You're about to be entertained by some of the biggest names in show business for the next hour and 30 minutes
This program will present in person such bright stars as Don Cornell Jimmy Loran. Rex Harrison
Judy Holliday. Jackie Miles. Karen Miranda. Lily Palmer. Meredith Wilson. And my name darlings is Tallulah Bankett.
The National Broadcasting Company presents The Big Show.
The Big Show. 90 minutes with the most scintillating personalities in the entertainment world.
Brought to you this Sunday and every Sunday at the same time as the Sunday feature of NBC's All-Star Festival.
And here is your hostess, the glamorous, unpredictable Tallulah Bankett.
Well darlings, we've had so many letters asking how we're able to put an hour and a half show together with so many big stars every Sunday.
Well darlings, I'll tell you, putting the show together isn't the big problem.
The producer, director, the writers and performers put the show together on Saturday.
But the dressmaker, the master, the hairdresser and make-up man start putting me together on Tuesday.
So we all meet right after my breakfast, 5 o'clock Saturday afternoon.
Well that's our first rehearsal where I meet old friends and make new enemies.
Now yesterday, for instance, I arrived at the rehearsal and Meredith Wilson and the orchestra and chorus were already there.
Gentlemen, here she comes.
Meredith. Yes sir, Miss Bankett.
The flag, why isn't it up?
Well I meant to raise it while the boys were playing that but the saber keeps getting in my way.
Do I have to wear it every rehearsal?
You don't have to wear it, use the saber to lead the band.
Well I tried that but I lost half my violin section.
Butterfingers. All right, forget the saber.
Can I get off the horse too?
Oh very well, as far as the rest of the gentlemen, good morning.
I'll report him to Connell for Trillo.
Boy, go down to the drugstore and get me some coffee.
Me?
Yes, you. What's your name?
Don Cornell.
All right Don, get me the coffee.
Yes ma'am, a container of coffee?
A fifth.
Oh Miss Bankett, no, Don Cornell is one of our guests this week.
A guest of whom?
I was booked on the show.
For what offense?
No, you don't understand, I sing.
Oh, a stool figure, huh?
No, I'm more of a canary.
Just a minute boy, you seem a little confused, start all over will you?
Well you may remember me when I sang with Sammy Kay.
Oh Sammy Kay, we had him on the show.
Oh yes, he made that Walter Mitty picture and Inspector General.
No, that's Danny.
Oh Danny, oh I know Danny very well.
He has a television show every Wednesday night.
That's Thomas.
Oh, oh Thomas.
Meredith, why didn't you tell me we had John Charles Thomas on the show this week?
No Miss Bankett, this young man is Don Cornell.
Oh, well why is he trying to pass himself off as John Charles Thomas?
I didn't say I was John Charles Thomas.
Well if you're not, get me some coffee.
Here, I just got this, you can have some of mine.
Oh thank you darling, you sure you don't mind my taking your coffee?
No, no, go right ahead, I have another container here.
What have you gotten this thing? Coffee?
Yes, you asked for coffee.
You are young aren't you darling?
Delula darling, how are you? I've never seen you looking better.
Not me Mr Harrison, I'm Meredith Wilson.
Oh I beg your pardon.
Rex Harrison, here I am Pat.
Rex darling, I'm so glad you're going to be on our program this week.
Where's Lily? Did she come with you?
Lily will be here in a few moments, she stopped along the road to do some Easter shopping.
She went to buy some eggs of all things, I said to her.
But Lily, why bother buying eggs when we're going to be on a show with Delula Bankett?
Isn't it sweet?
Well Delu, it's going to be very nice being on the show with you.
How many weeks rehearsal do we have?
Do we go out of town for the tryout or do we open Curled on Broadway?
Darling, we open tomorrow.
Tomorrow? Tomorrow night.
Tomorrow night, yes you had me frightened for a moment.
You're joking of course.
On this show we don't joke.
Oh no, no, I've heard.
Oh you've heard our program Rex?
Of course, I listen every Sunday.
You see, after working in the theatre all week, Sunday is my day of rest.
So I listen to your show. I try to keep as far away from entertainment as I can.
Well now tell me Rex, how is your play doing on Broadway?
Bell, Book and...what is it?
Bell, Book and Candle. Our play is a very big hit.
I hate to boast but we're playing standing room only.
Oh well don't worry about that darling.
Someday you may be able to fill the seats too.
Oh yes, very good.
But our play is rather different.
In it I portray a man who falls in love with a young lady who is a witch.
What's so different about that?
But Delu, she's a real witch.
Who isn't?
Yes, I thought you'd understand.
You see, when she falls in love with me and becomes my wife, she stops being a witch.
Really? Usually it's the other way around.
That's true. What am I doing on this show?
What do you plan for me?
Well I hadn't really thought about it Rex, but it would be nice if you did something from the classic Shakespeare, Shaw, or a reading from one of the poets, Keats, Shelley.
Well how about doing something from Milton?
Oh Milton would be wonderful darling.
Well good, I have a passage here from Milton. I brought it along. It goes like this.
Ladies and gentlemen, on behalf of the National Broadcasting Company, I would like to be half of the National Broadcasting Company.
Well come on folks, these are jokes. I've got an audience waiting to get backstage.
Oh that's Milton.
You didn't recognise him.
Nice chap.
He must be some of my kind.
He keeps asking me to call him Uncle Miltie.
He must be some relation of mine.
He sells petrol. Taxi go petrol.
Look Rex, everyone is quite familiar with that Milton. We'll find something else for you to do.
Pets.
That's nice, let's do that.
No darling, I mean you might do something from one of the things you've been in.
Now there was Anna and the King of Siam, and then there was Anne of the Thousand Days. You're rather partial to the name Anna aren't you?
Yes, very good. I never thought it that way.
Well you might be interested to know, there's a play being written by a man named Kefava. It's called Anastasia.
Yes, I must investigate that. Thank you.
Well, when do we start our rehearsal? There's quite a large orchestra you have here. They don't seem to be playing. Do they just sit around here all through the rehearsal?
Yes darling, it's one of the rules of the American Confederacy of Musicians.
Oh you mean the Union?
Yes, I mentioned that name on this program.
Thank you.
And one Yankee.
Oh Rex, may I introduce you to one of our other guests? Come here boy.
Yes Miss Bankhead.
Rex, this is Sammy Kay.
No, my name happens to be Don Cornell.
Oh yes, yes, Mr. Cornell, Mr. Burl.
Harrison.
Oh yes, Rex Harrison in the Burl Book and Candle.
And our orchestra is waiting for all the singers on the show to get here so they can rehearse with them you see.
Here I am Tallulah.
Oh yes darling, here she is, a wonderful singer Carmen Lombardo.
Carmen Miranda.
Carmen, I'm terribly embarrassed about not remembering your name. After all I've known you for, well how long has it been darling, ten years?
Oh no, no, not that long.
Well it's been at least five years. I was playing in Little Foxes and you came backstage to see me, remember?
No, no, I never saw the Little Foxes.
Oh then it must have been three years ago when I was in Private Live.
I was in How Do You Three Years Ago.
Oh, well then it must have been when I began this radio program about six months ago.
No, I was in South America six months ago.
How do you do, my name is Tallulah Bankhead.
And you know our other guest, this is...
Oh Rex, I did not see you. Hello Rex.
Carmen, I haven't seen you for a long time.
Oh, I have missed you. How about a little kiss for Carmen, huh?
Yes indeed.
Oh Rex.
Miss Miranda, may I present Mr. Rex Harrison?
Who I have just met.
Yes, Carmen, why don't you start getting familiar with our script instead of our guests?
Are you acquainted with our show, Carmen?
No, I have not heard this program yet. I have been very busy with my own radio show in Brazil.
Oh, you have your own program. That's nice.
And what sort of a program is it, Carmen?
Well I talk, I sing, I say things like...
Darling.
Isn't he colossal, forte, bonitão, sweet?
Um grande abraço to Broadway. Lembranças para o Herald Square.
You do that kind of a program in Brazil?
Oh yes, it's very, very popular.
And there is a famous actress who does another program just like this in Argentina.
Oh, and what is the name of that program?
All About Eva.
Oh, I see.
Carmen, my pet, why don't you rehearse the song you are going to do on our show tomorrow with Meredith Wilson?
I'll be very glad to, Lula.
Alright now, fellas, I know there are no curves on my baton, but keep your eyes on it, will you please?
I've been to Chicago and I like Chicago.
I've been to New York and I like New York.
I've been to New York and I like Chicago.
I've been to New York and I like New York.
I've lived in New Hampshire and I like New Hampshire.
I like North, East, South, West, but the place I like most is the best.
The place she likes most is the best, the West.
Riding along with the city of song.
Get along with the hot doggy.
Get along.
I want to go to a big empty space.
Where the cows and the cantaloupes play.
Gonna be a cowboy gal, gonna see my carahoe.
Me hips, yeah, I'll win, yeah.
She wanna hips, yeah, I'll win, yeah.
I want a horse with some cantalouping chaps.
I wanna chew up the dust like they say.
Gonna put me on some boots, gonna rot me on some boots.
Yeah, me hips, yeah, I'll win, yeah.
She wanna hips, yeah, I'll win, yeah.
When I'm hips, you'll gain.
I'll throw any of your curves to a shame.
I don't know she's what I'm saying.
But I have lots of fun just to say.
I wanna go where they don't have no fence.
When I'm bold, let me go their way.
And my day will be full when I throw little bull.
Hips, yeah, yo, and I, hips, yeah, yo, and I, hips, yeah, yo, and I.
I kiss the dish, you know, follow the English.
I go bow, but I'm so gassed.
But I insist the best.
I'm not gassed, I'm not gassed.
Hey, Carlin. Yes, boy?
Come back to the way.
Well, let's go.
Give me my rusty 42.
44.
Give me a cow that I can punch.
Cow puncher.
Give me some buttons and some boots.
No, both.
And I'll bet you that I'll record that I stay.
I'm gonna be a cowboy gal.
Gonna sit in my carrel.
Beautiful boy.
Darling.
And hips, yeah, yo, and I, hips, yeah, yo, and I, hips, yeah, yo, and I.
Get along! Get along! Get along!
Oh, yeah!
Carmen, that was divine, darling.
But we had sort of planned on your doing a song that you identified with a South American tune of some sort.
Well, Tallulah, I know the song is in English, but it has the rhythm of a song from South America.
Oh, no, darling, not at all. I don't think so at all.
Well, I do not expect you to understand, Tallulah, after all. You are a Yankee.
Watch your language, butter.
From where I come from, you people in Alabama are nerdaners.
Meredith, please, will you have those boys stop that?
Well, that's more like it, boys.
Hiya, fellas.
Ah, they're quizzing at you, Judy Holliday.
Judy, darling, darling, darling, you're late.
I know, there was a fell in the elevator. You know that old routine, drop the handkerchief.
Pardon me, is this your handkerchief? Haven't I met you someplace before?
Yes, I know that old gag. I never fall for it.
He didn't fall for it either.
Judy, let me introduce you to some of the people on the show this week. This is Rex Harrison.
Hiya, darling.
Miss Holliday, this is a great pleasure. I want to tell you how much I enjoyed your stage version of Born Yesterday,
and I enjoyed the picture even more, and I hope you win the Academy Award.
Fresh.
You misunderstand me, Miss Holliday. I was simply paying a tribute to your talent as an actress,
because I think that your performance in Born Yesterday was one of the finest third-dimensional portrayals.
It's been my good fortune to see you in the theatre for many a season.
Get a load of that accent.
You must be an NYU boy.
And this young man, darling, is Don Cornell.
Hello, Miss Holliday. This is a pleasure.
Hiya, Jim.
Cornell. The place is lousy with college boys.
Hey, Tallulah, you still single?
Judy, let me tell you right now before we get involved, my marital status is of no concern of yours,
and it has nothing to do with the show, and you ought to rehearse the show and read what's in the script.
The only thing I'm interested in is this program. That's the most important thing in my life.
Now, is that clear?
Sure.
You're still single, huh?
Judy!
What?
Now, look, darling, can't we have an intelligent conversation for a change?
Well, what could be more intelligent than a college boy?
College boys could teach you the three R's.
Reading, writing, and getting a husband.
Where is the R in getting a husband?
Raising a family, that's where.
Now, for the last time, Judy, I am not interested in college boys.
And vice versa.
And I am not interested in versa.
Judy, do you know, darling, I'm beginning to doubt you can talk on any other subject.
Oh, sure I can. Ask me something. Go ahead. Don't cause to ask.
All right. Let's talk about, well, let's talk about show business.
Shoot.
Don't tempt me, darling.
How do you like show business, Judy?
Oh, fine. Especially when there's fellas waiting at the stage door.
Oh, dear. Here we go again. All roads lead to men.
So why'd you take a detour?
Well, I know how to get you off the subject. I want you to meet another guest.
This is Carmen Miranda. Miss Holliday, Carmen Miranda.
I'm very happy to meet you, Miss Holliday.
Oh, hey, didn't I meet you once, Miss Miranda?
Well, I don't remember exactly.
Once you were on the coast, didn't I meet you in L.A.?
Oh, C.C. L.A.
And then I met you last year at a party here in New York?
Oh, C.C. And why?
Back to the college boys again.
Now, Judy, will you be a good neighbor and stop confusing our guests with South America?
Hey, that's an idea. Why don't you take a cruise to South America?
I have no intention of taking a cruise to South America.
It's wonderful. You go on a pleasure cruise, you mingle with the passengers, and you meet a fella.
I have never yet met anyone on a pleasure cruise I could tolerate.
Did you ever try a tramp steamer?
Judy, why are you so anxious for me to go to South America?
I think if you go to South America, maybe they'll take it away.
Oh, this is a waste of time. Carmen, why don't you rehearse your song?
Well, I heard her so ready to lula.
Oh, well then you, Don Perdue.
Don Cornell.
You, yes. Well, you sing your song now. What is it, darling?
I'm going to sing my latest RCA Victor recording, a song written by Nick Kenny called My Inspiration.
Meredith, how about the music?
All right, men. Get in there and play for Cornell.
I'm a puff of caudas water.
All right, fellas. Very funny. Let's have the song now.
My Inspiration
My inspiration
The whole day through
My consolation
When nights are blue
My inspiration
When things go wrong
My adoration
You make life a song
Right out of the heavens you came
When I needed someone like you
If I find my fortune and fame
I'll tell them I owe it to you
My inspiration
Whatever for
My inspiration
You're my love, my hope
My inspiration
The whole day through
My consolation
Whenever nights are blue
My inspiration
When things go wrong
My adoration
You make life a song
Right out of the heavens you came
When I needed someone like you
If I find my fortune and fame
I'll tell them I owe it to you
My inspiration
Whatever for
My inspiration
You're my love, my hope
My inspiration
You are my love, my hope
My adoration
Look who finally got here. Lily Palmer!
Lily! Tallulah! Carmen! Lily!
Rex! Meredith! Lily! Don! Lily!
Judy! George! Who?
Darling, who is George? A fella!
I noticed he only got four girls and three fellas, so I brought in George to make it come out even
because otherwise somebody's going to be left over without a fella and you know who that's going to be.
Judy, will you stop worrying about me?
Oh, all right. But I know your type. You're the girl at the party who always ends up winding the Victrola.
Lily, darling, you grow more beautiful every time I see you.
Oh, thank you, Tallulah. And you grow more every time I see you, too.
Oh, jeez, please. Thank you, I think.
Oh, by the way, Tallulah, I've been wondering about my wardrobe for tomorrow. What do you usually wear on your show?
Well, I usually wear a high neck, low sleeved, long sleeved cocktail dress.
A cocktail dress, uh-huh. An old fashioned.
No, darling, it's quite attractive.
What were you planning on wearing, Lily?
Well, I have a sleeveless dinner dress.
A sleeveless? Oh, well in that case I'll wear my V-neck dinner gown.
Hmm. Well, I could wear my dinner dress with a capital V neck.
Oh, it's a contest, huh?
Okay, I'll wear my new dress with the W neck.
Oh. Oh, you have heat in the theatre.
Well, then, uh, then I think I'll wear my off the shoulder gown.
All right. Then I'll wear my strapless dress.
Do that, huh? And I'll wear my strapless bathers gown.
I have a wide belt.
Top that.
Well, then, um, I'll just play a highly dramatic scene on the show and bare my soul.
Tell me, Gypsy, I mean Lily, what are you and Rex going to do on the show?
Well, I don't know. Anything Rex decides.
Oh, no, not me, darling. Anything you want to do.
No, Rex, you must decide.
No, Lily, you decide.
No, Rex, I won't decide. You decide.
Well, somebody decide.
Rex will decide, Tallulah.
No, I won't decide.
Speak, Rex. Here, boy, speak.
No, if Lily won't decide, I am walking out.
Just a minute, Rex. If you're going for a walk, somebody better take you.
Now, Rex, we're not going through this again.
The last time we were guests on a show, I decided, and then you decided.
I hadn't decided on the right thing, but that was after we had done what I decided.
Even Max said I had decided the right thing, so you went running to Phil, and of course Phil sided with you because he's been married to Marsha.
And you know very well Marsha used to be on my side until she divorced Henry because he was already married.
And it was then I decided I would never make a decision about deciding anything until you had decided.
And if I had to do it all over again, I would do it all over again.
Not here, you won't, sister.
Now, look here, you two. This is such a childish argument.
After all, you must have had something in mind that you two could do when you decided to come on the show.
Well, I didn't make the decision to come on the show, Tallulah.
Well, I certainly didn't decide. If you recollect, Rex, that night at dinner when you told me we had been booked to go on Tallulah Bankhead's show, didn't I say, please, not while I'm eating?
Oh, you did.
Yes, but didn't I offer to try and get out of it by going to the dentist and having all my teeth out?
No, you did.
Oh, sure. You'd have all your teeth out. And I would have to go on her show alone. I saw through your little scheme.
But you objected when I took a shower and offered to stand in front of an open window and catch pneumonia to keep from going on the show with her.
No, you did.
Oh, no, no, no, no. No offence meant, Tallulah.
Oh, no, of course not, Tallulah. Of course not. I realize you are both upset.
And you say things in the heat of an argument. Why don't you and Rex step over to that window and out on the terrace and cool off?
Oh, thank you very much, Luli. I think she's right, Luli. Come along.
Oh, very well.
Oh, wait a minute. Look.
Oh, Tallulah, we just noticed that there's no terrace.
No, you did. Well, I tried.
Well.
It's the only rhythm I can understand.
I want to dance, I want to sing until I jing-a-ling-a-ling.
Hollabaloo-pa-loo-pa-loo-pa, Hollabaloo.
Give me the music, give me the music,
Give me the music of the Nickelodeon.
Let me be happy, let me be happy,
Let me be happy, that's the time.
Let me be happy, that's the kind of food I need.
Pay me a falter, pay me a falter,
Pay me a falter till they carry me away.
Put it in all the dimes, I'll have a Hollabaloo, a plant.
You have been listening to Meredith Wilson,
his orchestra and chorus.
I'll take just a moment before we continue to say
that this is NBC, the national broadcasting company.
The Big Show.
This is the national broadcasting company, Sunday Extravaganza,
with the most scintillating personalities in show business.
The Big Show, the Sunday night feature of NBC's All-Star Festival,
is brought to you by the makers of Anison,
for fast relief from the pain of headache you write us in your algebra.
By RCA Victor, world leader in radio,
first in recorded music, first in television.
And by Chesterfield, the cigarette that has, for you,
what every smoker wants.
Mildness, but no unpleasant aftertaste.
The cigarette that brings you Bing Crosby and Bob Hope.
The big stars in this program are Don Cornell, Jimmy Durante,
Rex Harrison, Judy Holliday, Jackie Miles, Carmen Miranda,
Lily Palmer, Meredith Wilson and his Big Show orchestra and chorus.
And every week, your hostess, the glamorous, unpredictable,
Tallulah Bankhead.
Ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah.
Applause.
Well, darlings, every year I am determined to get into the Easter Parade,
and every year I oversleep.
But last night I set my alarm for five o'clock,
I was up at five this morning, out on Fifth Avenue at six o'clock,
and what do you think?
The whole parade had over slept.
I was so mad I could hardly contain myself, I thought I would burst.
So I went home and loosened it.
And the worst thing about it was I had a date with a gentleman who was going to
march in the parade with me.
Hello, Toulouse.
Applause.
Hello, Toulouse.
And if I ever get a hold of him, I will throttle him.
Goodbye, Toulouse.
Come back here.
I'm talking about you, Jimmy Durante.
Jimmy, I want to ask you a question.
Okay, which way is the television camera?
Didn't we have a date to march in the Easter Parade this morning?
That's right.
Where was you?
I was there.
I was all dressed up.
I was wearing my high silk hat, my cutaway coat, my striped trousers,
and my genuine hop-along, Cassidy shoulder holster.
I was dressed to kill.
I was a picture from the top of my hat to the tips of my black and white shoes.
Black and white shoes with that outfit?
A black shoe on my left foot and a white shoe on my right.
Well, I don't know how I missed you in that outfit.
While I was waiting for you, I was walking hither, thither, and yon.
Three of the cutest cock of Spaniel you ever saw.
One's a male, one's a female, and a Doberman pincher.
A Doberman pincher?
Well, that's that ferocious looking dog, isn't it, Jimmy?
Oh, he only pinches people named Doberman.
Till I got a million of them.
Well, all I know is, Jimmy, that you stood me up.
I wanted to see that parade.
You should have seen it.
What a mass of color.
Little white bunnies, tiny yellow chicks, and the cutest pink elephants.
I know all about them.
They started from my apartment.
Well, as long as I missed the parade, Jimmy, tell me, darling, what were the women wearing?
Clothes.
I know, but what are the new fashions?
Well, the skirts look shorter and the men look longer.
Oh, the skirts, that's interesting.
Can you describe some of the things you saw?
I mean, what was the predominant color?
Tan, beige.
Tan and beige?
That's right, 54 gauge, of course.
Oh, that tan and beige.
But didn't you see anything else?
I saw plenty.
I was on a windy corner.
No, Jimmy, Jimmy, I'm talking about the outfits they wore, the dresses.
I couldn't see the dresses.
They were all wearing fur wraps.
Oh, what fur?
They were cold.
That's what fur.
The writers wrote that should hang by the rope.
Everybody was covered up to their chins and chiller.
Sixth Avenue never looked like that before.
Sixth Avenue?
Jimmy, the Easter Parade is on Fifth Avenue.
No wonder you didn't meet me if you were on Sixth Avenue with the Hoye Palloy.
While I was there, I met one of the Hoyest of all the Palloys,
Eddie Jackson of Clayton Jackson and Durant.
Thank you.
Well, Mr. Jackson, as long as you're here, darling,
how about you and Jimmy giving us one of your famous songs?
Let's say Rufus Rastus Johnson Brown.
Hit it!
Say, who's that a-knocking at the door below?
And who's that a-shippin' out in that hail and the snow?
I don't know.
But who's that a-knocking?
Is that Mr. Rufus Brown?
If it is, let's tell him what's on our mind.
Let's poke a duck.
Yeah, well, oh, that's one of you said you were gonna bring.
Don't tell me it's melting away just like the snow last spring.
Now, brother, you've had your say.
And you've had your way.
Now listen to what we've got to say.
Tell him, tell him, Jimmy.
Rufus Rastus, Mr. Johnson Brown.
Whatcha gonna do when the rent comes round?
Whatcha gonna say?
How you gonna pay?
You'll never hear the business until you hear me, boy, until George Moon Day.
Yeah, and you know and I know that rent means dough.
That way of life, that's what you're gonna do.
Now listen to what we've got to say.
Tell him, tell him, Jimmy.
Rufus Rastus, Mr. Johnson Brown.
Whatcha gonna do when the rent comes round?
Yeah, well, oh, that's one of you said you were gonna bring.
Now listen to what we've got to say.
Tell him, tell him, Jimmy.
Rufus Rastus, Mr. Johnson Brown.
Whatcha gonna do when the rent comes round?
Rent means dough.
That way of life, that's what you're gonna do.
Tell him, tell him, Jimmy.
Rufus Rastus, Mr. Johnson Brown.
Whatcha gonna do when the rent comes round?
Let me hear that band.
Well, when Rufus hears that music, he'll come home too fast.
Say now, we don't want to preach, but we want you to know.
Yeah, you gotta save your money, Rufus.
You just gotta save your dough.
And Rufus, we're talking to you like a lifelong friend.
And if you don't learn your lesson, pal, it's gonna be the end.
Now Mr. Rufus, Mr. Rastus, Mr. Johnson Brown.
Say brother, whatcha gonna do when that rent comes around?
Say he's got two first names, he's got two last names.
Say he's got two second names, he's got two second names.
And at the end of our story, let's go home, Jane.
Now Rufus Rastus, Mr. Johnson Brown.
Whatcha gonna do when the rent comes round?
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Music
Ladies and gentlemen, we're not going to let this lovely Easter Sunday go by without a musical tribute to this happy season.
Meredith Wilson has written a lovely Easter song for the occasion,
and here are Don Cornell, Meredith Wilson, and the Big Show Orchestra and Chorus along with me
to introduce this Easter greeting.
Music
A pleasant little fellow came from Mars to pay a visit,
and he remained a whole long winter fool.
Each Sunday he proceeded to a different church and creed,
and he always found himself an empty pew or two.
In fact, he often noticed quite a few.
Yet far from being tiring, all his Sundays were inspiring.
Then one sunny day, all innocent indeed, he tried to pay his normal Sunday visit.
But the church was jammed with people, from the cellar to the steeple.
And the poor, bewildered man cried out,
What is it?
It's Easter time.
The bells on the hill are ringing, ringing once again.
There's a smile on the face of this weary world that seems to say, Amen.
It's Easter time.
And it's again in nodding, nodding to improve,
while the folks walk to church as they did so long ago.
And there's a basket on the dining room table with fancy Easter eggs for all.
And there's a lily in all its glory standing in the hall.
Oh, it's Easter time.
The dawn of the year is shining in the hearts of men
with the joys of the hearts that have risen once again.
And there's a basket on the dining room table with fancy Easter eggs for all.
And there's a lily in all its glory standing in the hall.
It's Easter time.
The dawn of the year is shining in the hearts of men
with the joys and the hopes that have risen once again.
It's Easter time.
Amen.
Carmen, Carmen Miranda, come here, darling.
Why aren't you wearing one of your famous fruit hats?
They're so nutritious looking.
Please tell Lula, no jokes about my hats.
They are very expensive now.
75 cents a pound, even more expensive than cans.
Yes, bananas are expensive.
But it must be very convenient when people come to the house
and you run out of stuff, you just pass the hats, I suppose.
Please tell Lula, everybody makes jokes about my hats.
That's why I didn't wear them.
You're right, Carmen.
It isn't very hospitable among my part, and I'm very sorry, darling.
If I make another joke about your hat, I'll eat it.
Thank you, tell Lula.
I'm sorry I'm not dressed up as I should be.
But you know, I bought a brand new green Easter hat to go with my new green Easter suit.
Oh, that sounds lovely.
Why didn't you wear that, darling?
I couldn't.
It doesn't match now.
The hat got ripe, but the suit didn't.
Well, you should never keep a hat in the refrigerator.
I'm always fascinated by those extremely high platform shoes you always wear.
They make you look so tall.
And then on top of that, a big hat.
Well, how tall are you, Carmen?
Well, I'm five feet, five inches.
Five-five.
Yeah.
Well, the hat certainly makes you look taller, and the platforms on those shoes add a lot to your height.
How tall are you without them?
Five inches.
Carmen, I've long been in love with that exciting rhythm you use when you sing.
Is that something that you yourself invented?
Oh, no, no, tell Lula.
In South America, everyone knows this rhythm.
Even the little children can do this rhythm, too.
And there are so many little children there.
I don't want to.
And now, how about the song you're going to do for us now?
What is it, Carmen?
Mama Yo Quiero.
Oh, yes, I want my mama.
Ladies and gentlemen, Carmen Miranda and her Brazilian quartet in her famous rendition of Mama Yo Quiero.
Wonderful.
["Mama Yo Quiero"]
Give me a kiss so I won't cry
It hurts my little daughter, my heart
Take my wood and come into my garden
I have a sister who is phenomenal
She is the force of the sea, she is the voice
Mama, mama, mama, mama, I want
Give me a kiss, give me a kiss
Give me a kiss so I won't cry
Mama, mama, mama, mama, I want
Give me a kiss, give me a kiss
Give me a kiss so I won't cry
I look at the little ones, but that way
It's a pity not to believe the satisfaction
I have a sister who is phenomenal
She is the force of the sea, she is the voice
Mama, mama, mama, mama, I want
Give me a kiss, give me a kiss
Give me a kiss so I won't cry
Mama, mama, mama, mama, I want
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Judy, doesn't Carmen Miranda make South America sound exciting?
Big deal, South America.
Stay home, put on an Xavier Cougar racket, open a can of mosquitoes, and you got it.
Why, Judy, you sound bitter.
To me, it sounds wonderful.
I think it must be exotic.
I think it sounds so romantic and exciting.
That's what you think.
Everything on this show is what you think.
I think this, I think that.
I think it's wonderful.
I think it's exciting.
Once, why don't you ask a person what they think?
Especially a person like me, who took one of those pleasure cruises.
And what happened to me down there?
Why don't you ask me?
All right, what happened, Judy?
Don't ask.
I went to Havana on one of those cruises.
A 4950, a Chicka Chicka Bum Chick to spend a few days, a Buma Buma Chick Boom.
I went to Havana, and along with my friends, I went to Smith and
I'm one of those cruisers
A 49-50, a chick-a-chick, a boom chick
To spend a few days, a boom-a-boom, a chick-boom
I went to Havana, to choose
To look at the natives, the Sun Heights
To study their customs, and picturesque ways
Arriba, arriba, arriba
Arriba
All winter long, I worked in the office all day
I went to school at night to learn how to say yes in Spanish and Portuguese
And then when I got down there, nobody asked me
Arriba, that's all they say
A fella dances with you, arriba
And how I skimp and save all when I eat those lunch counters
Those crummy chicken salad sandwiches
Chicken salad, how I hate the taste of that tuna fish
Saved all my pennies, gave up all my luxuries
Bread and rent
I played all the kids on the block with loaded dominoes
I listed three children as dependents on my income tax
And what did it get me?
Arriba
It was bad enough for one girl to get a fella
But another girl attached herself to me on the boat
Oh, Judy, baby, where are you, honey child?
A girl, I said
Here I am, Blossom
I've been looking all over for you, Judy
I declare I've been all over this boat
You married yet?
Married?
Well, I declare, Judy, everybody on this boat must have the same idea
Because there's nobody on here but girls
Well, even the officers are all girls
But I did think of something, honey child
You and I will sit at the captain's table for dinner
Ah, who wants to eat with her?
Oh, you mean
Arriba, Arriba
Well, this trip is certainly a waste of time and money, that's all I can say
Well, there must be some men on this boat
Well, yesterday I heard a man's voice in cabin 4G
That's my cabin, Judy
Well, I just declare, I'm sorry I came on this trip
I wish I'd gone where I wanted to go, up the Sun Valley
I know a lot of fellas up there
Yeah, but that takes a lot of money
Oh, I don't understand about money, Judy
I don't know anything about money
I just don't know anything about money
Where are you from?
Well, I'm from the Virginia Hills
Arriba, Arriba
Fine pleasure cruise
I saved my money, I figured I'd come out on the boat
And I'd meet a fella and we'd dance
And then we'd go out on the deck and look at the stars
And he makes a pass at me and I slap him
And he walks away and then he won't talk to me
And the next night he's dancing with another girl
And I go to my cabin and I throw myself under bed and I cry my eyes out
That's what I call a pleasure cruise
I know just what you mean, honey child, but there are no fellas on this boat
Arriba
Now what kind of a fella are you thinking of marrying, Judy?
A single one
Arriba, Arriba
But what I mean is, would you prefer a young man with no money or an old man with a lot of money?
A young man with a lot of old money
Well, come on, Judy, let's go over the boat once more
From stern to stem, stem to stern, maybe there's a stowaway
Man overboard
Listen, honey, man overboard, I knew there was a man on this boat somewhere
Come on, Judy, let's go get him
Arriba, Arriba
We're back in the office
Not in the time zone
But you can see
Our minds are not at our word
Oh, hear me screaming
Arriba
Stay away from my door
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So, open the pack and give them a sniff, then you'll smoke them
Well, darlings, we have a lot more show for you
Rex Harrison and Lily Palmer are going to do a beautiful dramatic spot
We have Jackie Miles coming up with one of his famous monologues
And Jimmy Durante and Judy Holliday have a surprise
And Ann Cornell will also be back
But first, Ed Hurley, he wants to say
This portion of the program has been brought to you by the makers of Anison
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And now, Tallulah, if you'll ring your chimes
Thank you, Ed
This, darlings, is NBC, the national broadcasting company
This is the big show
And here is Tallulah Bankhead to introduce her next guest
And it's a pleasure to present him, a clever young man with a style of his own
Which has been rocking the Better Night Club for many a year
That would be none other than the appealing and personable little fella, Jackie Miles
Thank you, ladies and gentlemen, and thank you, Tallulah
Gee, it's wonderful to be on the big show, and radio particularly
I'm crazy about radio because radio is the medium that really made the American home happier
I don't know, Tallulah, if you have a television set in your home and you're nice people listening to have one
But if you do, you know what television has done to the American home
It's ruined mine
I was introduced to television through my wife
I'm married to her
You don't think I look like this from an accident
About a year and a half ago, my wife and I were sitting in the living room
And my wife was talking to me, and suddenly she interrupted herself to tell me something
Tallulah, you must allow me that little joke
Because nature has been so kind to you, ladies
It's given you a beautiful body
Wonderful head of hair, gorgeous eyes, lovely nose
Perfect teeth, beautiful mouth
Then put a tongue in it and spoil the whole joke
Well, my wife said to me, Jack, she said, how much does it cost us in the course of a year to go out and see shows and look for entertainment?
I said, well, honey, in the business I'm in, it's a lot of money, about $10,000 a year
Anyway, that's what I put down
So she said to me, good gosh
She talks like that, you know, Connecticut girl
She said, what a disgusting waste of money
She said, sweetheart, I know where we can get a television set for $500
She said, we stay home and watch the shows on television
We'd save $9,500 the first year and $10,000 a year after that
See, wives have the wonderful faculty for saving money the husband didn't make yet
The money he makes, they got a budget book for
Well, I bit for it, I said, okay, honey, go ahead, the kid didn't like it anyway
She went out and ordered the television set
Now, I'll never forget this, if I lived to be a million
And I know I look like I got three days to go
The set arrived on a Thursday afternoon at 4.30
At 4.25, they were setting the antenna up on my roof
At 4.26, my doorbell rang, I opened it and there was my landlord, the happy monster
I said, what are you doing here? It's so far from the first
He said, I understand you bought a television set
I said, yes, he said, and they're putting the antenna up on my roof
Didn't like the way he said my roof
I said, I'm paying rent, I don't want the whole roof, just a little part, you know
He said, we don't allow it
I said, how can you say that? I'm stuck $500 for the set
You'll break my kid's heart
He said, well, we don't exactly don't allow it
If you sign a new lease with a 15% increase on a 15% increase, we allow it
Well, you can't break your kid's heart, so I broke mine, I signed it
At 5 o'clock, the set was completely installed and that's when the trouble started
My boy in the meantime was running around the neighborhood yelling
My daddy bought a television set
At 5.30, every kid in the neighborhood was in my apartment
62 kids
Watching a show, you should excuse the expression called Howdy Doody
21 kids trying to get into the bathroom at the same time
The other 41 too busy watching the television set, they made from the living room a bathroom
Until 7.30, after Kukla, Fran and Ali, every mother came into our apartment, dragged the kids out and mad at us
Because the kids had missed their dinner as though it were our fault
We cleaned up the place, it was about 9.30 when we got it about ready when all the fellas in the neighborhood came down to watch the fights
You know as well as I do, friends, you just don't sit around a television set and watch fights
You make sociable bets
I emptied my icebox, drank up my whiskey and I didn't catch a bet
That wouldn't bother me, but what the television set's done to my home life proper, we used to be a happy family
It's ridiculous now
My kids don't talk English anymore
He has seen so many cowboy pictures in the morning, he'll look at my wife and he'll say, Ma, I ain't hankering for no cereal
Since we got to television, he said he's an idiot
The other day I said to the kid, how much is two and two? He said, channel four
And my wife, she used to be a lovely gal, now she watches all those chopped up movies you see on television
That's not tough enough, but she buys what they sell during the picture
Anything that cost a dollar she buys
We now got a kitchen with kitchen utensils no kitchen could use
Who?
A lovely gal, now she watches all those chopped up movies you see on television
That's not tough enough, but she buys what they sell during the picture
Anything that cost a dollar she buys
We now got a kitchen with kitchen utensils no kitchen could use
Who cares if you can slice a pickle on a 45 degree angle, who cares?
She bought it
So I made a good coleslaw all day, she's rubbing cabbages on this thing
We get coleslaw with a cereal in the morning for lunch, for dinner, coleslaw
She bought another thing, a grating machine that makes carrot juice
I never drank it in my life
She's rubbing carrots and I'm drinking carrot juice now
Never had carrot juice before
I'm drinking carrots and I'm drinking carrot juice now
Never had trouble with my eyes, I'm going blind since I'm drinking this stuff
Well another thing, a thing called Quickie Pymaker, this is the doll
Quickie Pymaker, two pieces of bread with applesauce in the middle, this is pie but I'm eating it, she makes it
And they sell another thing called magic towels, why do you think they call them magic towels?
We sent them the dollar, never got the towels, nice
My wife used to cook the kind of things I could eat, simple food, steaks, chops, now she watches those chefs on television
I am living on bainty dishes like chocolate covered oysters
For a Sunday special, marinated herring stuffed with halva
Like I said we were happy but since we got this set it's ridiculous, we fight all the time, we never used to fight
Now it's a consistent battle, she wants to watch the fashion show, I want to watch the ball game
She wants to watch Milton Berle and that hurts me
To make a long story short, she's got the kid now and she's living with her mother
That's not the worst of it, she's suing me for divorce and she wants custody at a television set
I don't my Easter bonnet to you Jackie Maas for most amusing monologue and his further cause for throwing hats in the air
In December 1948, Rex Harrison opened in what proved to be a run of memorable performances at the Schubert Theatre in Maxwell Anderson's story of a tragic queen
Anne of the Thousand Days, his betrayal of Henry VIII in that play is still a vivid theatrical memory for us all
Tonight Mr Harrison recreates the role of the despotic monarch and in the company of his beautiful wife, Lily Palmer as Anne Boleyn
brings us scenes from Maxwell Anderson's Anne of the Thousand Days
We meet first the king, played by Rex Harrison
The stage is shadowed, menacing with the vastness of Toulouse
The king is deliberating over signing the death warrant of his wife Anne Boleyn
This is hard to do when you come to put pen to paper and you say to yourself, she must die
And she must if things are to go as planned
Yes, if things are to go at all, if I'm to rule and keep my sanity and hold my England off the rocks
It's a lee shore and a low tide and the winds are gale and the Spanish rocks are bare and sharp
Go back to it, Henry, go back to it
Keep your mind on this parchment you must sign
Tip your pen in the ink, write your name
Oh, you've condemned men, nobles and peasants, she's struck down a few herself for driven you to it
It's only that a woman that you've held in your arms longed for when she was away and suffered with
No, but she promised you an heir, write it down, write Henry Rex and it's done
And then the headsman will cry out suddenly, look, look there
And point to the first flash of sunrise and she'll look, not knowing what he means
And his sword will flash in the flick of the sun to the little bones of her neck as she looks away and it'll be done
It'll be done
How did you come to this?
What were you like, Henry, when she flashed her first anger at you ten years ago in spring?
How hopeful were you, how mistaken then, how ridiculous and how much in love?
The dark closes in and the scene flees swiftly to the Tower of London, now a fugitive ray, a flicker from the vanishing day, illuminates the Queen and, too, thinks her thoughts
If I were to die now, oh, but I must not die yet, not yet, it's been too brief, a few weeks and days
How many days, I wonder, since the first time I gave myself to that last day when he left me at the lists and I saw him no more
Well, I can reckon it, I have time enough, those who sit in the tower don't lack for time
He could never cipher, he was shrewd and heavy and cunning with his tongue and wary and intrigued
But when it came to adding up an account, he filled it with errors and bit his tongue and swore
Till I slapped his hands like a child and took the pen and made it straight
A king, I said, a king and cannot reckon
I was his clever girl then, his man
Why do I think of it now? Would he kill me? Kill me? Henry, the fool, that great fool, kill me?
Could I kill him, I wonder? I feel it in my hands, perhaps I could, so perhaps he could kill me, perhaps he could kill me
The Dies Cast
The Dies Cast, the wondrous moment of love and marriage, fled, and has reached the end of her thousand days
A light that has no sun in it falls through leaded windows and makes pale the cheek of the queen who stands accused of infidelity
The trial, the travesty, nears its end, but Henry has not been able to stay away
I was a fool to come here
Why did you come?
Because I wanted to know, because I wanted to know, and still I don't know, no man ever knows
Whether I was unfaithful to you?
Yes, just that, whether you were unfaithful to me while I loved you, but I'll never know whether you say yes or no
I won't be sure either way, fool, that I am, that all men are
They are fools and fools, King Henry, you've shut me up here to be tried for adultery and treason toward you
You've done this because you love elsewhere, and I know it
But now you come here to make sure whether they were truly adultery, because that would touch your manhood and your pride
And you wait and listen, a cat in a corner watching the pet mouse run before it died, and then you come out to make sure
Oh fool, oh fool, even so, my heart and my eyes are glad of you, fool of all women that I am, I'm glad of you here
Go then, keep your pride of manhood, you know about me now
Nan
Mind I ask no pity of you?
Nan, I have no wish to harm you, I am much moved by what you said
I'd rather a year cut out of my life than do you wrong after these words of yours
Did you say, did you say truly you were glad of me here?
I won't say it again, but I did say it, and it was true
Then let's do all this gently, Nan, for old times sake
I have to prove that I can father a king to follow me
You and I will not have a son now, God has spoken there, go quietly, sign the nullification
No, we were king and queen, man and wife together, I keep that, take it from me as best you can
You do leave me no choice
Would you let this grind on the way it's going?
You word of itself, your purpose, I remember your saying, let them die upon the time, you've forgotten it no doubt
No, I did say it, these things look different from the other end
If I'd known then what I feel now, I couldn't have done it
No
I've been your wife, could you do it to me?
Yes, if you stood in my way, defiantly as you do
You're not old, you belong a king, but you're still young and could change
You said on that one day when we loved each other, remember?
That one day when I loved you and you loved me, that you could change, would seek justice, would be such a king as man hoped you'd be when you came to the throne
It's not too late for that
Only if you harden in your mind toward me and say it's nothing like the other rats and rabbits, let her be cut and torn and buried
Then I think it will be indeed too late, the king, the great king you might have been, will have died in you
Now I'll tell you truly, I do want to begin again and I can't with you, you brought me into blood
That bloody business of the death of more and all the pitiful folk who were like him and wouldn't sign, your hand was to that, it's bloodstained
And yours, not yours, what you truly want, though you may not know it, is a fresh frail innocent maid who will make you feel fresh and innocent again and young again
Jane Seymour is the name, it could be anyone, only virginal and sweet, and when you've had her, you'll want someone else
It's not true
Meanwhile to get her you'll murder if you must
Why then you've decided and so have I
Before you go, perhaps you should hear one thing, I lied to you, I loved you but I lied to you, I was untrue, untrue with many
Is it a lie?
Is it? Take it to your grave, believe it, I was untrue
Why then you settled, it's settled, you asked for it, you shall have it
Quite correct, only what I take to my grave you take to yours, with many, not with one, many
She's guilty, proceed with the mummering, I sing with you, lend me a pen
She lies, she lies, she was not unfaithful to me, but if she lies, let her die for lying, let her die
Oh God, oh God, sometimes I seem to sit in an emotionless dream and watch while I do a horrible thing and know that I do it and all the clocks in all the world stand still
Waiting, what is she thinking in this haunted interval while no moat falls through the shaft of sunlight and no man takes a breath?
I've never thought what it was like to die, to become meat that rots, then food for shrubs and the long roots of vines
The grief could reach me, I may make him drunk before many years
Someone told me the story of the homely daughter of Sir Thomas More, climbing at night up the trestles of London Bridge where they stuck her father's head on a pike
And hunting among the stinking and bloody heads of criminals till she found her father's head, his beard matted and hard with blood and climbing down with it and taking it home
The baddie in the garden perhaps, would they fix my head up on London Bridge?
No, no even Henry would object to that, I've been his queen, he kissed my lips
No, he wouldn't want it
No, I lie in lead or brass
Meat, dead meat, but if my head were on the bridge he wouldn't climb to take it down, nobody'd climb for me
I could stay and face up the river and my long hair blow out and tang around the spikes in my small neck
Till the sea birds took me and there was nothing but a wisp of hair and a cup of bone
I must think of something to say when the time comes, if I could say it with the axe edged toward me, could I do it?
Could I lay my head down and smile and speak till the blow comes?
He say it's subtle, it doesn't hurt, there's no time, no time! That's the end of time
Shall I tear this?
No, go your way and I'll go mine, you to your death and I to my expiation, for there is such a thing as expiation, it involves dying to live
Death is a thing the coroner can see, I'll stick by that
A coroner wouldn't know you died young Henry, and yet you did
Kirk, Kirk, burn these records, the trial is over, the thing is done!
To you, Rex Harrison and Lily Palmer, our highest praise for one of the finest dramatic contributions to the big show
Oh, I don't know, Toulouse, did you ever hear me play Henry VIII?
You, Jimmy
And why not, me and my leading lady, Miss Judy Halliday, a little music, a little music, Meredith?
Yes, Meredith, some King Henry music, preferably you go to my head
It's hard to sign this paper and have her beheaded, it's hard to do, I can't write
I'll just sign it with a Rex, but should I or shouldn't I?
Wouldst I should or wouldst I shouldn't?
What if I do cut off her head, she'll still have one left over?
But on the other hand, I hate to do it, she just bought a new Easter hat yesterday, I'm torn between should and shouldn't
I know what, I'll toss a coin, heads I cut off her head, tails I'm in trouble
I'm in trouble
They say when they cut your head off these days it's very fast
Push pull, click click, new blade
I hope it don't hurt, before he cuts my head off I'll take a couple ass, Anderson
Oh, I'm glad you didn't say that, boy
We'd have been out of a job
Oh, I've got to remember to break my appointment with a dentist
I wonder is he going to do it or not?
Henry, Henry Tudor
Coming Nana
I don't know why he's in such a hurry to cut off my head, why don't you wait a little while, maybe he'll fall off by itself
And all I want to know is one thing, before I have you beheaded, do you have any other boyfriends?
Well, answer me
I think I'll rest on my laurels
Will you talk to me, look at me
Stop staring at my neck
Oh, no
Anne, I love you, let's you and me start over again, just you and me, just the two of us, I love you Anne
Henry, will you put that chicken down when you're talking to me, we're slob
Always eating, now when did they call you Henry the 8th?
Anne, answer me, did you ever have another boyfriend?
Answer me no questions, I'll tell you no lies
Who was he?
Guess
Willie?
No
Dave?
No
Jim?
Jim who?
Jim Williams
No
George?
No
Tom?
No
Jim who?
Jim Baxter
No
Am I warm?
I can't remember
Can't remember, huh? Can't, huh? Honestly, you lose your head if it wasn't attached to your shoulders
Why do you have to cut off my head?
Because then I will be taller than you are
What if I can't you lop a little off the other end?
I'm sorry, it's the best I can do, no hard feelings Anne, you ain't mad
No, I should say not, look I sing, bewitched, bothered and beheaded am I
America, America, America
This is Easter Sunday, a day of hopes reborn and of faith rededicated
One of its symbols is the white cross of the lily
Today, by coincidence, is also the anniversary of a death
The death of Clara Barton, whose life is symbolized by another cross, the red cross
Emblem of man's love for man and the doctrine that each of us is and must be his brother's keeper
On this feast of the resurrection, I want you to hear part of a letter
It came not to us, but to the American Red Cross
It's signed by a man who discovered the true meaning of the red cross on the battlefields of Korea
He writes, They picked me up for dead last fall near the Naktong River in Korea
And when I came to, I was in a hospital in Osaka
There was somebody holding my hand, just sitting there holding my hand, not talking
I didn't feel like talking, I was blind and scared, so scared, it was like I was a baby
I pretended to myself it was my mother's hand, I guess I must have almost broken it
Well, after a while, she began to talk, low and slow and sort of easy
She said she was with the Red Cross, a gray lady
And she didn't give me any hooey about everything being just fine, it was rugged
She knew it, and I knew it
We talked, not just once or twice, but for days
And after a while, I came around to where I wasn't feeling on top of the world, but well, I could take it
Then all of a sudden it hit me, what about my family?
How were they going to feel when they found I was blind?
And they were going to spend the rest of their lives taking care of me
She wrote a letter, and they got it, so that when I got back home, they were like me, they could take it
They operated on my head while I was still in Japan, and I guess it was really something
Because they had to give me nine pints of Red Cross blood to keep me alive
And right now I'm walking around with a plastic graft under my haircut
Back in the States at St. Albans Hospital, the Red Cross was just like it was over there
Somebody always doing something for me
I'm out on convalescent leave, and I can see I've got my sight back
I just want to say thanks, thanks to the Red Cross, thanks for everything
Signed, Sergeant William Botashnik
Ladies and gentlemen, need I say more?
America, America, America
America, live on
Ladies and gentlemen, on this Easter Sunday, let us give more than we ever have before to the American Red Cross
Well, darlings, we're off now for Hollywood, but I guess next week will be Miss Ethel Barrymore, Bing Crosby, Joan Davis, Bob Hope, Van Johnson, Edgy O'Pinza, and others
And of course, our very own Meredith Wilson and the Big Show Orchestra and Chorus
Until then, may the good Lord bless and keep you, whether near or far away
Judy?
May you find that long-awaited golden day today
Jackie?
May your troubles all be small ones and your fortunes ten times ten
Jimmy?
May the good Lord bless and keep you till we meet again
Louis?
May you walk with sunlight shining and a bluebird in every tree
Meredith?
May there be a silver lining like of every cloud you see
Rex?
May the good Lord bless and keep you till we meet again
Don?
May you long recall each rainbow, then you'll soon forget the rain
May the warm and tender memories be the ones that will remain
Fill your dreams with sweet tomorrow, never mind what the high path is
May the good Lord bless and keep you until we meet again
May the good Lord bless and keep you till we meet, till we meet again
Happy Easter, darlings, and Godspeed to our armed forces all over the world who hear these broadcasts each week
The Big Show is produced and directed by D. Engelbach and written by Goodman Ace, Selma Diamond, George Foster, Mort Green, and Frank Wilson. This is Ed Hurley, he's speaking.
Laugh with Bill and Alice and later be sure to hear Theatre Guild on NBC.