WEBVTT

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The House of Squibb presents Academy Award.

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Every week, Squibb brings you Hollywood's finest.

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The great picture plays, the great actors and actresses, techniques and skills chosen

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from the honor roll of those who have won or been nominated for the famous Golden Oscar

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of the Academy of Motion Picture Arts and Sciences.

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And now, E.R. Squibb and Sons, manufacturing chemists to the medical profession since 1858,

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bring you as our stars tonight, Olivia de Havilland and Jean-Pierre Oman.

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You will hear Miss de Havilland and Mr. Oman in Hold Back the Dawn, the screenplay which

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as best motion picture production of 1941 was nominated for seven different Academy

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Awards.

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Miss de Havilland will play the role she created on the screen for Hold Back the Dawn and in

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which she was nominated as Best Actress of the Year for the 1941 Academy Award.

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My maiden name was Emmy Brown.

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My husband's name is Jorge Escobescu.

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He was born in Romania, but he spent most of his life in Paris, on the Riviera, in San

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Moritz, at the Lido, following the seasons and the rich people.

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He was a dancer.

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Then the war came.

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People who had money went to America.

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You need a visa to go to America.

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So Jorge went to Mexico, to a dusty little town that straddled the border to California.

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There's a wire fence.

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You can see right through it into the United States.

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Jorge didn't think he'd have to wait very long.

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I see by your questionnaire that you wish to enter the United States permanently.

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Yes, sir.

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Now you were born in Bucharest, so you come under the Romanian quota.

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Unfortunately, that quota is very small and very crowded.

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That means I will have to wait?

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Between five and eight years, Mr. Escobescu.

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Five and eight years?

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Five to eight years, like a prison sentence.

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Eight times 365 days, with these flies and this heat.

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I walked in a nightmare through the dirty town to a hotel.

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I was used to the rates and the savoy.

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The local hotel is called the Esperanza.

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I took a room at the rate of a dollar a day.

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I didn't expect to stay.

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It was the 4th of July.

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I couldn't stand the room or the noise any longer, so I went out and walked the streets.

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It was then that I saw him for the first time.

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I was driving a school bus full of children.

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We were on a picnic.

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One of the kids threw firecrackers under his feet.

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He was in no mood for that sort of thing that day.

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The boy must apologize.

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It's a matter of discipline.

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Come here, Tony.

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Your form of humor, I do not appreciate.

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You know what American boys are like.

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All year long, they store up mischief for the 4th of July.

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Would be preferable if they let off their high spirits in America and on the feet of

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Americans.

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Now, don't let's get into international complications.

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There's a fence back there.

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You Americans make a very definite point of it.

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I gather you don't like us very much.

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Very little.

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Tony, don't you dare apologize now.

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Just then I put the bus in gear and rammed the car in front.

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I was shaking with rage.

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He walked away and went into the climax bar.

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When my eyes became adjusted to the dark, I saw a dancer I knew in Europe.

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Her name was Tamara.

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George.

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Tamara.

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What are you doing here?

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Just down from the day, from Los Angeles with some people.

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Those drunks at that table.

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I'm not the same Tamara, George.

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I'm not the same George.

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Tell me, how did you get into America?

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Meet Mrs. Shaughnessy.

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I married an American.

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And what?

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Simple.

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You're married to an American.

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You get preference.

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The papers go to Washington.

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And in four weeks, everything is settled.

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Hey, Tamara.

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Where are you, Tamara?

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Your husband?

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No.

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My husband was a jockey in Caliente, five foot three.

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Once over the border, I went to the judge.

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Woman wants a man, I told him, not a radiator cap.

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Divorce granted, $50.

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What did she say?

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You just marry an American?

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As easy as that?

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Get hold of a wedding ring and you can swing right over that fence.

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What do they call it?

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The pursuit of happiness.

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On my way back to the hotel, I saw her again.

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The little school teacher with a bus.

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She was trying to get the radiator fixed.

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I watched them.

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And when the mechanics weren't looking, I took the keys to the ignition and dropped them

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into a sewer.

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I stood around a few minutes until she noticed me and her face got red.

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I know you don't like us, but I promise we'll get back over that border as soon as we can.

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No, please.

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I was partly responsible for your accident.

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I feel very bad about it.

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You should.

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Um, any of these your children?

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No, I'm a school teacher.

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They'll be in a perfect tizzy about us back home.

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Of course, the parents and maybe your husband.

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I haven't any husband.

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But if we're not back by nine o'clock, Mr. McAdams, the principal will think we're dead

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in a ditch.

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While you are waiting for the car, why not telephone and tell him you are all right?

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Well, they said there was no telephone around.

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There's one at the hotel.

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I'll show you.

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Oh, thank you.

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I knew I was on the way now.

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They wouldn't be able to make her a new set of keys.

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They'd have to go for them across the border.

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That would take until the next day.

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I played it very carefully and I was very patient.

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The number is Azusa, California, 30991.

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I hope they get the call right away.

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If you could only see Mr. McAdams, the principal, he always bites his fingernails.

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He must have gnawed them right down to the knuckles by now.

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Have a cigarette?

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Oh, no.

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Thank you, Mr.

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My name is Brown, Emmy Brown.

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Your name is not Margo.

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It's Emmy.

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She had the same hair.

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Only it was always must by the wind that wind her in Chamonix.

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What are you talking about?

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You thought I was bitter, Miss Brown, when you spoke to me first on the street.

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It was because I saw another woman in your face, Margo.

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No.

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Those aren't her eyes.

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Her eyes were bad.

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Eyes that seemed to be saying beautiful things and every word they spoke a lie.

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I knew it and I loved her.

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The ground opened under my feet and I loved her.

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I ran away.

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I had to come here to the end of the earth to know that I really hated her, that I had

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always hated her.

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I'm sorry.

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Just look at me, Miss Brown.

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Keep looking at me.

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It's like a sudden breeze on a stifling day.

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You are the strangest man.

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Perhaps the loneliest man.

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Naturally, they couldn't find the keys to the bus.

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So I arranged with the hotel to bed down the lot of them in the lobby.

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Well, good night.

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We're settled.

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Good night.

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Somehow these shabby walls will not seem so empty and sad.

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You will be here, close, very near to me, under the same roof, breathing in the same

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night.

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Yes.

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Good night.

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Good night.

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I went up to my room.

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There was Tamara waiting for me.

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Hello, George.

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What do you want?

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I've kept thinking about you all day.

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The way you always held me away from you when we danced.

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Those gigolo eyes of yours.

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You selfish tramp.

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Did you ever love anybody in your life?

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I don't want you here, understand?

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George.

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You are wasting my time.

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I have a little money, George.

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It's yours if you want it.

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I'll get more money.

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I'll give you anything.

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Anything you want.

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Anything, Tamara?

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Anything.

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I'll take this.

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My wedding ring.

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I had a hard time going to sleep that night.

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My heart was beating fast and my senses were all thrown out of gear.

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I found a kind of half-sleep at last.

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And then about five o'clock in the morning, I woke.

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You were sitting there staring at me.

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Hello.

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What... what are you doing here?

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Please you have no right to be here.

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Of course I have no right.

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No right to be here.

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No right to sit watching your face, learning it like a poem.

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No right to listen for the stir of your heart.

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No right to tell you that... that I love you very much.

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You must go away right now, please.

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You needn't be afraid, Miss Brown, not a bit.

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We are like two trains halted for a moment at the same station, but going in different

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directions.

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We can't change our course any more than we can hold back the dawn.

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Soon it will be light and you will be gone forever.

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It is getting light, isn't it?

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You needn't be afraid, Miss Brown.

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Not of a dead man.

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I'm dead, you see.

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I have asked myself thousands of times why they shouldn't bury me, why I should go on

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walking and breathing and talking when I was dead.

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Perhaps I know now.

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Perhaps it was to see the sun rise once more, to hear enchantment in a woman's voice, to

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feel her nearness, the warmth of her lips.

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No.

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No rebellions, no violent desires.

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If you found one in your sober little mind, you would tell it to go stand in the corner,

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wouldn't you, Miss Brown?

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I don't know.

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Not for you, the sudden flash which lights up your whole life, one split second to snatch

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at happiness before it's dark again.

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It isn't this kiss I want.

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It's all your kisses.

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It's your life.

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Look at your hand, Miss Brown, your left hand.

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Yes, it's your wedding ring, Miss Brown.

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I put it on your hand as you slept.

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It was my mother's.

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You see how wild a dream can be.

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But you are wise and sane and cool.

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You needn't be afraid, Miss Brown.

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Wait.

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Oh, wait.

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Please wait.

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About your being lonesome.

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Other people are lonesome, so lonesome they almost give up waiting.

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Mr. McAdams always said I was crazy, but I knew all the time deep down in my heart that

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someday, somebody, somehow, even though Azusa was at the end of the world.

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We had to get the Mexican judge out of bed.

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The license was $5.

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It was a good investment.

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The office was drab and sordid, but to Amy Brown, being there was like standing at an

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altar in a cathedral with great bells ringing.

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When we came out into the sunlight, she took my hand.

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George.

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Yes?

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Take the ring, put it on my finger again, and say these words.

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For richer, for poorer, for better, for worse, with this ring, I thee wed.

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For richer, for poorer, for better, for worse, with this ring, I thee wed.

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Till death do us part.

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Till death do us part.

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I'll never take it off.

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Never.

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What did I care what she did with the ring?

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I was married to an American.

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I was ready to cross the border.

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In just a moment, you will hear the second part of Academy Award.

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But in these few following seconds, let me ask you if you have ever felt the tang of

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cold salt spray over the bow of a sailboat pointing into the wind.

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Quenched your thirst after a hot walk through the woods at a shaded bubbling spring, taking

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a plunge in a cool mountain pool.

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These are some of the memories that stand out from many of our summer vacations, refreshing

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memories that come back to us when we use Squibb Dental Cream.

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For its tangy, cool, fresh, minty flavor is as refreshing as a shady bed of mint.

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It wakes up your whole mouth, leaving it clean and invigorated.

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Every time you use Squibb Dental Cream, you will recapture that thrill of other truly

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refreshing experiences.

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Yes, you can taste, feel, and see the refreshing difference when you use Squibb Dental Cream,

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one of the great family of Squibb products.

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Before continuing with part two of Hold Back the Dawn, we want to thank Paramount Pictures

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for making this story available.

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Paramount's current release is the Hal Wallis production, The Searching Wind, starring Robert

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Young, Sylvia Sidney, and Anne Richards.

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And now the House of Squibb presents part two of Academy Award, starring Olivia de Havilland

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and Jean-Pierre Oman in Hold Back the Dawn.

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It was slow going getting the papers in order.

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Amy Brown came back from her home, and we took the bus and went for a long drive back

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into the hinterland of Mexico.

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I had reasons for getting away from the border.

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There was a smart immigration inspector named Hammock snooping around.

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He was interested in people who suddenly got married to Americans, especially aliens who

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wanted to get over that border.

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Something happened on that mad drive, though.

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I guess I fell in love with Amy Brown a little.

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She was in our room at the hotel, packing to go back to her job in Azusa for a while.

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I was downstairs and I ran into Tamara.

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I thought you'd never come.

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I've been dying here day after day, looking down the street waiting for you.

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Bad news?

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Good news.

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You'll be getting out of here in three weeks.

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New York by the first of August.

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I'm not going right on to New York.

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No?

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Oh, sure.

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You've got to stop over in Azusa.

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That would take half an hour, you said.

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You were going to tell her she was too good and you were too low.

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I'll do it my own way.

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Do you mind?

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You like the girl?

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Yes.

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I like her enough not to give her a sudden kick in the face in front of a whole little

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town.

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I like her enough to do it all with a little style.

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All right.

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I like her enough not to behave like a swine for once in my life.

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Well, hallelujah.

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That'll do.

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You've got enough money to get back to New York.

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I'll find you there when I'm ready.

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Thank you.

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I'll be in the middle of Times Square and whistle.

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Mrs. Escovescu?

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Yes?

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Do you mind?

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No.

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Come right in.

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Funny, I didn't picture you looking like that.

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You know what one hears about a teacher.

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I'm Tamara.

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I don't think he's told you about me or did he?

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No, he didn't.

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I see you're packing.

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Well, before you go, there's something of mine I want you to give me back.

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Of yours?

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My wedding ring.

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This?

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Oh, it belonged to his mother.

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Oh, isn't he wonderful?

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The way he knows how to pluck at the heart string.

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You see, I gave him the whole idea.

19:09.760 --> 19:10.760
What?

19:10.760 --> 19:13.340
Marrying you to get across the border.

19:13.340 --> 19:15.680
Take a look at the engraving in that ring.

19:15.680 --> 19:18.160
I used it to marry my little American.

19:18.160 --> 19:20.960
It says, to toots for keeps.

19:20.960 --> 19:22.120
Slip it off.

19:22.120 --> 19:23.120
No.

19:23.120 --> 19:26.800
Maybe you should know a little more about the history of George Escovescu.

19:26.800 --> 19:27.800
Get out.

19:27.800 --> 19:28.800
Please.

19:28.800 --> 19:29.800
Please.

19:29.800 --> 19:41.920
Howdy, Mr. Escovescu, isn't it?

19:41.920 --> 19:42.920
Yes.

19:42.920 --> 19:44.720
My name is Hammock, Immigration Department.

19:44.720 --> 19:47.360
I'd like to talk a few things over with your wife.

19:47.360 --> 19:48.360
She's upstairs.

19:48.360 --> 19:50.440
If there are any questions, silence her, then.

19:50.440 --> 19:52.520
I'll answer your questions, Mr. Hammock.

19:52.520 --> 19:53.520
Emmie.

19:53.520 --> 19:54.520
Right over here, Mrs. Escovescu.

19:54.520 --> 19:57.200
Take a chair, will you?

19:57.200 --> 20:00.960
Had you any idea this man might have married you to get in the country?

20:00.960 --> 20:01.960
Yes.

20:01.960 --> 20:04.000
But I asked him to marry me.

20:04.000 --> 20:06.360
All right, he got you to ask him.

20:06.360 --> 20:09.360
Look here, you can make things very simple for the department.

20:09.360 --> 20:12.000
Anybody can see this set up with half an eye.

20:12.000 --> 20:15.080
He gets in the country, divorces you, takes up with his girlfriend and goes about his

20:15.080 --> 20:16.080
own business.

20:16.080 --> 20:18.560
With this evidence, you can get an annulment.

20:18.560 --> 20:20.680
And that'll slam the door right in his face.

20:20.680 --> 20:21.680
Get a what?

20:21.680 --> 20:22.680
An annulment.

20:22.680 --> 20:23.680
An annulment?

20:23.680 --> 20:25.640
How do you like that, George?

20:25.640 --> 20:26.760
That's America.

20:26.760 --> 20:29.680
You pay your taxes, but you get a lot of protection.

20:29.680 --> 20:32.080
No, thank you, Mr. Hammock.

20:32.080 --> 20:35.200
It's very sweet of you, but you see, there's nothing wrong.

20:35.200 --> 20:36.920
He told me everything.

20:36.920 --> 20:39.240
There weren't any false pretenses.

20:39.240 --> 20:41.000
It's a fine marriage.

20:41.000 --> 20:43.560
We love each other very much.

20:43.560 --> 20:44.920
I'm sorry for your sake.

20:44.920 --> 20:46.800
You haven't got a case.

20:46.800 --> 20:49.760
Well, maybe I'm just dumb.

20:49.760 --> 20:50.760
So long.

20:50.760 --> 20:54.760
Amy, who told you?

20:54.760 --> 20:55.760
Tamara?

20:55.760 --> 20:59.480
I've always been full of words, you know.

20:59.480 --> 21:04.600
Big ones, smooth ones, fancy ones.

21:04.600 --> 21:06.600
Just one more word.

21:06.600 --> 21:07.600
Thanks.

21:07.600 --> 21:08.600
No.

21:08.600 --> 21:16.240
You see, I come from a small town.

21:16.240 --> 21:19.440
We don't have those fine hotels.

21:19.440 --> 21:21.120
We eat in the drugstore.

21:21.120 --> 21:25.120
But we leave a tip just the same.

21:25.120 --> 21:30.760
I don't feel I was too generous for those seven days of our honeymoon.

21:30.760 --> 21:36.220
Only perhaps when I met you, I shouldn't have been so vain.

21:36.220 --> 21:39.360
I should have worn my glasses.

21:39.360 --> 21:43.960
I should have looked at your face more closely.

21:43.960 --> 21:44.960
Goodbye.

21:44.960 --> 21:54.600
Do you believe in premonitions?

21:54.600 --> 21:58.720
When a black wave breaks over you and you suddenly know something terrible is going

21:58.720 --> 21:59.720
to happen?

21:59.720 --> 22:06.400
In my ears was the screeching of brakes, of tires taking a wild curve.

22:06.400 --> 22:12.760
Before my eyes was the foot on the gas pedal pressing it down.

22:12.760 --> 22:20.600
And George, they've been phoning you.

22:20.600 --> 22:22.560
Tamara, there was an accident, wasn't there?

22:22.560 --> 22:23.560
Yes.

22:23.560 --> 22:24.560
Bad?

22:24.560 --> 22:25.560
Yes.

22:25.560 --> 22:26.560
Where is she?

22:26.560 --> 22:27.560
The receiving hospital, Los Angeles.

22:27.560 --> 22:28.560
I'll take your car.

22:28.560 --> 22:29.880
I won't let you cross the border.

22:29.880 --> 22:30.880
You have no papers.

22:30.880 --> 22:31.880
The key, Tamara.

22:31.880 --> 22:32.880
They'll catch you.

22:32.880 --> 22:33.880
You haven't got a chance.

22:33.880 --> 22:34.880
It's all you're waiting for, nothing.

22:34.880 --> 22:35.880
If you do this, you'll never be admitted.

22:35.880 --> 22:36.880
George!

22:36.880 --> 22:37.880
Look at this guy coming.

22:37.880 --> 22:38.880
He's nuts.

22:38.880 --> 22:39.880
Hey, stop, you.

22:39.880 --> 22:40.880
Stop!

22:40.880 --> 22:41.880
Don't you see that sight?

22:41.880 --> 22:42.880
I said stop!

22:42.880 --> 22:43.880
That's Escovesco.

22:43.880 --> 22:44.880
He's my meat.

22:44.880 --> 22:45.880
Get my car and a patrol motorcycle escort.

22:45.880 --> 22:46.880
This is where I fix that gigolo's wagon.

22:46.880 --> 23:05.960
It was five o'clock in the morning when I got to the hospital.

23:05.960 --> 23:09.600
It wasn't until I had climbed those steps that I was really afraid.

23:09.600 --> 23:11.360
Afraid it was too late.

23:11.360 --> 23:13.920
That there was nothing left I could do.

23:13.920 --> 23:14.920
She's unconscious.

23:14.920 --> 23:17.000
We're very much afraid.

23:17.000 --> 23:18.840
The steering wheel was crushed against her.

23:18.840 --> 23:20.680
There's no fight left in her.

23:20.680 --> 23:21.680
Can I go in?

23:21.680 --> 23:22.680
Of course.

23:22.680 --> 23:23.680
Amy.

23:23.680 --> 23:24.680
Amy.

23:24.680 --> 23:25.680
She doesn't hear.

23:25.680 --> 23:26.680
Amy, it's George.

23:26.680 --> 23:27.680
I've gone.

23:27.680 --> 23:28.680
I'm here, Amy.

23:28.680 --> 23:29.680
She seemed to hear you.

23:29.680 --> 23:30.680
Go on.

23:30.680 --> 23:31.680
Keep talking.

23:31.680 --> 23:32.680
Breathe, Amy.

23:32.680 --> 23:33.680
Travel.

23:33.680 --> 23:34.680
I'm here.

23:34.680 --> 23:35.680
I'm here.

23:35.680 --> 23:36.680
I'm here.

23:36.680 --> 23:37.680
I'm here.

23:37.680 --> 23:38.680
I'm here.

23:38.680 --> 23:39.680
I'm here.

23:39.680 --> 23:40.680
I'm here.

23:40.680 --> 23:41.680
I'm here.

23:41.680 --> 23:42.680
I'm here.

23:42.680 --> 23:43.680
I'm here.

23:43.680 --> 23:44.680
I'm here.

23:44.680 --> 23:45.680
I'm here.

23:45.680 --> 23:46.680
I'm here.

23:46.680 --> 23:47.680
I'm here.

23:47.680 --> 23:48.680
I'm here.

23:48.680 --> 23:49.680
I'm here.

23:49.680 --> 23:50.680
I'm here.

23:50.680 --> 23:51.680
I'm here.

23:51.680 --> 23:52.680
I'm here.

23:52.680 --> 23:53.680
I'm here.

23:53.680 --> 23:54.680
See?

23:54.680 --> 23:55.680
She's fine.

23:55.680 --> 23:56.680
Just try.

23:56.680 --> 23:57.680
Try hard.

23:57.680 --> 23:58.680
That's it.

23:58.680 --> 23:59.680
Again.

23:59.680 --> 24:00.680
Now again.

24:00.680 --> 24:01.680
It's all right, Amy.

24:01.680 --> 24:02.680
Remember the rain beating and the wind chill that day we drove?

24:02.680 --> 24:03.920
And the wiper going, and the word it spoke?

24:03.920 --> 24:04.920
Together.

24:04.920 --> 24:05.920
Together.

24:05.920 --> 24:06.920
Together.

24:06.920 --> 24:07.920
Together.

24:07.920 --> 24:08.920
Together.

24:08.920 --> 24:09.920
Breathe, Amy.

24:09.920 --> 24:10.920
Breathe, Amy.

24:10.920 --> 24:11.920
Breathe.

24:11.920 --> 24:13.420
Together.

24:13.520 --> 24:15.720
Breathe, Emmy.

24:15.820 --> 24:18.420
We are together.

24:18.520 --> 24:20.620
Together.

24:20.720 --> 24:22.720
Together.

24:34.320 --> 24:36.820
I don't know how many hours I sat there all day,

24:36.920 --> 24:40.320
but I must have said, breathe a million times.

24:40.320 --> 24:41.820
Breathe.

24:41.920 --> 24:44.020
Breathe.

24:44.120 --> 24:46.220
Breathe.

24:46.320 --> 24:48.020
Breathe.

24:48.120 --> 24:50.220
Darling, breathe.

25:00.420 --> 25:03.020
Somehow she pulled through.

25:03.120 --> 25:05.820
Once she even smiled.

25:05.920 --> 25:08.820
And when Hammer caught up with me finally,

25:08.820 --> 25:11.520
she was out of danger.

25:11.620 --> 25:14.520
I asked him to go ahead and get her an annulment of the marriage.

25:14.620 --> 25:16.020
Said he would.

25:16.120 --> 25:18.120
He told me he could send me to the pen for ten years

25:18.220 --> 25:21.120
for crossing the border. I didn't care.

25:21.220 --> 25:23.120
And for some reason,

25:23.220 --> 25:25.920
he just took me back over the border.

25:26.020 --> 25:28.120
Back to the grave.

25:28.220 --> 25:32.920
I started four months of a living death.

25:33.020 --> 25:36.720
One day, I saw him coming through the big gate.

25:36.720 --> 25:39.820
Oh, here you are, Escovescu. I've been looking for you.

25:39.920 --> 25:41.420
Why don't you leave me alone?

25:41.520 --> 25:43.220
Don't you feel like stepping up to the gate

25:43.320 --> 25:45.420
and looking at the new citizens crossing the border today?

25:45.520 --> 25:47.420
Very funny, Mr. Hammock.

25:47.520 --> 25:51.420
Like inviting a hungry child to stand in front of a bakery window.

25:51.520 --> 25:53.020
I talked to the baker.

25:53.120 --> 25:56.820
He gave me something for you, not that you deserve a pie.

25:56.920 --> 25:59.120
I always thought you were a pretty poor excuse for a human,

25:59.220 --> 26:01.420
but, well, I was raised a good Christian,

26:01.520 --> 26:04.420
and my folks always used to say that a guy can straighten out

26:04.520 --> 26:06.320
once he sees the light.

26:06.320 --> 26:09.620
And as if he's got guts. You have.

26:09.720 --> 26:12.820
In America, we can use people with guts.

26:12.920 --> 26:14.820
Here. Here are your papers.

26:14.920 --> 26:16.420
Approved by Washington.

26:16.520 --> 26:19.420
Preference quota for husband of American wife.

26:19.520 --> 26:22.020
Husband? Mr. Hammock, I'm...

26:22.120 --> 26:23.420
Get going. Get going.

26:23.520 --> 26:26.820
There's somebody waiting for you, swinging on that gate.

26:26.920 --> 26:30.620
Gate. Gate.

26:30.720 --> 26:32.520
Somebody...

26:32.620 --> 26:34.220
waiting.

26:34.220 --> 26:36.520
Waiting across the border?

26:39.420 --> 26:41.120
Amy!

26:41.220 --> 26:42.820
Amy!

26:42.920 --> 26:44.320
Amy!

26:44.420 --> 26:52.920
He was running,

26:53.020 --> 26:56.920
eager, hapless, and like a boy in tears.

26:57.020 --> 27:00.620
Something inside of me began to yearn as I watched him coming.

27:00.620 --> 27:04.120
My hand came up as if it could fight back my tears,

27:04.220 --> 27:07.120
and suddenly it glistened in the sun,

27:07.220 --> 27:09.720
and I laughed through my tears.

27:09.820 --> 27:13.120
It was my golden wedding ring.

27:13.120 --> 27:34.120
I had never taken it off.

27:34.220 --> 27:35.820
Tomorrow on Air Force Day,

27:35.920 --> 27:38.820
E.R. Sqibbin sons, with all the American people,

27:38.920 --> 27:42.020
will honor the men who won fame and overwhelming victory in the air

27:42.020 --> 27:44.120
for the cause of free men everywhere.

27:44.220 --> 27:47.320
General Carl Spotts, commanding general, Army Air Forces,

27:47.420 --> 27:50.520
writes to old and new Air Force personnel everywhere,

27:50.620 --> 27:55.120
I urge you to take practical steps to preserve and foster the spirit of your Air Force,

27:55.220 --> 27:59.120
that you enroll under the leadership of Jimmy Doolittle in the Air Force Association,

27:59.220 --> 28:04.620
your association for perpetuating the glorious traditions of the United States Army Air Forces.

28:04.720 --> 28:08.320
And General Jimmy Doolittle, president of the Air Force Association, states,

28:08.320 --> 28:12.220
we who are no longer in uniform are joining the Air Force Association

28:12.320 --> 28:14.720
to continue the Air Force spirit of fellowship,

28:14.820 --> 28:16.720
to remain abreast of air development,

28:16.820 --> 28:20.220
and to honor the memory of our comrades who gave their lives in war.

28:20.320 --> 28:22.720
We want all new and old Air Force men and women,

28:22.820 --> 28:24.720
whether officers or enlisted personnel,

28:24.820 --> 28:27.720
to wear our pin, receive our magazine every month,

28:27.820 --> 28:30.720
and take part in the activities of local wings and squadrons

28:30.820 --> 28:33.220
now being organized throughout the country.

28:33.320 --> 28:36.720
Send tonight for an application form to the Air Force Association,

28:36.720 --> 28:41.620
Washington, D.C. Membership includes subscription for one year to the Air Force magazine.

28:41.720 --> 28:45.620
In this way, help continue United States air supremacy.

28:45.720 --> 28:52.620
Music

28:52.720 --> 28:54.620
Next Wednesday, another great picture.

28:54.720 --> 28:57.120
The House of Squib will present Academy Awards,

28:57.220 --> 29:00.120
starring Paul Lucas in Watch on the Rhyme.

29:00.220 --> 29:05.120
Music

29:05.120 --> 29:09.020
Today's performance of Hold Back the Dawn was written for radio by Frank Wilson,

29:09.120 --> 29:13.020
with an original musical score composed and conducted by Leet Stevens.

29:13.120 --> 29:15.520
Our producer-director is Dee Engelbach.

29:15.620 --> 29:20.020
Olivia de Havilland can currently be seen in the Paramount production to each his own.

29:20.120 --> 29:23.520
Jean-Pierre Aumann appeared through the courtesy of Metro-Goldwyn-Mayer,

29:23.620 --> 29:26.520
producers of the Technicolor musical Holiday in Mexico.

29:26.620 --> 29:30.520
This is Hugh Brundage bidding you good night until next Wednesday at the same time,

29:30.620 --> 29:33.020
when you're invited to listen again to Academy Award,

29:33.020 --> 29:37.420
presented by the House of Squib on Name You Can Trust.

29:37.520 --> 29:40.420
This is CBS, the Columbia Broadcasting System.

29:40.520 --> 29:49.420
Music

29:49.520 --> 29:52.420
Music

29:52.420 --> 30:07.320
Music

30:07.420 --> 30:16.320
Music