Hey guys, how are you today? Welcome to today's daily creative word in my creative year. I wanted to come on and do something other than just post the word for you. I thought I'd actually create a little sketching tutorial and show you how we're picking the words, how I'm getting inspired to use that word in a drawing, all of that jazz. And it's going to be a talking video. It's not going to be a speed through FYI. Okay, so this is my daily sketchbook. This is one of Shannon Green's custom keepers. This is her small, I think, B6 size. My notebooks are about five by seven. They're homemade. And so I asked her if she had a custom keeper size to fit that. She said she did. And I do believe this is B6. And then I asked her if she could make one of her new accessory pieces she has. I don't know what she's calling it. I'm just calling it a toolkeeper, but she may have a different name for it. And she said, sure, she could make one that would fit. And she did for me. And I put all of my pens and crayons that I use in my daily sketches in here. So everything's in one place. And this is really literally all I use when I do the sketches. I don't use much. There's no number two pencils. Yeah, anyway. I have found that it is nice to have a couple of clips in here to sort of hold things open as you're doing your sketching. Okay, so the first thing we're going to do actually is pull out the ballpoint pen. It's just a plain old bit crystal. And my Pilot Varsity disposable fountain pen. And my water brush. That's always how I get started with these three. They have to be in here. I don't always use the other things, but I always use these. Alright, so then we're going to do this and clip it back open. This is the next page I need to draw on. There we go. Okay, so then I go to my phone and we are using this app called Inspire Me. Can you see that light bulb right there? It's called Inspire Me, one word. And it's a random word app. So when I open it, I get three random words and I try to pick one of them to do for the daily creative word. Sometimes I don't always get a word that I can figure out anything to do with, so then I have to do it again and I just hit random down here in the corner. Shadow might work. So then what I do is we'll set this aside. Sorry about the jingly bells. And then I'm going to go to my iPad and I'm going to try to like do this so that you guys can kind of see, but there's not too much glare, I hope. There we go. And then I go to Pinterest and we'll do shadow drawing. So then I just start, you know, searching for some keywords. That's interesting. And something that will inspire me to do a daily drawing. For this tutorial, I do not want to pick anything that's too hard, although I have to tell you that hello, is that not inspiring? I don't know who the artist is who did that. I don't know, somebody's girlfriend. Super fabulous. We could do something as simple as a coffee cup with a shadow. If we do, I like the idea. Shadow is interesting. So let's do shadow illustration and see what pops up. I usually spend more time searching for inspiration than I do doing the actual drawing just FYI. That's pretty normal. That's cute. With a bunny doing a, that's cute. You could use Google too. I find Pinterest much more inspiring. If you don't know what Pinterest is, it's a website and app, Pinterest.com. I'll try to put a link in the description below. If you want to see what's pinned to my boards, and I haven't necessarily pinned a lot of things to a lot of boards recently, except for the quote one, there's a link tree link in the description below. And that link tree link for me has all of the different places that I am on the internet, including Pinterest. So all of my stores and my website and my social media, everything is there. I'm not really seeing a ton of things that I'm finding inspiring. I think the most inspiring thing was that portrait, that profile. We could do that. Let's see. Shadow drawing sketches. I didn't see that before. This one's interesting. That actually would be pretty easy to do. We could do that. So let's try something like that. I'm not always looking to copy their work exactly. Of course not. I'm also not selling this. So there shouldn't be any copyright issues. I don't know how they did theirs. I'm going to do mine my way. I'm looking to just be inspired by. So the first thing I'm going to do with this is I'm going to draw a couple of hands, hopefully. Yes, I used just straight with the ballpoint pen. Now if you're unsure about your drawing abilities, of course you can go in with a pencil first and then do some erasing. I don't do that. I just go right in with the pen. I'm going to zoom in a bit. All right. So I'm using their drawing for inspiration. I am barely touching the pen to the paper FYI. Barely, barely. Now this is about suggesting the shapes rather than, you know, drawing them all exactly. And if you don't get it exactly right, this is a daily drawing book. It's not about getting it right and perfect. So I want you all to just let go of that to begin with. I'm not crazy about the hand positions in the inspiration photo, but that's okay.  Make sure I give them five fingers instead of four fingers because, you know, I could see me doing that. I'm going to draw a few suggestive lines, but not too many. I really want it to be a suggestion of a figure. All right. So we're going to go in with the pilot varsity. Now this is also black ink. This is very water soluble and pretty dark.  Okay. I am going to go in with this pen and I kind of want to take a scrap piece of paper, which I keep in here. And we're going to put a bunch of ink on here. Then we're going to take our water brush and I'm going to squeeze until it drips. There we go. And we're going to make a sort of ink because I don't know. I don't know how dark I want this. So it's always best to go in lighter. You can always make it darker. This would probably have been better if I had done it on something that was, let's grab an extra piece of this because I think that paper soaked up all the ink. Oh yeah. That's much better. Okay. And the idea is to use what you have and to you know, do it in a way that you could carry very few and limited supplies with you. You could practice your art daily, anywhere that you are. You're only going to get better if you do practice. The hand position on that is a little odd, I think. First thing I'm going to do is I'm going to add some ink. Now this ink is going to go, like with watercolor, the ink is going to go where the water is. It's not going to go to the dry paper. It's going to go to the water. So be mindful of where you put the water. This is 70 pound drawing paper, which is good because you can do a certain amount of wet work on it without it bleeding through or messing up the paper too much. I am going to blot a little bit. There we go. I'll leave it at that for the moment. I'm going to grab my gray Bible Gel High Glider Pen. Yes, they do make a gray one. I found recently they make a set of ten instead of six. And the ten set has gray, red, a different color of orange, and brown in it. And you know what guys? I'm loving it. Okay. So I'm going to use this to work on our lines here. And I'm using, I mean, I am using the Pinterest image for inspiration on where to make the shadows darker. And the Bible Gel High Glider is able to be pushed around and blended out to a certain extent right after you put it down. I usually do this on the sofa. So I usually don't have any sort of dry, you know, way to dry anything. And I usually, I have a piece of plastic here. And usually when I'm done, if I need to close the book up right away, I move the plastic from behind the drawing to in front of it so I can close the book and this side doesn't get all messed up. Now I am going back over over everything with the ballpoint pen. And that's going to help me with some lines, but it's not going to want to draw where I put the Bible Gel High Glider. So and that's okay. And messy. This kind of drawing, I really just want to keep it messy. I don't want it to be too refined or anything. I do kind of want the hands to be dark though. And then at the bottom, this is kind of a bonus day for this book. So now I know we're doing this in shadow and I could leave it black and white, but I don't have to. And this is a purple Bible Gel High Glider and it's in the cooler side of the spectrum on the color wheel and it will help suggest shadow. So I can add, again, refining some lines. I'm darkening the hands some more. I'm not always super mindful about, you know, doing all the pen work before I get the crayon on there as you can tell. None of the pens are going to want to write really well or easily over any of your crayons, whether you're using a gelato or the Bible Gel High Gliders or anything. So just know that before you get started. It should actually probably be your your last layer and I know that. I know usually listen to it, but I do know that. That's pretty good. I kind of like that. There you go. So that's it. A quick and easy sketch. The daily creative word is shadow. You don't need lots of fancy tools. Use what you have and see what you can come up with. Maybe you could do a coffee cup with a shadow underneath it. You could collage a picture that has really interesting lighting with lots of shadow. You could write about what the word shadow means to you in the moment. There's lots of different ways you can take it or you could just choose to not do the word shadow. Maybe it's not inspiring to you at all today and that's totally fine. Whatever you do, I would love to see it over in the Facebook group my creative year and that's it for today. Don't forget the most important thing. Go out and have a great day and do something nice for yourself because you deserve it and I'll see you later. Bye guys.


Well one of the crazy things we know Tucker is that this is hidden from parents and I agree with you there should be a ton of pushback I'm a father of three young kids and I would get enraged if I found out this was happening at my kid's school But you hear all these crazy things about you know five-year-old kids go into school as boys But then they go into the magical closet and they come out as their gender affirming identity Of course that has nothing to do with the crazy lunatic who's pushing them on them Of course we're led to believe of course it's all coming from five-year-old children So one of the things we're learning Tucker is that this is being forced by some of these really radical teachers And they're hiding it from the parents.  Where is this happening? And if it happened how many times? Once? Twice? That's not the way that it works.     He says I don't understand where the men are Like where are the dads?  What do you mean by sex values? Notice how whenever they have this conversation about sex values it's incredibly vague And this really is revealed in their hysteria about Disney being more inclusive supposedly of LGBTQ plus people See if you put a picture of two princes kissing or two princesses kissing that's grooming To them that's tantamount to gay pornography because they actually think that you choose to be gay And if you just hide homosexuality and transgender identities away from children Then congratulations once they're 18 they would have chosen to be cisgender and heterosexual And you've succeeded as a parent except it doesn't work that way And I feel like most reasonable people who have any brain cells acknowledge this But it's you know Fox News and they're pandering to the dumbest audience in America So of course you know when they say something like this the simpletons that tune into Fox News Religiously every single evening they won't question it Now the reason why the GOP is currently waging a war on teachers is because as they've learned with the hysteria over critical race theory That this is a politically potent method that gets normies to covertly adopt bigoted points of view And it's a political winner for them right it's politically expedient to Trot out this homophobic argument this homophobic myth that gays are predators But the problem is they're not actually protecting children and I don't know if they're achieving this goal Of getting parents to pull their kids out of public schools and place them in private religious institutions I don't know what the intended effect that they want is But we do know that what they're doing is making the lives of teachers hell currently As Tyler Kincaid of NBC News explains The school year at MacArthur High in Irving, Texas began last fall with the administration scraping off rainbow stickers that had been posted on campus Prompting hundreds of students to walk out on protest Seven months later LGBTQ students say things have deteriorated further One faculty sponsor of the school's Gay Straight Alliance is facing having her contract terminated Another is preparing to resign and a third has been removed from the classroom The Alliance's weekly meetings became monthly and attendance dropped from about 40 students to fewer than 10 The student newspaper has functionally shut down Two teachers said that the school's principal asked teachers to take down gay pride flags in their classrooms and offices Several students said that either they or their classmates have been called homophobic slurs And bullied and school staff members have failed to intervene Some said they're discouraged by the Irving Independent School District's response to the concerns They've raised through the Gay Straight Alliance and school board meetings And they feel less safe at school than they did a year ago Two students said human resources officers with the district questioned them about their involvement with the GSA LGBTQ students and teachers in the district said they've already been on edge because of the pressure schools across Texas and beyond are facing From politicians, parents and activists to remove books with LGBTQ themes They're also deeply worried about a state order calling for child abuse investigations into the families of transgender children Which was temporarily blocked by a judge Nationwide educators have raised concerns that new measures such as a Florida law that prevents teachers from discussing sexual orientation in third grade or lower Could lead to a purge of LGBTQ teachers and advocates for LGBTQ students are alarmed by some parents' recent demands That schools prohibit students from organizing gay straight alliances, calling them pornographic and suggesting they would turn children gay Now notice how the goalposts shifted So it started this national conversation specifically started with Republicans saying We have to do this don't say gay law because we have to protect children in grades K through 3 But now the conversation has broadened out Now gay straight alliances in high school which are crucial resources for LGBTQ youth Now that's under attack as well because it's pornographic And you know teachers now are being targeted for putting up rainbow flags Now teachers who put up rainbow flags, that's not necessarily them saying Hey, I'm gay, I'm queer, everyone look at me Oftentimes they'll do that so they can signal to students that they're allies So if a student is dealing with a family that's homophobic or if a student wants to come out and they don't know anyone safe to come out to That teacher is saying I'm a safe person to come out to That could be a straight person But now that teacher is being targeted Now teachers who are LGBTQ at all Anyone who's seen as an ally affirming of gay straight alliances in high schools Now they're being targeted And one student in that article was quoted saying that they feel as if they're under attack They're being targeted and they're gender fluid So what has started as oh my god we have to protect children Has essentially turned into an anti-gay witch hunt And it didn't begin just this year This has been brewing for quite some time back in 2021 We talked about how that was one of the most disgustingly transphobic years When it comes to state lawmakers introducing laws that either ban gender affirming care for trans youth Or ban trans high school students from participating in school sports And it's only going to continue to get worse And it's not just contained to certain states like you know the don't say gay law originated from Florida But it's spreading throughout the country Lawmakers in Ohio and Louisiana have filed legislation that mimics the Florida law signed last month by Governor Ron DeSantis In Texas Lieutenant Governor Dan Patrick who controls the state senate said he would make his state's version of the bill a top priority in the next legislative session The Louisiana version would bar educators and school employees from discussing their own sexual orientation or gender identity with any student through 12th grade There's no need for any child to ever know the private life of their educator State Representative Doty Horton the bill's chief sponsor told KSLATV It's not prejudice to one group or another it just doesn't discuss it at all So remember how back in 2010 we all saw it as a huge accomplishment that Congress actually got their act together And repealed the violently homophobic Don't Ask Don't Tell Law Which basically forced members of the armed services into the closet indefinitely Couldn't come out if you were a member of the military Well because reasons you know that's gonna disrupt the military How's that gonna be in locker rooms will these you know gay predators prey on their colleagues in the military All those reasons but we repealed it and moved on and we realized to force people into the closet is bigoted it's bad it's harmful But here we are in 2022 bringing back Don't Ask Don't Tell is just now it's applicable to teachers They have to be silent about their identities so as to not groom the youths Because in 11th grade if you learn that your teacher is gay you're automatically gonna be gay yourself Because I guess the teacher's gonna make it sound cool or something I mean it's a childish understanding of human sexuality and it defies reason But the point is to be cruel the point is to gin up homophobia for purposes of political expediency This is what gets them the victory you know just saying I don't like gay people Isn't really going to be palatable politically in 2022 so the way that they create homophobia once again Is by cloaking their homophobia in we have to protect the children It's how they basically got people against teaching history with critical race theory and you could take anything And turn it into we have to protect the children and it's going to be a political winner Because people by and large care about protecting children I mean who doesn't but notice how they're weaponizing protecting children To bring back homophobia in a really explicit way I mean homophobia never really dissipated But attitudes towards LGBTQ plus people have improved over the years Not necessarily with regard to trans people we have so much work to do in that regard But homophobic attitudes will return And this isn't just like this new push for explicitly homophobic laws by the GOP making this their priority It's not just going to be contained to the United States We will see a global increase in homophobia because of what the GOP is doing Because what the United States does it has you know consequences it ripples throughout the world Take a look at what happened to Evan when he was in Dublin Last night a stranger called me a faggot before beating the shit out of me He left me with a fractured eye socket two fractures in my ankle a dislocation in my ankle and some of their minor injuries We've come a long way but still has such a long way to go in terms of equality Now I'm not saying that that assault specifically was due to the GOP in America being relentless in their push for homophobic laws But what I am saying is that we will see a correlation between this increased homophobic rhetoric and anti-LGBTQ hate crimes Violence against trans women like these things go hand in hand Because politicians have a lot of influence and power And when they you know cultivate this homophobic sentiment the population usually follows their lead Now in 2022 alone there's been more than 240 anti-LGBTQ plus laws introduced in state legislatures across the country Specifically in 31 states as this graphic by the Human Rights Campaign illustrates And at this rate 2022 is shaping up to be one of the most anti-LGBTQ years legislatively speaking At least in modern history because I mean you know this is kind of the way that progress works A lot of people have this view of progress that it's linear But that's not necessarily the case you don't always charge ahead in one direction Sometimes you make progress sometimes you go backwards You know take two steps forward five steps back We're currently in one of those eras where we're making a lot of moves backwards Where we're regressing at a rate that's shocking and it's not just regression with regard to LGBTQ plus issues I mean when it comes to women's rights we have states just passing straight up bans on abortion at this point in the year 2022 But this is what the GOP is doing Their goal is to inflict as much pain and suffering on America because they are psychopaths People who vote for this party they're bad people they are morally defective If you support this party then I don't know what's wrong with you I have to think that you just are cruel and you enjoy it because the Republican Party time and again Has shown you who they are They're no longer the party of you know tax cuts for small businesses not that they ever were But this party their whole goal is to troll is to be unnecessarily cruel and to inflict pain on people That's the goal of the GOP this is a party of fucking monsters and if you still vote for this party Knowing who they are that says a lot about who you are as a person as well So this is going to continue and I would argue this is probably only the beginning Their homophobia and bombastic rhetoric that we're seeing on Fox News and other right wing outlets Is only going to get worse you think that this is the lowest that they'll stoop to trust me They will go even lower because that's who they are they're fucking monsters And the only thing that we can do is push back against them vociferously Because what little gains we've made when it comes to LGBTQ plus rights You always have to fight to protect because if you just simply you accomplish something you achieve progress And you step away Well bad actors are going to target that progress and try to take you back And I think a lot of people in this country got comfortable thinking well You know the issue of LGBTQ plus equality at least when it comes to gays is solved But no that never was the case and these attacks on trans people that never ceased was a sign That they were also going to try to make this a broader attack on all of the LGBTQ plus community It was just a matter of time so you can never get comfortable when it comes to civil rights You always have to be committed to fighting because there will always be reactionary forces that try to take you back And this is something that will never change I just hope that people learn from this And they acknowledge that you know you always have to fight to protect these gains and I'll leave that there


While we can't meet in person to watch these great films, the show will go on. Tune in on Tuesday, May 19th at 7 p.m. to catch this year's A-Town Teen Film Festival. The show will be aired via the Regent Theatre of Arlington's Facebook Live on ACMI's public and education channels and on ACMI's YouTube page. Winners will be announced during the broadcast and you at home will be able to vote for the crowd favorite. All films come from Arlington and other nearby Massachusetts towns and we think this year's submissions are the best we've ever had. Don't miss it.


If you've ever tried to build a level in Super Mario Maker, you're probably aware that making the perfect Mario level is no small task. How difficult should you make the level? Where should you place enemies? What gimmicks or unique challenges can you put in? Believe it or not, when creating a new 2D Mario game, even the creators at Nintendo run into these challenges. At the dawn of the Wii U era, the company was working on building two different new Super Mario Bros. titles at the same time. This required a lot of additional level designers, but there was a problem. Nintendo simply didn't have enough staff members who were familiar with the difficulties of making a 2D platformer. Gaming had moved on, and Nintendo had been focusing on 3D games for a while. There were staff members within the company who were familiar with 2D Mario, but they were scattered across various different projects. There certainly weren't enough experienced designers to make up the development team for two separate Mario games at the same time. Luckily, two Nintendo veterans had a plan. Takashi Tazuka and Toshihiko Nakago were going to take their younger colleagues to school. This was the birth of the Mario Cram School, as Nintendo employees from across the company got to learn at the feet of video game masters. Takashi Tazuka and Toshihiko Nakago were two-thirds of Nintendo's golden triangle. Their trio were veteran developers who'd worked on countless older games, including many of the original Super Mario titles. The company had moved forward since this era. Many new, upcoming developers within Nintendo were better trained in the art of making modern games. This was all well and good, until two new Super Mario games were needed at once, one for the Wii U, and one for the 3DS. At the time, many of the senior developers at Nintendo were working on other various projects. The teams that had made new Super Mario Brothers and new Super Mario Brothers Wii had been scattered, and there weren't enough experienced 2D Mario developers to go around. Takashi and Toshihiko pondered on this problem. How could they arrange their teams in such a way that both upcoming 2D games could be well-staffed by people who knew what they were doing? The solution was the Mario Cram School, a chance to teach newer Nintendo employees the basics of crafting the perfect 2D platformer. Takashi and Toshihiko began drawing up a list of potential students for their class, aware that this Cram School was unlike anything Nintendo had ever done before. The goal was to give many people across the company the skills they needed to make Mario games, and not limit this to a single pool of developers. If the Mario Cram School worked, then the Golden Triangle's knowledge could be dispersed across hundreds of employees. Typically, only a single department within Nintendo, the Entertainment and Analysis Division, were responsible for making 2D Mario games. But Takashi and Toshihiko extended invitations to members of many different teams and departments across the company. Some people were confused about why they were being included. Yosuke Amano, who had previously worked on new Super Mario Brothers Wii, felt that his schedule didn't really allow for time spent learning in the classroom. He was busy putting together Star Fox 64 3D, and often wasn't available to join the school's classes. In spite of this, Takashi and Toshihiko seemed intent on sharing their knowledge with him, and getting him to play the levels that the Mario Cram School students had designed. Little did Yosuke realize that the Golden Triangle had a good reason for wanting to keep him informed. He was soon going to be chosen as the director for the 3DS new Super Mario Brothers game, and would be working closely with many of the students in the Cram School. The school itself was incredibly productive, the total number of students was significantly more than would usually build a Mario Brothers platformer, and as such, there were a lot of strange and bizarre ideas floating around. The class came up with levels together, based on instructions from their teachers. Takashi would explain the process of building a game level and coming up with ideas, while Toshihiko solved programming concerns that the class came up against. Before long, the school students were caught up on how to make these games, and, having been taught the foundations of Mario making, they were free to return to their respective departments. Takashi and Toshihiko then informed Yosuke and another senior developer, Masatako Takemoto, that they would be project directors on the two upcoming games. At first, neither director had any idea what they were going to do, their teams hadn't been formed, and they didn't know who would be joining them. But, one by one, different alumni from the Mario Cram School finished their respective projects, and were assigned to work on one of these two new games. Of the two titles, the Wii U game was staffed by more experienced new Mario creators. Their work was seen as a continuation of the Wii game in the series, and so it was relatively easy to get back into the swing of things, even with many new junior team members who hadn't previously made 2D Mario games. But the question remained, what could be done to make their latest game different from those that had come before? This was especially difficult considering that two games were in development at once. The teams for both new Super Mario games shared ideas as they worked, meaning that unless each title had its own distinct theme, they would end up feeling very similar. It also didn't help that development equipment for the Wii U didn't really exist at the time. It was only as the team began pondering the potential uses for this upcoming new console that Masataka began to form ideas. The Wii U was essentially a successor to the DS, and there was one moment from developing the dual screened handheld that always stuck with Masataka. He remembered a big event that had been organised to publicise the DS. Huge crowds had gathered to try out Nintendo's latest creation, and the developers used this as an opportunity to watch how people reacted to the device. One child tried their hand at playing Yoshi's Touch and Go, a game in which the player needs to draw lines on the screen to help aid Yoshi in his adventures. The child was very small, probably only around two years old, and the game simply was too complicated for him. Masataka had always remanded this. He knew that if he was making a game for a brand new touchscreen device, he wanted it to have a mode that was accessible to everyone, even two-year-olds. He wondered about recycling this idea from Yoshi's Touch and Go, but making it simpler. What if, while one player rushed through the platforming level, another player could tap the screen to spawn blocks to help assist the first player? This seemed like an excellent use of the new console's unique hardware. It would allow two players to play together and give people of limited platforming experience a useful role in the gameplay. So Masataka consulted with Takashi about how this could work, and his team began building a prototype for the game before testing it out. Masataka's main fear was that the game would become too easy, that with an assistance spawning extra platforms, the player could bypass many of the game's big challenges. But it didn't turn out this way. As a few of the game's developers tried the mode out, Masataka realised his folly. These spawning platforms didn't make the game easier. Instead, they made it much, much harder. Because players began trying to sabotage each other. It became fun to spawn blocks in the way of other players, forcing them to take odd new routes. What in theory was a helpful tool became a lot more interesting, as it messed with the balance of power between two players. This seemed like a good step in the right direction. Takashi continued to guide the project. He liked this focus on the idea of people of every different level of experience being able to play together, with everyone bringing something important to the table. In many ways, it felt very similar to the core idea behind the Mario Cram School in the first place. No one player was more important than any other. Someone playing by tapping the Wii U gamepad was just as crucial to completing a level as the players who were hopping around on platforms. But making the game simple wasn't enough. To try to give a greater challenge to more experienced players, the team also added a punishing challenge mode, as well as other tweaks that made the game easy to play, but difficult to master. Finally, the game was complete. Takashi felt that new Super Mario Bros. U achieved its goal, by democratising the Super Mario play experience, allowing players of all skill levels to play together. The moral of this story is that teamwork means involving everyone. It's not just enough to draw on the experience of veterans who know what they're doing. A big part of working together is allowing outsiders with less practice to share their ideas as well. While the Mario Cram School allowed relative newcomers to Nintendo to learn the ropes of building a Mario game, it also allowed these team members to contribute fresh ideas that help make the gameplay more exciting. Building games from different Nintendo franchises had helped these players to learn new, original approaches to building classic Mario puzzles. We can all grow and learn together when we're willing to listen to each other, and rely on the strengths and skills of those around us, even and especially if they're not traditionally thought of as being relevant. Cherish your own talents. Your unique blend of skills and abilities means that you have a lot to offer, so long as you're willing to work with others who similarly deserve your respect. But this is only half the story. The Mario Cram School also produced new Super Mario Bros. 2 for the 2DS, and the development of this game is even more intriguing. Next week, concluding our trilogy on the Golden Triangle, we'll tell the story of the lunch meeting that inspired the focus of a brand new Mario game, and how one member of Nintendo's Dream Trio nearly tore the whole project apart. To be continued.


Lux presents Hollywood. TheoTheory brings you Ingrid Bergman and Joseph Cotton in Intermezzo. Ladies and gentlemen, your guest producer, Mr. Hal Wallace. Greetings from Hollywood, ladies and gentlemen. The theater is always sentimental about its landmarks, and certainly one of the milestones of the screen was Ingrid Bergman's first American appearance in the picture Intermezzo. Her performance gave us a foretaste of the charm and talent that won this year's Academy Award and established her as one of the outstanding actresses of modern times. Ms. Bergman's on our stage tonight in the same exciting role that launched her Hollywood career. I had the privilege of producing two of Ms. Bergman's pictures, and I've also had the privilege of working with her co-star in tonight's cast and watching his meteoric rise to stardom, Joseph Cotton. Earlier in this 10th anniversary season of our theater, we asked you to pick the plays and personalities you wanted most to hear. I'm divulging no surprises when I say that Mr. Cotton and Ms. Bergman were strong favorites on your list. Our play, from David O. Selznick's Intermezzo, is, of course, a love story, but of a provocative and different pattern, a story of genius bound by two loyalties, divided by two loves. Incidentally, the Lux Radio Theater introduced Ingrid Bergman to the American radio audience when she first returned from Sweden several years ago. Since then, both she and Joseph Cotton have been good friends of our theater just as you have. We're grateful for that friendship. Grateful, too, for your loyalty to Lux soap. Through your continued purchases of this fine product, you've become the real sponsor of this theater. And I think Lux Toilet Soap has its own way of saying thank you in the excellent complexion care it offers. Now our players are in the wings. The curtain rises on act one of Intermezzo, starring Joseph Cotton as Holger Brandt and Ingrid Bergman as Anita. In New York City's famous Carnegie Hall, a violin recital nears its close. It's the second encore. The thrilled and excited audience crowds into the aisles and as close to the stage as possible, where Holger Brandt is playing for the first time his own composition, Intermezzo. From his magic bow, the music soars to the high dome of the hall, whispers along the walls, and then all too soon, the concert ends. Ladies and gentlemen, first let me say how much I appreciate the reception you have given us here on our last concert in New York. My accompanist, Thomas Stenberg, and I leave America for our home in Sweden. With the deepest gratitude for the warmth of your response to our performances. And now I'd like to say a few words about something that for me, saddens us happy evening, as I'm afraid it will you. Mr. Stenberg, will you come out here, please? Thomas, Thomas, come out. What are you thinking about?  It's time you took some of the bowels. Ladies and gentlemen, Mr. Stenberg is more than my accompanist. He is my old friend. He is my collaborator, from whom I've learned much of whatever I know of music. It's with the deepest regret that I must announce that after many years of travel and adventure together, I must henceforth go my way alone. Mr. Stenberg is leaving me to settle down to a well-earned retirement. Will you join me in paying tribute to one of the finest musicians and, more important, one of the finest men that has ever been my privilege to know? Thank you, thank you. I told you you shouldn't have done this. This is true, Thomas, every word. Thank you, thank you. I'll meet you in the wings. And now, if you'll permit us, we must run. You see, like so many of you, we are family men, and tonight are boat sails that will take us back to Stockholm, a boat that will take us home. Yes, Thomas, this is a decision of yours. It's really final, you. Really, that means to leave me and retire? Yes, the time has come, Holger. Won't you miss it all? The work, the crowds, the applause, all the world as we've had it? Perhaps a little. But there's a great difference between us, Holger. You're indispensable to the world and the world to you. Ah, Holger, let's have a drink.  Some of us blow a while and aren't too regretful when the spark dies down and allows us to rest. Well, that's one thing we always have in common, Thomas. Memories, good memories. And the same old friends, Bach and Beethoven.  And my wife. Yes, of course, your wife. I should be glad to see Margaret again, too, and the children. It seems years since I left them. You know, Thomas, you're right.  Stay home away from it all and you'll find peace. I wish I could believe that with the same conviction I say it. Well, anyway, Thomas, for 20 years of comradeship in the art we both love and for your flawless friendship, thank you. Thank you, Holger. Oh, Mr. Bram. Thank you, Emma. You've taken good care of everybody, actually. It's so good to have you back, sir. Look, Daddy, look who's here. Well, who's that? His name's Angus, Daddy. He's my dog. Ah, it's the family's grown since I've been away. How are you, Angus? Very happy to meet you, I'm sure. Well, he doesn't thank very much of me. Do you know, Margaret, there's better air to breathe in this very room than anywhere else on earth. I'd hardly believe I've been away. Nothing's changed. If anybody ever moved anything in here, even an inch, Mother always moved it right back again where you like them. Oh, you add your own room to upset Eric. Eric's building a railroad upstairs. Oh, there's not a railroad, Mother. A rope hall. We're carrying Magnus like from the mines to the factory. Oh, I'd like to have a look at that. Well, it's not finished yet, Dad. Maybe I could help. No, I don't think so. Well, Eric, I don't blame you. Daddy, I played the piano, Daddy. I took lessons. Do you? Do you want to hear me? A little later, darling. Daddy has so much to do. Will you play your violin with me, Daddy? I should say I will. Oh, darling. Take Angus upstairs, please. All right. But I'm selling for a dance. Well, Margaret. Welcome home, Holden. Darling, if you know how, often I thought of this moment home. Young lady, what do you think of that? You played some wrong notes. I did nothing of a kind. Oh, yes, you did. It made me dizzy. Oh, you mean this? Those are called dissonant cards, darling. You'll learn to play them, too. No, I don't want to. And you'll just be a very old-fashioned musician. That's what I want to be. Good morning, Anne-Marie. Miss Hoffman. Oh, I hope I haven't interrupted anything. Not at all. Daddy, this is Miss Hoffman. She's my music teacher. How do you do? How do you do? I've been hearing a great deal about you, Miss Hoffman. There's one thing I know for certain. Yes? You've been teaching your pupil plenty of self-confidence. She's been correcting me. She says I played false. Oh, Anne-Marie. I wouldn't take that criticism too hard, Mr. Brent. Anne-Marie is very talented, but she may have been mistaken. Let's hope so, anyway. How long have you been teaching it? A little under a year. I hope it's been satisfactory. I'm hardly more than a pupil myself. Oh, with whom? Oh, with several teachers. But now that Mr. Stenberg has returned, I'm hoping he'll take it. Stenberg? Well, you couldn't find anyone better. I'll see that it does take you. You will? Oh, thank you, Mr. Brent. Not a bit now. Run along, Anne-Marie. It must be time for your lesson. Yes, it is. Come, Anne-Marie. What are you thinking of? Oh, nothing except... Margaret, it strikes me. I'm something of a stranger here. How can you say such a thing? Well, little things. The children make me realize it. I'm not sure it should be that way. You've been away from it so much. And this last time so long. Yes, I know. Margaret, I'm going to do what Thomas has done. Settle down. Oh, darling.  I suppose you're right. But, Margaret, you're coming away with me. Darling. We'll go away together again. Everything will be just as it was in the beginning. We'll have a wonderful time. Oh, how wonderful it was. Missing trains and boats. Losing all our belongings and never caring. You remember the first time we went away like that? It was winter here when we left. We crossed the Alps and suddenly it was spring. You said that the locusts, blooms and capry was what made everybody sing there, you remember? Yes. It's as if you were telling me a fairy tale. Once upon a time. Oh, but things are different now, Holder. Why, why are they different? Well, we have a hold. We won't run away and we'll come back to it and appreciate it all the more. With the children. Oh, they can get along without you for a while. It's good for children to learn to take care of themselves. Now, it's really, Holder. Anne-Marie's only six. Oh, please, darling. Don't think I wouldn't love to go, but you don't realize that these things are my responsibility. It's just a... Well, just as concerts and practice are yours. Yes, I suppose you're right. Anne-Marie, you mustn't. Mommy, I've just thought of something. Anne-Marie. Something important, Mommy. Yes, what is it, dear? I invite Miss Hoffman to my birthday party. Tell Miss Hoffman that she's very welcome to your birthday party. Miss Hoffman, you are very welcome to my birthday party. We're going to have ice cream and cake. Well, I didn't really mean to. Anne-Marie will be very disappointed if you don't come and so will we. Very well, thank you. That settles. Now we can go on with the lessons. Come on, Miss Hoffman. You'll like the ice cream and cake, Miss Hoffman. Oh, I'm sure I will. See, Holder, all these world-shaking problems that keep me here. Well, I'm content this day. To make this the place you will want to come back to, always. And that spring you spoke of. Well, that sort of thing comes only once in a lifetime. Let it be what it is. A memory. Who knows? We might perhaps have another spring. How many candles? Seven. No, eight. One to grow on. Ladies and gentlemen, we are very privileged people. Our hostess was told that she could invite whom she liked for her birthday and she asked for an entirely grown-up party. Her father and mother, whom I think she felt she couldn't very well leave out.  And the new friend and teacher, Miss Anita Hoffman, whom we are happy to welcome in the family circle. Ladies and gentlemen, I give you the health of our hostess with 70 times seven, Miss Anne Marie Brandt. Happy birthday, darling. With you. Charles. All good. Thomas is determined not to travel again. I told you that. So I've been very busy. I've been searching endlessly for a new accompanist. And I believe I've found one. Good. I want you to come to a piano recital with me next week. He's marvelous. Very well. This man is exactly the one you need. I heard him. No, listen. Well, go ahead. Can that be Miss Hoffman? I imagine so. She's good. I didn't realize she could play. Hold her. She's only a pupil. Wait till you hear this man. Yes, yes. He's giving her a recital Wednesday night. You'll come. Charles, no, no. Quiet, please. She'll come. Yes, yes. Quiet. Now listen. Great accompanist. She won't do. Well, hold her. There is to it. Oh, well. I'll keep looking. I'm sorry. Oh, Miss Hoffman. Mr. Brand, good evening. Mr. Miller. Good evening. How are you this evening, Miss Hoffman? Very well. Thank you. Isn't Mrs. Brand with you? No, we had social obligations. I'm a fugitive from a dull dinner party. Well, what'll we do now? What would you say to a glass of wine somewhere? Well, I was just going home. So was I. What about you, Charles? No, no. Leave me out. I'm ready for bed after all that high-brow music. Good night. Good night, Miss Hoffman. Come on. Let him go. Music wears him out. Must be a cafe nearby. Yes, yes. There is a funny stuff a little place down the street. Always crowded. They have to put out the lights to get rid of the customers. Oh, you've been there. Not in a long, long time. Just what we want. Come along. I adore the recital. You did like it, didn't you? Yes. You know that look in your eye of someone who's made a feast of music. How I envy that pianist. You'd like to do that, wouldn't you? The only concert stage. Oh, yes. Tell you something. I'd rather it had been you up there playing. Oh, you're not serious. I certainly am.  What? Why don't you accompany me? But accompany you? Yes, yes. On tour. Take Thomas' place. No, no, you don't mean it. I do. Why didn't I think of it the moment I heard you play? What are you thinking? What do you say? No, no, I couldn't do it even if you, even if you meant it. Why couldn't you? No, Mr. Stenberg would never forgive me if I gave up my studies. Thomas would approve completely. He knows how desperately I'm needing accompanist. And he'd be delighted that you'd take me to the place. No, but please try to understand. Don't you think it's best for me to stay and work as hard as I can for a scholarship? A scholarship? In the Royal Academy, there is a chance. Oh, I didn't know. Yes, of course, you should stay and continue your studies. That you would even consider me... Yes, yes, you're profoundly honored and very grateful. Oh, I am. Really? I understand. Let's end them all. Our place is like this. The haven of the rising musicians. The look one sees in all those faces. Yet it seems scarce at any time at all since I said it. But just such boys and girls remaking the whole world by ourselves just as they're doing now. I'd like to have known you then. Probably wouldn't have. I was poor and awkward, much too earnest and worked too hard. All in all, not a very fetching fellow. I don't believe it. Everyone here, each one of these boys and girls expects to set the world on fire. Perhaps one or two may do it. Perhaps it'll be you. Oh. Please don't laugh at what I'm going to say. Why should I? Oh, well, since I first began to care about music, it does seem so strange. Tell me what? I had only one idea. For years I'd say to every penny I could to be able to buy some kind of a seat in the concert hall whenever you played. It's nice of you to tell me that. Nice of you. Think of my being able to tell it to you. That's what I can't get over here. I am talking to you as if... Well, as if you were an old friend. I am a friend. But just a little while ago, I looked at you from such a great distance. You don't know how fantastic it seems to me to be here at this moment. Wait, no, no. Don't drink that just ordinary wine. Waiter, a bottle of your very best vintage champagne. Yes, sir. Champagne? For that state of mind described as being in awe of someone, there's no quicker corrective than a good champagne. Two glasses and in 20 minutes strangers have shared a rich and happy past. Each year when one senses that winter is suddenly over. Yes, spring has come. How I look forward to it through the dreary months. Look, look down at the river. The ice. There's the winter, all broken, rushing out to see your wonderful final journey. Spring comes and makes you a present of all the world, tells you that there's nothing you couldn't do or be. You ever feel that way? Tonight I think I could bear anything. That's only the champagne. You know what you remind me of? No, tell me. A Viennese wall smiling with melancholy. A melody of the days when Vienna was a happy city.  A twilight in the spring. Music poured through the cafe doors. Youth, melodies of youth. It was there that I saw you for the first time. Phantom of Viennese walls. No, no, I'm wrong. It wasn't there. It wasn't there at all that I met you. It was in Budapest on a summer night. They were playing the rustle of spring. That was you. I'm listening. There's something coming. I don't know what. Spring. Spring. Yes, perhaps. The spring storm. I... I must go home. Good night. Two of Intermezzo. Now, here's Mrs. White. You saved enough gas to drive us up to the hospital today. Aren't you wonderful.  I'll take full advantage of the lift, Maj. Do you mind dropping me at the butchers a minute?  Oh, Maj, dear, aren't you? With a war in the Pacific at its height? Why, is it really so necessary now? My dear, I heard a government speaker say the other day that our supply of fats and oils are at their lowest since 1940. Think of that. And then he told us military and government requirements are at their highest right now. But, Anne, you know how little fat we have left over these days with practically no meat. Maj, dear, you just have to save all the harder. They say the government depends on us housewise alone to turn in 100 million more pounds of used fats than in 1944. You know, the Pacific area used to be our cheap source of fats and oils. Well, Anne, tell me where to get the fat and I'll save all right. Maj, do you render every scrap of solid fat from what meat you do have? It's easy to melt it down in the oven. And then there's a skimming from soup or stews.  Even two tablespoons a day adds up. And you can surely use those two red points you get for every pound you turn in. Yes, with less fats in the market and the need's still greater, it's up to all of us to save every teaspoon full. Here are a few of the essential things that you need the fats you're needed for. To help make battlefront medicines, synthetic rubber, coatings for military tanks and fabrics, civilian and military soaps and paints. Remember, even though the war in Europe has ceased, our boys in the Pacific can't let down for a minute. They need your help. And here's one important way you can give it. Keep a tin can on the back of the stove. Each day, save every drop of used fats from your kitchen. Rush the can to your butcher when it's full. He'll give you two red ration points four cents for every pound you turn in. Your government tells you the need is still desperate. So won't you remember, your help is very necessary indeed. We now return you to the Hal Wallace. Act two of Intermezzo, starring Ingrid Bergman as Anita and Joseph Cotton as Holger Brandt. Pass, and the friendship of Anita and Holger has turned into something far deeper. Now the spring has really come at last. In Thomas Stenborg's home, Anita sits at the piano. All the hopelessness of her love is expressed in the only way she knows, through music. Stenborg comes quietly into the room and stands behind her, a trace of worry on his face. I'm giving it too much importance. You were going at it as if it were the climax of a tremendous symphony. I wasn't conscious of it. Mr. Stenborg, I'm seeing you're going away. Are you really? For long? I've been invited to visit relatives in Denmark. I can stay as long as I wish. I see. They won't divert you too much. You'll be able to study. If I like. Don't talk as if that weren't important. You've applied for that scholarship, you know. Yes, yes, of course. I'll try to study by myself. Little Anne-Marie will have to find someone else to teach her. Yes. And so, you are running away from it all, from him. I thought you must have known. Yes. Well, perhaps it's best that way. Life sometimes moves in strange ways to give us experience. And often this experience is gained only through our greatest mistakes. I thought I was going straight to my goal, thinking of nothing but my work. And now, I can't explain it to you. Don't try. Nothing is altogether dependable. Not the weather, destiny, or ourselves. Will this be our last lesson? Yes. If you'll excuse me, I think I ought to go and see Mr. Spratt. Certainly. Do that. Anita, you're waiting for me to say something very wise and helpful. But I'll say to you only what I say to myself when things seem too difficult. Courage, my friend. Courage. Mr. Moment, please. I'm coming. Oh, Miss Hoffman. Hello, Emma. Well, you're very early, Miss Hoffman. Anne-Marie is out playing. I'll call her. No, no, please don't. May I see Mrs. Brant? Well, I think she's upstairs. I'll go and see her. Thank you. I'll be right back. Emma said that you were... Oh, I'm sorry that I started you. I didn't tell you to come in. I was... I was admiring Mr. Brant's filing. You show it far more reverence than he does, my dear. Please sit down. Thank you. Emma said you wanted to see me. I wanted to tell you that I can't go on giving lessons to Anne-Marie. Oh, I'm not. I have been called to Denmark. I have relatives there and they've asked me... But just... That is Miss Hoffman. You work with Mr. Stenbould. It seems such a shame not to be able to continue. No, I'm not happy about it, but... We were all very impressed the night you played for us here with my husband. I'm afraid I had no choice, Mrs. Brant. I'm sorry, little Anne-Marie has come to mean very much to me. And you to her. I'm afraid she'll be very upset. Will you tell her for me, please? Of course, I'll explain. Well, goodbye, Mrs. Brant. Goodbye, Miss Hoffman. I'm sure you're doing what's right. And I hope that all goes well with you. You've been very kind. Either here or I thought you were never coming. You see, you've spoiled me by always being on time. There was someone I had to see. Well, that sounds very serious. Someone I had to see. Is there anything wrong, Anita? Nothing. May I have a glass of wine? Something has gone wrong. Tell me. Please, please. Now you're frightening me. But I am frightened. You must wear that or I feel it can't go on like this. It simply can't go on. Don't you see that? Now why have you upset yourself now? Oh, always meeting you like this and out of the way places, little dark corners sneaking about in fear of being seen. Oh, it's not the way I'd like it to be. How else could we go on seeing each other?  We've had a few hours of happiness, of friendship. They've been beautiful. Nothing, nothing to be ashamed of. Are you looking in the mirror there on the wall? How do we look to you? Don't be so dramatic. Well, you don't like it any more than I do. We look what we feel. Two guilty people. Is it a crime for me to love you, Anita? We really wish we hadn't. Yes, it's now I do. I haven't any right to be happy. The way I am. Anita. No, no. No, I can't listen. You'll go unjustifying me. I know. I am fighting to be sensible. Sensible. It's a word seldom used in love. Love isn't sensible. Harga, there are some things I can't bring myself to see. I know, I know. I have a home. I have children. I'm a respected, responsible man. But as I sit here looking at you, I know only one thing. I do, too. We must end it. We can't stop seeing each other. Can we? We must.  It's impossible. And bear with us. We just say goodbye and stop seeing each other. That's very simple, isn't it? But we've got to find the strength for it. You're right. No, not here. Not sitting like this. No. Let's get out. Let's walk. These are so long now, aren't they? Yes. You know, you know that there used to be a shop near here. I always stopped to look in all kinds of funny lost things in the window. Here. Here it is. What a strange collection of things. Look at that curious clock. I'm going, Arva. I'm going now, of course, if it didn't matter. Goodbye, Holger. Goodbye, Anita. Holger? Brandy or coffee? Oh, no, thank you. Is everything all right? Yes, of course. I had a rather difficult time with Ann Marie today. She's very upset about Miss Hoffman leaving. Leaving? Didn't you know she was here today to tell us? She's going to Denmark. She won't be back for a long time. I see. Have you found an accompanist yet? No, no, it's sold, um, not definite yet. But you're leaving on another tour soon. Yes, I'll be leaving soon. Will you be away long? I don't know why I can't say. Holger, I want to go along this time. Go along? Oh, yes, yes, I can arrange everything here. I want to be with you on the tour as you asked me before. We will go back. If some of those wonderful, irresponsible days be together in strange places as we used to be, I still want something of life. I don't want to be left behind. And does that sound vain and frivolous coming from me? Oh, Holger, can't we do it? Wouldn't you like it? I see. You're answering me. You might just as well be saying it. I know what it is. Margaret, I must talk to you. No, no, never mind. Forget what I say. Margaret, we must talk now. I'll listen to you. Hello, Dad. Hello, Mother. Oh, uh, come in, Mary. Could you ask him for me, Mother? Uh, no, I, I forgot. Uh, Eric wants to go and see a picture this evening, Holger. I've done all my lessons. Is it all right, Dad? It's a good movie. You said me. You could, could you let me have some money? Here. Thanks. Margaret, I am, I'm sorry more than that. Mother, something's wrong with Dad. Yes. What is it, Mother? You were talking when I came in. What's the matter? Eric, go upstairs, darling. There's nothing we can do. Nothing. Anita, wait. You can't. How could you do that? I can't face it. I can't face being without you. Could we promise each other? Is it so easy as that? Can you just get on a train and ride away from me? It's not to me. What you leave would haunt you, haunt both of us the rest of our lives. Oh, you're not being fair. It's no easier for me. This very moment, it's being decided.  You are not alone, Holger. It's I who am alone. We're both alone. I've broken with my past with everything. I have no home any longer. You couldn't have. What did you say to her, to your wife? I couldn't have gone the lies any more than I could. I know her in any way. She already knew the truth. She told me first, really. How could you hurt her like that? What will happen now? May the third, Holger Brandt violinist, accompanist, Anita Hoffman. Concert, Holland, Vienna. Holger Brandt, accompanist, pro-line, Anita Hoffman. Conservatoire de Paris. Holger Brandt. Mademoiselle Anita Hoffman.  I wonder why.  That's what they heard tonight when I played. I hope it's true that I've helped you a little. But it's not only that. Only what? Oh, what am I? Your shadow. Oh. I don't exist without you. Oh, you're not a shadow, my darling. Don't talk nonsense. It's enough. It's enough. Yes, let me be with you like this. That's all I ask. Will that be enough always? Our last concert. We can rest a while now. It's been the greatest happiness I've ever known. The greatest I'll ever know, I'm sure. How can you be sure of that? Oh, such happiness couldn't come more than once in one's life. I know it couldn't. Could it, Holger? Anita, let's not speculate on happiness. Here we are. And work is over for a while. Oh, I was forgetting we must go home now. Home? Without a holiday? I thought a few weeks on the Riviera away from the crowds. Oh, Anita, the place I know on a hill overlooking the sea. No, no. Well, listen to me. Listen to me. Listen to me. You asked only to be with me, to be near me. Well, that's all I asked, too. To know that I can see you. That I can call your name and you'll be near. That's all. My... This is CBS, the Columbia Broadcasting System. In just a moment, Ingrid Bergman and Joseph Cotton will return in act three of Intermezzo. Meanwhile, a boy, his girl, and the summer shower. Gosh, here it comes. Let's make a dash of that big tree over there. Here goes. Oh, my. Is it raining? Well, it's dry right here, anyway. Goodness, I must be a scythe. Look at my hair. I can wring the water out of it. Even my face is soffing. Oh, where's my handkerchief? Looks like a half-drowned wooden handkerchief. Honest you do. Here, let me help you dry out with a man-sized handkerchief. Mmm. Would you get that wonderful complexion, Sue? It's smooth, all right. Save mine if I steal one little kiss. It's romance and no wonder. A close-up of a lovely luxe complexion always does the trick. Skin that's soft, smooth, when admiring eyes come close, skin that's really lovely is always irresistible. Famous screen stars know this. Here's what glamorous Lauren Bacall says. There's no charm more compelling than lovely, smooth skin. I never take chances with complexion beauty. I wouldn't dream of neglecting my daily active-latter facials with luxe soap. Active-latter facials with gentle luxe toilet soap. That's the care nine out of ten screen stars depend on because they've proved it works.  Here's all I do. I cover my face generously with the extra creamy lather and work it well in.  That wonderful luxe soap lather is right for delicate skin. Yes, daily beauty facials with the screen stars complexion soap really do make skin softer, smoother. Recent tests showed actually three out of four complexions improved in a short time with regular luxe toilet soap care. Why not prove it for yourself? Get some of Hollywood's own beauty soap, luxe toilet soap tomorrow. Here's Hal Wallace and our stars. We continue with act three of Intermezzo, starring Joseph Cotton as Holger Brandt and Ingrid Bergman as Anita. A tiny town on the shore of the Mediterranean, a rustic inn overlooks the sea. In this place of enchantment, Holger and Anita are happier than they've ever been in all their lives. As they walk now, they pause at the ruins of an old chateau and the tumbled wall that once stood around it. Plays in a dream, Holger. You know why we walked here? Why? To look at this wall. An old stone wall, rumbling weighing covered with ivy? I was here once before. The ivy wasn't so thick then. Underneath, look, cut into the rock is a carving. Oh. See? The carving of a broken shield. Yes, yes, that is. In French, mon amour dure près d'amour. My love endures after death. That was written for us, Anita. For anyone on Earth, you will ever feel as we do now. Let's go back to the beginning. This letter, it was at the village. Thank you. I looked also for a piano. Yes. Alas, there is only a pipe organ with five pipes upset. Oh, good, good. I didn't want to play anyway. World Academy of Music has awarded you the genuine scholarship for 1939. This is a great achievement. I hope you will not let anything interfere with the fulfillment of the bright future now within your reach. Faithfully, Thomas Denbark. Oh, the excitement. Look, look. Well, what is it? If it's an invitation, don't think I'll let you out of my sight not for a single minute. Well? Oh. Aren't you going to tell me? No. Not now. Anyway, it's nothing to get excited about. I'm starving. Dinner is ready, isn't it? Anita, is the letter important? No. Oh. You'd rather be mysterious? Well, I don't want to make you jealous. It's from Thomas. Oh, from Thomas and filled with recriminations, I suppose. What do you have to say? Oh, he was just writing to me. Not about the weather. No. Oh, okay. It's only that I was awarded a scholarship. Only? Were you going to hide that from me? Why? I don't want the scholarship now. I'm not taking it. I see. And what does Thomas advise? Oh, please, Holger. Let's forget it. It's so pleasant out here. What's that fragrance, Mimosa? Anita. Yes. Where is the letter? Let me read it. No, no, no, Holger. Let's pretend it never came. Look. Now, Anita, don't. Don't. There. Don. That's how I feel about the letter. About any word or thought that could come between us. Anita. Mr. Brandt. Mr. Brandt. Yes. There's a gentleman here to see you. Where? Who is it? It is I, Holger. Thomas, where did you come from? I took the chance of finding you. Oh, it's good to see you, Thomas. I thought of writing, and I decided I'd better come. Is something wrong? Wrong? Holger, I'll be here only for a little while. Overnight. I have to go back, really.  We can talk about it tomorrow. We plan some mountain climbing. A picnic. You must join us, Thomas. Holger, you're enjoying it here? Oh, yes. It's perfect.  A kind of life I never thought I'd have. What news of my family come? That's what I'd come about. They're all well. Quite well. I have a message for you from Anne Marie.  Yes, I will. Holger, I have some papers with me. Papers? Divorced papers. Oh, yes. Yes, of course. I asked Margaret to let me bring them. I thought I might prevail on you to sign them. Certainly, I'll sign them later. Why not do it now, Holger, and get it over with? Thomas, you're my best friend. You don't have to use velvet gloves with me. Speak your mind. You think I've acted pretty badly, don't you? It's easy to criticize. I don't pretend I can account for someone else's feeling. Won't you sign these now? I think it's as easy as all that, Thomas, to cut off the best part of your life, tear out the last roots. I thought you had done that long ago. Yes, I do. I've missed the stem ball. Hello, Anita. But this is wonderful. When did you get here? Have you seen Holger? Yes. How well you look. How are you, my dear? Happy? Oh, but of course. I'm divinely happy. Oh, this country is very beautiful. Yes, you must come with us tomorrow and see the sunrise. Holger and I... and perhaps we'll bring Marianne. Yes. Yes, she's a little girl here, the innkeeper's daughter. Holger has gone very fond of her. You see, he misses Anne-Marie. Did you think he wouldn't? I tried not to think of it at all. I've tried to pretend there was no past. And no future? Oh, it seems a very long time since I heard Holger play. By the way, let me congratulate you on your scholarship. You must be very happy about it. I don't want it. It means nothing to me now. But it meant everything to you once. Anita, my dear, you have great talent. It saddens me to think it would be wasted. If I can only be with Holger, nothing else matters. And Holger, does he feel the same way? Do you think he's unhappy with me? Do you think he can't forget the past? A man's past is never past. His roots are deep in the things that have made him what he is. What he loves me, I know we can be happy. Do you? I wonder if anyone has ever built happiness on the unhappiness of others. What shall I do? What shall I do? That's not for me to say. You must make your own decision. Whatever it may be, I know it will be the right decision. Forgotten the picnic? Anita? In a moment, Holger. Mr. Stenberg, are you going on the picnic? Yes, I thought perhaps I'd better stay another day. No, you must help me. Of course, if I can. There's a crane leading here in an hour. When you and Holger come back, I shall be gone. You're sure it's best that way. You're not doing it only because of what I said. We both know where Holger belongs. I am... I've been an internment so in his life. Anita. You gave me a good word once. Courage. Anita, come along. Aren't you ready yet? Holger, I'm not coming. Not coming when I... No, I didn't sleep. I think I have a cold coming. I'll wait for you outside, Holger. Anita, shall we postpone that? No, no, no. Don't do that. You go without me, please. You're sure you're all right? Of course, quite sure. Really, go along. Well, I'll miss you, Anita. All of my dear. Goodbye, Holger. You don't like my French? Holger, wait! What did you got? Your hat. You know, you never wear that one proper. You fix it. Oh, yes. Now, am I perfect? Mm-hmm. Yes. Pretending that what we had was splendid and good. Hoping that we could make it so. But we know in our hearts that love like ours is wrong. That it drags itself down with remorse and fear, and the unhappiness of others.  Save me. You did this, Thomas. She's gone. Are you satisfied now? Oh, I'm good. Why didn't you? Why didn't you tell me? It was she who decided. She alone. Gone. You're not going after her, are you? No, no. Perhaps she was right when she said it. Only in Intermezzo in my life, it's over. Then you'll come home with me? Home. Do you think I could crawl back to Margit now just because I'm alone with nothing? Nobody? I haven't a home. My wife, children. I have many right to them after what I've done to them. I punish my Thomas, and I can't escape. You've been away so long, my friend, and Marie keeps asking for you. I have said to her, when spring comes, he will surely return. Holger, come home. Your friend, Thomas. I knew you'd come. I knew it. Come along. I'll get a cab. You must stay with me, of course. Thomas, wait. Please don't be offended. You see, I haven't come home to stay. I just wanted to see Ann Marie. I brought the camera she wanted, and... Please, Thomas, let me go alone. If you wish it, Holger. Thank you. Goodbye. Thomas. Caps. Oh, yes, there's a school on the Voxham Road. Take me there, please. There, driver. Just wait here for me, please. Wait there, darling. I'll be right over. Daddy! Don't cross the street there. Daddy! Daddy! Daddy! Ann Marie, be careful. Look out for the car. Look out, Ann Marie! Ann Marie, Ann Marie. Send a doctor to my house. I'm her father. Hurry! Oh, is she what is the doctor say? She doesn't know. She's very badly hurt. She tried to run to me. I called, but... Margaret, I... know I had no right to come here. But may I stay for a while, just till... just till we know. Yes. Well, there are so many things I must do. Ann Marie. Ann Marie, oh, God. Please. Please. We shall soon know, Eric. Eric, look at me. Talk to me. I've been away so long. You left mother in us. And I want you to know that I'll never forgive you. Even if everybody else does. Eric. You don't know what it's been like here all this time.  Well, now we've learned to do without you. Why did you come back at all? We don't need you anymore. Eric, listen to me, please. You know, when... when we're young, we expect the people would love to behave like gods. Most of all, our fathers, I suppose. And then, as we grow older, we learned that none of us are gods. But we're all human. Tragically human. And that we, all of us, make mistakes right up to the very end of our lives. You'll learn that one day. And when you do, you'll also know that what it is to forgive. Perhaps even your father. It's the Eric Hetzai who need you now. Father. There, there, son. There, my boy. Mr. Brandt? Well, doctor, doctor, tell me.  She lived, Mr. Brandt. She'll be all right. Oh, say it again, please. She will be well again in time. Thank you. Thank you. You'd better rest. The nurse will do everything. I'll be back at noon. She'll live, Eric. We'll have your sister again. Goodbye, my son. Wait. Yes. Don't go. Please. Margaret. Anne-Marie is asking for you. She wants you to stay. And so do I. You want me to stay? Life renews itself, Hogan.  Our love can live again if we want it to. Oh, will you let me try? Will you let me try? Welcome home, Hogan. Oh, welcome home, my darling. Margaret, home.  Ingrid Bergman and Joseph Cotton. Well, you ought to take about two, Hal, a producer whose pictures have won 27 Academy Awards. Plus being a two-time winner of the Irving Thalway Award. That's something. Well, thank you both. But I've been in the business a long time. Out of the 400 or so pictures that you've made, Hal, which would be your favorite? Well, it's hard to say, Joe. Right now, I'm interested in you came along. My latest production for Paramount. I have a movie to share that interest, Hal. I hear it's great. Tell me, Joe, how did Hal treat you when you were working for him? Well, pretty good, Ingrid. But we're from the same fraternity. Fraternity? Yes, he was a salesman once, like I was. That's right, Ingrid. Before I came to Hollywood, I used to sell electrical equipment. How does that help you to become a producer? It prepares you for the shocks. Do you ever sell anything, Ingrid? No. With that complexion, she's a walking salesman for Lux Toilets, though. Oh, thank you, Hal. Well, she gives it some good material to work on. Well, what's scheduled for next week? Next Monday night, we bring you a favorite star in a new exciting role, hailed by critics as his finest. Dick Powell and RKO's crime thriller, Murder My Sweet. He's co-starred with Claire Trevor in the role she played so ably on the screen. With them, we have June Dupre and Mike Mazurki. As the relentless sleuth who uncovers the most exciting mystery in many moons, Dick Powell, I guarantee, will keep you rooted to your seats. Sounds like a thrilling evening, Hal. Good night. Good night. Good night. And many thanks for Intermezzo. Lux Toilets Ope joined me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Dick Powell, Claire Trevor, June Dupre and Mike Mazurki in Murder My Sweet. This is Hal Wallace saying good night from Hollywood. It was presented through the courtesy of David O. Selznick, of the Technicolor Western Duel in the Sun. Ingrid Bergman can soon be seen in the Selznick picture Spellbound. Joseph Coppin is currently appearing in David O. Selznick's I'll Be Seeing You. Paired in tonight's play were Paula Winslow, Norman Field, Regina Wallace, Norman Nielsen, Bill Roy, Boyd Davis, Earl Keen, Eric Snowden, Charles Seal and George Sorrell. Our music was directed by Louis Silvers. This program is broadcast to our fighting forces overseas through cooperation with the American Armed Forces Radio Service. And this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Murder My Sweet with Dick Powell, Claire Trevor, June Dupre and Mike Mazurki. With sugar short and prices high, don't guess about results. Try spry. Yes, the spry way is the sure way to success in baking, frying in all your cooking. For light, rich-flavored cakes, tender, flaky pastry, golden, digestible fried foods, vegetable shortening at its creamy best. That's spry. SPRY. Be sure to listen in next Monday night to the Lux Radio Theatre presentation of Murder My Sweet with Dick Powell, Claire Trevor, June Dupre and Mike Mazurki. This is CBS, the Columbia Broadcasting System.