel box of Richard Hollis. I saw Mother listening rapidly, looking curiously young again. But mostly I saw Dallas o'.

[C]

Neill.

[B]

Beautiful, impudent and honest. I'd lost my way with Paula, but I knew that I'd lost my heart forever for Dallas Omari,

[C]

The pride of the North Shore. The gilded youth who found success under a stack of blueprints.

[B]

Paula, please. Hollis will hear you.

[C]

The next office got to believing you did it yourself, didn't you?

[B]

No, no. You did it, Paula.

[C]

Well, I suppose the debtor always hates his creditor.

[B]

Paula. See here, there's no.

[C]

For weeks you've been seen everywhere with that Dallas o' Maro woman.

[B]

I happen to be in love with her.

[C]

He has? It just so happens, doesn't it?

[B]

Well, you haven't been doing badly with Dick Hollis.

[C]

And I'm going with him to Mrs. Robinson's reception for Rolf Pool tonight.

[B]

Well, I'm going to the reception too.

[C]

Oh, planning to be there with your bohemian friend?

[B]

Alice is going to let me know today. We're having lunch, I think. Excuse me, Paula. Yes? Oh, tell Miss o' Mare to come right in.

[C]

Don't trouble to introduce her. I feel as though I know her only too well. Oh, I beg your pardon. The map. The builder will see you now, Miss o'. Mara. Oh, dear. Another of the victims of your deadly charm. Dirt. That master builder. Sounded like a low blow to me.

[B]

Yes, it was. I planned to be an architect, but Paula made me a success instead. You see.

[C]

I see. Too bad.

[B]

Alice, I know how you feel about your work and honesty and all that. Sometimes I do get a little homesick for the drawing board myself, but. Well, I'm doing so well here. Dallas, I can help you now. I could give you so much that you haven't got if you'd marry me.

[C]

What I haven't got, Dirk, I don't need.

[B]

I'm sorry, Dallas.

[C]

The lessons in splendor are over. I did my best, but you flunked out.

[B]

Sonny, how do I have to be to cut some ice with you? Do I have to be some long hair with a velvet jacket?

[C]

Oh, no, Dirk. I'll probably marry a horny handed son of toil. I like hand with their scars on them. There's something about a man who's fought and been shaken a little. You haven't a mark on you and your hair isn't even mussed. I'm terribly sorry, but that's how it is. You're all smooth and I like em bumpy.

[B]

Listen, Dallas, I'll do anything. I'll go back to being a draftsman. I'll go back to the bottom of you.

[C]

I'm good, Derek. Too late.

[B]

I won't give up that easily. You're going with me to the Rock Pool reception tonight. I'll call for you early.

[C]

I won't be in. Ralph wants me to go out with him to see your mother today. She'll be there, won't she?

[B]

Yes. Yes, of course. It's her busiest season.

[C]

Goodbye, dear. Oh, Dirk, it's so good to see you. I know you've been busy and I understand, of course.

[B]

I've been working hard and I wanted to see the farm and you.

[C]

Can you guess who was out to see me yesterday? You'll never guess. Never guess who, Mother. Rose Poole and Dallas o'. Mara. Little Rose Poole, who thought he was in love with me years and years ago.

[B]

Maybe he was in love with you.

[C]

Little Rose. He's been all over the world and he's seen the places of great life and beauty that I once told you hope to see. And he did it himself.

[B]

He had help.

[C]

Do you know the first thing he said when he saw me? He held out his arms to me like that and yelled, cabbages are beautiful. Cabbages.

[B]

Mother, I've lost Alice.

[C]

Oh, I was afraid you might.

[B]

You were right. I deserted Beauty and beauty turned on me. I was too stupid to see it, to know that you were Beauty your whole life. And the way you looked at life. She was so much like you. You were both Emerald. And I lost you. I lost you both.

[C]

No, Dirk, no. Beauty is never lost. It isn't a person or a thing, but a spirit, a feeling inside you. It's earth and light and fire, wheat and emerald. They can be everywhere. You just got lost somewhere, Dirk. Give me your hand.

[B]

Your hands are wonderful, Mother. Rough and strong. Dallas said my hair wasn't even mussed.

[C]

It's getting that way.

[B]

Do you think so?

[C]

You've had a joke and you got it.

[B]

You know, I might have another whack at that drawing board.

[C]

After all, you are growing up.

[B]

Will I ever grow up? Enough to interest a Dallas o'? Mara?

[C]

Oh, yes, son. And to take a handful of stars, too. So tall in the heart. How big is so big?

[B]

Very, very tiny, I'm afraid.

[C]

Men, you've grown up already. So big.

[B]

In a moment, our stars will return and Mr. Cummings will present his movie preview of the week. Mr. Cummings with our stars. And here to take a bow for those fine performances are Idol Lapino and Robert Stack. Ida, I always feel a little nervous when you're on the show. You're not only a fine actress, but a great director.

[C]

Nervous, Irving? After last week's production of Wuthering Heights, it was perfectly beautiful. You know, I played the part of Kathy twice on this stage.

[B]

Are you partial to the heavy drama, Ida?

[C]

Yes, I think so. And you ought to be, too, after that performance you gave in the High and the Mighty. Warner Brothers must have been thrilled with it.

[B]

Bob, they certainly were. But 20th Century Fox was even more impressed. They signed him to a long contract. Well, I don't think Warner Bros. Needs to worry. They just about to release A star is born with those great stars, Judy Garland and James Mason.

[C]

I understand Judy's singing talent is even greater than ever.

[B]

Well, this will give you an idea. Here's Judy Garland's recording of the man that Got Away.

[C]

The night is bitter the stars have lost their glitter the winds grow colder Suddenly you're older and all because of the man that got away. No more his eager call the writings on the wall the dreams you dreamed have all gone astray

[B]

no wonder everyone's a Judy Garland fan. Well, I certainly am. And she's one of our favorite Lux girls. So are you, Ida. This is your 15th appearance, so you know how much we like you.

[C]

Well, Irving, everybody knows how important a luxe complexion is to an actress. But here's one lady director who is also a devoted luxe girl.

[B]

I'm afraid that's a distinction that belongs only to you, Ida. The rest of us directed producers are just married to Lux girl. Well, now, isn't it time for you to produce another of your 20 greats in the Lux Radio Theatre, Irving. Yes, it is, Bob. Next week it'll be the unforgettable story of the valiant, high speed spirited Welsh people in How Green Was My Valley. And as our stars of this haunting drama from 20th century parks, we have Academy Award winner Donna Reed, that excellent actor, Michael Rennie, and in his original role, Donald Crisp.

[C]

That was a great one, Irving. Good night.

[B]

Good night. Good night. And hurry. Weaver Brothers Company, makers of luxe Hornet soap and Luxe liquid detergent. Invite you to be with us again next Tuesday evening when the Lux Radio Theatre presents How Green Was My Valley. Starring Donna Reeve, Micah Rennie and Donald Criss. This is Irving Cummings saying good night to you from Hollywood. Evening. Buyer's remorse. Buy a new car. I'll be moving in. Let's get started.

[C]

Sorry, I think there's been a mistake. I bought it from Carvana.

[B]

You what?

[C]

Yeah, great price. I even have seven days to love it or return it.

[B]

So there's no.

[C]

No, no buyer's remorse. More like buyers rejoice.

[B]

I guess I'll let myself out. Congratulations. I mean it.

[C]

Buyers rejoice. Buy your car today on Carvana. Limitations and exclusions may apply. See our 7 day return policy at Carvana.com how to have fun anytime, anywhere Step 1. Go to Chumbacasino.com Chumbacasino.com Got it. Step 2, collect your welcome bonus.

[B]

Come to papa. Welcome bonus.

[C]

Step three, Play hundreds of casino style games for free.

[B]

That's a lot of games all for free.

[C]

Step four, Unleash your excitement.

[A]

Woo hoo.

[C]

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[B]

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