You are 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...
Eddie Arnold.
Eddie Cantor.
Jack Carson.
Olivia de Havilland.
Phil Foster.
Tommy Henrik.
Martha Ray.
Evelyn Varden.
Meredith Wilson.
And my name darlings is Tallulah Bankhead.
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 Bankhead.
Well darlings, this was the week for spring cleaning.
I picked a very sunny day and went to the race track.
What a cleaning.
And when I got home, I went to work on the house cleaning.
I started with the medicine cabinet.
Hundreds of little bottles of pills taking up all that space.
So I emptied all the little bottles into one big bottle.
Sleeping pills, reducing pills, appetite pills, liver pills.
I didn't feel quite right the other day.
So I shook the bottle up, took a pill, slept two days, lost six pounds, and woke up eating
a chopped chicken liver sandwich.
One chopped chicken liver sandwich coming up.
Martherey!
You want mustard on that sandwich?
Oh Martha, no, I wasn't ordering.
Hold your mustard.
I don't want a sandwich.
Hold your sandwich.
Martha, please, will you be quiet?
Hold your tongue, girl.
That's better.
What is this short order of character you're doing here?
Oh, didn't you know?
Well, that's the way I broke into the movies.
You see, when I first went out to Hollywood, I figured that somebody might discover me
if I took a job as a waitress in a Hollywood restaurant.
And sure enough, just like in the movies, a talent scout came in one day and he says,
who is that beautiful girl?
So I went over and found out.
Well, how did you finally get into the movies, darling?
Oh, it was easy.
You see, one day a director came in, took one look at me, and he put me in the pictures.
A director took one look at you and recognized your talent and your ability.
No, he recognized me.
I'm his sister.
That's a good one, huh?
Bye.
Well, that was relatively easy.
Tell me, darling, what have you been doing lately?
Now where did you get that lovely suntan?
In Miami.
Really?
Miami where?
Miami where?
Miami, Florida, that's where.
Oh, Florida, of course, you were on vacation.
Well, I worked in a nightclub, but during the day I was on the beach.
Oh, I wish you could have seen my bathing suit.
Nobody else could.
Oh, I see you wore one of those bikini bathing suits.
Huh?
Speak up, girl, speak up.
Oh, you know the bikini bathing suits, a very scanty swimsuit named after that coral reef
in the Pacific, the bikini atoll.
Well, mine was named after nothing atoll.
Oh, I know what you mean.
I wouldn't buy one of those bathing suits unless the label said, guaranteed not to
shrink.
Well, that's what it said and they were right.
That was the only thing that didn't shrink, the label.
Well, how did you swim in it?
Barely.
Ha ha, barely, that's a joke, son.
You know, you see, I had a job on the beach there as a life-saving guard.
Really, darling, doing what?
Saving lifeguards.
Saving lifeguards, you're supposed to save women and children from drowning.
Well, you save who you like and I'll save who I like.
Now, Martha, I'm more interested in your nightclub act.
You see, when this show takes a summer vacation, I'll have three months before we come back
in the fall.
And I thought maybe that I could play that nightclub you own in Miami, Martha Ray's Five
O'clock Club, isn't it?
Yes, it's the Five O'clock Club.
And thanks for the club, Tudula.
Not at all, darling.
But Tudula, tell me, have you ever been on a nightclub floor?
Too often, darling.
All righty, Tudula, there's nothing to it.
You slip the waiters a few bucks and they applaud for you.
Oh, crack.
If they don't, I'll crack them in the head.
But I don't think I'd have the nerve to get out on a nightclub floor.
I'd be petrified.
Well, that helps.
Look, Tudula, I'll speak to the man who owns the nightclub where I work.
He's a nice guy, but sort of a, well, a kind of a goon.
I've known him for years.
He lets me use his caban on the beach during the day.
I had the sun in the morning and the goon at night, but I wanted to tell the dogs.
Oh, my darn buster.
If you want to sing, Martha, I wish you'd sing that beautiful thing you sang on our
show a few months ago.
We've had loads of letters asking for it again.
You mean that old black magic?
That's the one, baby.
Ladies and gentlemen, one of the greatest ballad singers of our time, Miss Martha Ray, weaving
that old black magic.
Merit is darling.
How about that beautiful Sid Phan arrangement, if you please, sir?
That old black magic has me in its spell.
That old black magic that I feel so well as I see fingers up and down my spine.
It's the same old witchcraft when your eyes meet mine.
It's the same old tears that I feel inside and as an elevator goes by and down and down
I go around the world like a leaf that's caught in time.
I know I should stay with you, but what can I do?
I hear your name and I'm on flame.
I'm a flame with such a burning desire.
I can put out my fire for you're the lover that I have waited for to make that flame
and feel created for.
Every time your lips meet mine, feet be down, down, down, I go.
Oh, around I go in a speed blue.
I'm loving this phenomenon under that old black magic called love.
I know I should stay with you, but what can I do?
I hear your name and I'm on flame.
I'm a flame with such a burning desire that all your kisses can put out my fire.
For you're the lover that I have waited for.
You're the mate that made and me and me created for.
Every time your lips meet mine, daddy down, hey down, I go.
Oh, around I go in a speed blue.
I'm loving this phenomenon under that old black magic called love.
Applause.
Wonderful, Martha, wonderful, simply divine.
Oh, what I would give if I could sing like that.
Give my regards to Broadway, remember me to hell and spare.
Does that sound like Martha Ray?
Sounds more like Sugar Ray.
What do you mean by that, Jack Carson?
What's wrong with my voice, Jack?
Well, I'll give it to you straight from the shoulder, Tallulah,
and that's where your voice sounds like it's coming from, straight from the shoulder.
I can't understand it. I adore music. I listen to recordings.
Tunes keep running through my mind all day long.
I'm so full of music. I'm full of harmony. I'm full of melody.
I know what you're full of, but...
Like you're singing, Tallulah, I happen to know something about putting over a song. I can help you.
Oh, Jack, if you can, I'll put my career in your hands.
Good. Well, now first...
I'll put my future as a singer in your hands.
Good. Now...
And now where do we start?
With your throat. Put that in my hands, will you?
No, no. First, let's analyze Martha Ray's singing.
Now, she really sells it.
Of course, in your case, it's going to be hard to even give away, but...
You have this wonderful big orchestra. 47 men around you.
Oh, they should help you with your singing.
With 47 men around, darling, who wants to sing?
No, no. I mean you have 47 fine musicians. You should take advantage of them.
Heaven knows I tried.
I think I see what you mean. Well, let's take...
Let's take Old Black Magic and see how you do with that.
I'll put it down, please.
That Old Black Magic has me in its spell.
Now, try that.
That Old Black Magic has me in its spell.
Having one of your bad spells, eh?
That Old Black Magic that you weave so well.
Come on, fellow babies, sell it.
That Old Black Magic that you weave so well.
Sounds like spot welding, doesn't it?
Those icy fingers up and down my spine.
Take it.
That same old witchcraft when your lips meet mine.
Well, I don't know about the craft part, but the witch...
Well, never mind.
Let's take it down further where it goes.
A flame with such a burning desire.
Sell it, fellow babies.
That only kiss can put out the fire.
Well, did I sell it, honey?
Sort of a fire sale.
Why don't you give up singing?
Just a minute, Pastor.
Another Martha Ray you'll never be.
You'll never give out like she does.
You haven't got the large mouth she has.
Ah, forget it.
There must be something else you can do.
Something else?
Yes.
Listen here, you fugitive from a Dennis Morgan picture.
You overgrown Milwaukee Freddie Betholomew.
Oh, I was wrong.
You have got a big mouth.
But look, I wasn't trying to belittle you when you're singing.
You can't ever write with a singer like Martha because you just haven't got the physical equipment.
It isn't as if you haven't got as much or even more, but it's just...
When it comes to singing...
When it comes to singing, you've got the wrong kind.
Martha has a natural feel for singing.
She really belts out a song.
Why can she and why can't I?
Well, she has the vocal cords for it.
She can hit hard notes and I can.
She has the larynx for it.
Yes, I guess she's sitting pretty.
She has the background for it.
Well, you have quite a bit of background yourself.
Why don't you go put it down somewhere while I present our next star?
And now, ladies and gentlemen, we are privileged to welcome to the big show
an actress whose gifts of charm and eloquence, whose powers of portrayal and interpretation
have won for her a place in our hearts.
Two Academy Awards for outstanding performances and pictures.
And most recently, the product of Shakespearean scholars for her triumphal revival
of the immortal Juliet in Romeo and Juliet at the Broadhurst Theatre in New York.
Here is Miss Olivia de Havilland.
Applause
From the stage of the Broadhurst to the stage of our big show in the Center Theatre,
Miss Olivia de Havilland and the famous chord scene from Romeo and Juliet.
Music
The feeling between the great houses of Capulet and Montague in 15th century Verona, Italy,
has reached a stage of explosive tension.
Unknown to both families, however, Juliet, daughter of the Capulets,
and Romeo, son of the Montagues, have been secretly married at noon of this very day.
Juliet awaits her marriage night, does not yet know that Romeo,
to avenge the killing of his friend Mercutio, has meanwhile slain her kinsman Tybalt in a duel.
By the window of her tower bedroom, she awaits the coming of her nurse,
who is to bring the rope-lad of cords so that Romeo can come to her.
Before the nurse arrives with the tidings of tragedy, an eager Juliet speaks her soliloquy.
Galop apace, you fiery-footed steed, toward Phoebus lodging.
Such a waggoner as Phaethon would whip you to the west and bring in clouding night immediately.
Spread thy close curtain, love-performing night, that runaway's eyes may wink and Romeo leap to these arms.
Untalked and unseen.
Lovers can see to do their amorous rites by their own beauty.
Or if love be blind, it best agrees with night.
Come, civil night, thou sober-suited matron all in black,
and learn me how to lose a winning match, played for a pair of stainless maidenhoods.
Hoard my unmanned blood-vating in my cheeks with thy black mantle, till strange love, grown bold,
think true love, active, simple modesty.
Come, night, come, Romeo, come, thou day-in-night, for thou shalt lie upon the wings of night,
whiter than new snow on a raven's back.
Come, gentle night, come, loving black-browed night, give me my Romeo,
and when he shall die, take him and cut him out in little stars,
and he shall make the face of heaven so fine that all the world will be in love with night,
and pay no worship to the garish sun.
Oh, I have bought the mansion of a love, but not possessed it, and though I am sold, not yet enjoyed.
So tedious is this day as is the night before some festival,
to an impatient child that hath new robes and may not wear them.
Oh, here comes my nurse, and she brings news, and every tongue that speaks but Romeo's name,
speaks heavenly eloquence.
Now, nurse, what news? What hast thou there? The court? Let Romeo bear thee fetch.
Ay, the court.
Ay, me, why dost thou wring thy hands?
Oh, well, a day he's dead, he's dead, he's dead.
We are undone, lady, we are undone, and that's the day he's gone.
He's killed, he's dead.
Can heaven be so envious?
Romeo can, though heaven cannot. Oh, Romeo, Romeo, whoever would have thought it, Romeo.
What devil art thou that dost torment me thus? This torture should be roared in dismal hell.
Hath Romeo slain himself?
I saw the wound, I saw it with my eyes, God save the mark.
A piteous cause, a bloody piteous cause, pale, pale as ashes, all bedaubed in blood, all in gore blood, I swooned at the sight.
Oh, break my heart, oh, bankrupt, break it once. Two prison eyes, nare look on liberty.
Vile earth to earth resign, end motion here, and thou and Romeo press one heavy beer.
Oh, Tybalt, Tybalt, the best friend I had. Oh, courteous Tybalt, honest gentleman, that ever I should live to see thee dead.
What storm is this that blows so contrary? Is Romeo slaughtered and is Tybalt dead?
My dearest cousin and my dear delor, then dreadful trumpet sound the general doom. For who is living if those two are gone?
Tybalt is gone and Romeo banished. Romeo that murdered him is banished.
Go, did Romeo's hand shed Tybalt's blood?
It did, it did, alas, the day it did. Oh, serpent heart, did with a flowering face, did ever dragon keep so fair a cane?
Beautiful tyrant, fiend, angelical, just opposite to what thou justly seems.
Oh, nature, what hadst thou to do in hell when thou disfouled the spirit of a fiend in mortal paradise of such sweet flesh?
Oh, that deceit should dwell in such a gorgeous palace.
There's no trust, no faith, no honesty in men, all purgered, all forsworn, all knocked, all dissemblers.
Ah, where's my man? Give me some aqua vita. These griefs, these woes, these sorrows make me old. Shame come to Romeo.
Listed be thy tongue for such a wish. He was not born to shame. Upon his brow shame is a shame to sit, but is a throne where honour may be crowned, soul monarch of the universal earth. Oh, what a beast was I to chide at him!
Will you speak well of him that killed your cousin?
Shall I speak ill of him that is my husband? Ah, poor my lord, what tongue shall smooth thy name when I, thy three hour's wife, have mangled it?
But wherefore, villain, didst thou kill my cousin? That villain cousin would have killed my husband.
Back, foolish tears, back to your native springs. My husband lives that Tybalt would have slain, and Tybalt's dead that would have slain my husband. All this is comfort.
Wherefore, weep by then?
Some word there was, worser than Tybalt's death that murdered me. I would forget its fame, but oh, it presses to my memory like damnant guilty deeds to sinners' minds. Tybalt is dead.
And Romeo banished it. That banished it, that one word banished it, has flamed ten thousand Tybalt's.
Romeo is banished. To speak that word is father, mother, Tybalt, Romeo, Juliet, all slain, all dead.
Romeo is banished. There is nowhere no limit measure bound in that word death. No word can that woe sound.
Where is my father and my mother, nurse?
Weeping and wailing over Tybalt's course. Will you go to them? I will bring you thither.
Wash they his wounds with tears. Mine shall be spent when theirs are dry, for Romeo's banishment.
Take thou those calls. Poor hopes you are beguiled, both you and I, for Romeo is exiled.
He made you for a highway to my bed, but I am made thy maiden widoweth. Come, cause, come, nurse,
hark to my wedding bed, and death, not Romeo, take my maiden head.
Stay in your chamber. I'll find Romeo to comfort you. I walk well where he is. Hark ye, your Romeo will be here at night.
I'll to him. He is hid at Lawrence's cell.
Oh, find him. Give this ring to my true knight and bid him come to take his last farewell.
Bravo, bravo, Olivia de Havilland. A magnificent performance, darling, and so ably assisted by Miss Evelyn Varden.
Olivia, my dear, would you mind coming here for a moment? I must say, a more tender, a lovely Juliet I've never seen.
Thank you very much, Tallulah.
Except, of course, when I played it.
Oh, and now, Olivia, we are not going to have a typical petty squabble between two actresses, are we, my sweets?
Well, I didn't intend to start one, but you say when you appeared in Romeo and Juliet, your performance was better than yours.
Oh, I didn't say it was better than yours. Oh, no, I merely gave it a different interpretation.
Compared to yours, my performance had more depth.
And more width.
Oh, it's going to be that kind of a routine, huh?
Well, don't blame me, Tallulah. I was on my way to the dressing room when you called me over and told me about your performance in Romeo and Juliet.
What's so funny about that?
Oh, nothing. I was just trying to picture you climbing over the garden wall and looking up at the balcony at Juliet.
So I played Juliet. And not only that, but I revised the part a little.
I will admit it may have been too drastic a revision of Juliet because it didn't play as I hoped.
How about Romeo?
He wouldn't play either.
As for criticizing you, my dear, I only saw it for the first time here. I haven't seen the play, but I'd give anything to see you in it.
480 will do it. But I'm more interested in these revisions you say you made in the part of Juliet. What were they?
Well, as you know, Olivia, darling, Juliet was supposed to have been only about 14 years old, a young girl with old ideas.
Oh, and you revised it to an old girl with young ideas.
Just a minute, snake pitch.
I happened to have been 14 years old when I played it.
Only 14?
That's right. And despite that tender age, my Juliet was in the finest Shakespearean tradition.
Well, of course, darling, you had the advantage of working with the author.
Oh, my dear, my dear.
Other voices, other roots, other arms that hold me tight.
Other music, strangers dancing in the light.
Other voices, other roots, other perfume fills the air.
Other midnight's just remind me you're not there.
I like her voice, I like her smile, she's not my choice.
Yet for a while I kiss her lips, but I won't be true.
I refuse to get used to anyone but you.
Other voices, other roots, other arms that hold me tight.
You have been listening to Meredith Wilson and the Big Show 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
The Big Show, the big stars on this program are
Eddie Arnold, Eddie Cantor, Jack Carson, Olivia de Havilland, Phil Foster, Tommy Enrich, Martha Ray, Meredith Wilson and his Big Show Orchestra and Chorus.
And every week your hostess, the glamorous, unpredictable, Tallulah Bankheads.
Well darlings, what do you think? Last week we received two awards on this show and this week comes another from Radio and Television Mirror magazine.
Voted the favorite newcomer to radio. I hope you won't consider this bragging, which it is.
But I just love the inscription on that Radio and Television Mirror award, favorite newcomer.
I'm intrigued with that word newcomer. It has such a youthful flavor about it.
It's been so long since I've been a newcomer to anything.
Anyway, I felt so good about it that I thought I'd celebrate last week and go out to the ballgame.
I hailed as a cab and who should drive up with Max of Taxi, a gentleman who reminds me so very much of Eddie Cantor.
Taxi, lady.
So where do you want to go, lady?
Take me out to the ballpark.
The game between the New York Yanks and the Brooklyn Dodgers. Which team are you going to root for?
Well, the Giants are my team. Thank you, darling.
But when they're not playing, I'm for, heaven forgive me, the Yankees.
I'm sorry this is a Brooklyn taxi. Go get yourself a Yankee taxi.
I'm not going to stand here all year waiting for another taxi.
Look at her. If Brooklyn can always wait till next year, so can you.
Will you let me get into this cab? I've got to get there in time for the flag raising.
Oh, they don't raise the pennant flag today. That's on the opening day, Tuesday.
I am not discussing the pennant flag. When I show up there, they raise the Confederate flag.
Hey, Taxi, you want the...
Step right in, mister.
Just a minute. This is my cab.
Tallulah. Remember me, Jack Carson?
Unfortunately, I do. But I've already engaged this taxi.
She's young. She's lovely. She's engaged to a taxi.
You kindly step aside, Jack.
Yeah, but the driver said the cab was empty, so I'm taking it.
No, no, you're not.
Now, look, if you two fellows are going to fight over the cab...
Now, didn't I ask for this cab first? Come on, I'm in a hurry. I'm in a hurry.
What's your hurry? Are you playing shortstop today? Or Pee Wee Reese you ain't?
A Pee Wee she ain't either.
I want to get up there in a hurry because I'm a Yankee fan. I'm going up to see them lose again.
Lose again? The Yankees won the game yesterday.
I am talking about the Yankees that lost the game between the States.
Hey, Dinkie, Coachman, come on, let's go. Step on it. Come on.
Wait a minute. Wait a minute. Where are you going?
You gave me out to the ball game. Yellow Joe DiMaggio, power things with Yogi Bara.
Come on, step on it. Let's go.
Just a minute, lady. Wait a minute. Wait a minute. Wait a minute.
We're having a roundtable discussion here about the cab.
A roundtable discussion with these squares?
Come on, let's go.
This is my cab.
I'm sorry, but the driver gave me the cab.
Well, the cab is empty and I'm taking it.
Just a minute. Just a minute. Well, yeah. No fighting.
Everything can be settled peacefully and according to law.
Everybody knows that possession is nine-tenths of the law.
And since the taxi is in my possession, owned in partnership with the finance company,
we call up the finance company, hold a board of directors meeting, and decide who should get the cab.
Or we can go to the one higher authority, the taxi driver's creed, okay?
Okay, anything. Let's get going.
Okay, the taxi driver's creed. Quote,
Eeny, meeny, miny, maxy, you're the one who gets the taxi.
Okay, mister, you win. That's me.
Thank you, driver. Let's go.
Now, just a minute, Tallulah. As long as you're going after the game, why don't you let me go with you?
You and a taxi with me, holding hands, necking, wanting a kiss.
Oh, no. I promise you on my word, I won't do it.
Then who needs you?
Who needs her? Come with me, Jack. I'll give you a lift.
But you haven't got a car, Martha. Oh, who needs a car?
Come on, hop on. We'll go piggyback.
Driver, let's go. Okay, lady, all right.
Well, Miss Bankhead, it's a pleasure for Max you to taxi to be driving you again, huh?
Oh, that's Bankhead for you. Can't pick a horse, can't pick a cab.
You know why I'm driving you instead of them other two screwballs?
No, why are you driving me instead of them other two screwballs?
Because I feel we Southerners should stick together.
We Southerners? Ain't you from Alabama?
Yes, and you? Southern Boulevard in the Bronx.
Well, a lanceman, y'all.
A lanceman, you are?
Yes.
You know, I heard you on the radio last week, Miss Bankhead, and you was terrific, if I may say so.
You may.
You sure got a great show. Even the kids like you.
Only last Sunday, my little Herman says, tune in the radio. Uncle Tallulah's on.
Uncle Tallulah, how sweet.
You ought to come up and meet the family sometime, Miss Bankhead.
Anytime. You just name the year.
Nothing like having a family, that's what I say. How do you like kids, Miss Bankhead?
Salted.
I even hated myself as a child.
You don't like kids, huh?
Oh, I have nothing against the little darlings. It's just that they're so sticky.
Oh, you'd love my little Herman. He's one of your biggest fans. He listens to you all the time.
By the way, would you mind autographing this picture for him?
Why, I'd be delighted.
Here you are.
Just a second. Why should I sign this? It's a picture of Ava Gardner.
Look, the kids never seen you. Let them live a little.
Oh, oh, oh, oh, oh, oh. I gather you think I'm unattractive.
Oh, I wouldn't say you was homely.
Thank you.
On the other hand, you're no Humphrey Bogart.
Homeless Bankhead, I would say you're a great deal like my calf.
The paint ain't what it used to be, but the motor's still running.
Well, I've been thinking of trading myself in on a new Ford.
Max, I'm going to be late for the game. Can't you hurry, darling?
You show people are all alike. Even when you're going someplace to relax, you're in a hurry.
You should take things easy, Miss Bankhead.
Yes, I suppose you're right.
Sure, a little rest never hurts nobody.
For example, don't you feel better when you go to bed at 9.30 and drink a nice glass of warm milk?
When I go to bed when? And drink what?
What's the matter? Don't you drink milk?
I did once on a dare.
I take it you don't like milk.
I can't stand the stuff. It makes me violently healthy.
I'm partial to Coca-Cola with a yogurt chaser.
Oh, Maxy to Maxy, can't you go any faster? It feels like we're standing still.
We are standing still. I stopped for a light.
Well, hurry and get away.
What's the rush?
The red light clashes with my dress.
Besides, I don't want to miss the ball game.
Relax, I'll get you there here. Have a smoke.
Oh, thanks.
Got a light?
Yes, I've got one.
Ah, say that's good.
Should be. It's clear Havana.
I never smoked the Panatella shape before.
What on earth was that?
It's that sailor on the corner. He's whistling.
Miss Bankhead closed the door. He's only whistling for the cab.
Oh, well, I couldn't take any chances.
If I was wrong, I'd never have forgiven myself.
Now we can go, Miss Bankhead. The light just changed.
Oh, just a moment. I think we better throw the cigar away.
Why?
That sailor just saluted me.
You know something, Miss Bankhead? Gosh, you smell good.
Oh, well, that's the nicest thing anyone said to me all day.
That's the same perfume you was wearing the last time I drove here.
Ah, how do you know?
For a week, the cab smelled like a barbershop.
This happens to be imported perfume.
Yeah? I bought my wife a bottle of that stuff once.
It was gone the same day.
How come?
My brother-in-law drank it.
Oh, what a guy that married it. Oh, what a guy.
Here's a fella. Here's a fella.
My brother-in-law. He got hysterical when they raised the telephone rates from a nickel to a dime.
It meant they had to retool and make smaller slugs.
Never had a cent to his name, you know.
Doesn't he work?
Work?
Miss Bankhead, you are talking about an individual who is green on one side from sleeping on pool tables.
Every time he shakes hands with you, he says, excuse the chalk.
But one thing I'll admit, at dinner time he comes home and helps my wife in the kitchen.
She does the cooking, he does the eating.
Well, say, what are you going to do with a guy who uses a salami for a watchfob?
Hey, that gives me an idea, Miss Bankhead.
Are you still single?
Why?
Let me put it this way. Would you like to save some money on your income tax?
Naturally.
Marry my brother-in-law.
How will that save me money?
You can deduct them as a total loss.
You two would be a good combination. He's stupid and you got money.
I am not interested.
Think it over, Miss Bankhead. After all, you are not getting any younger.
No, but if you read my press notices, you'll find I'm not getting any older, are there?
Well, here we are at the, if you should excuse the expression, Yankee Stadium.
What do I owe you?
A dollar seventy-five.
All right, there you are, a dollar seventy-five.
Thank you. Now about the tip.
Oh, yes, of course, the tip. Here you are.
Twenty-five cents. Miss Bankhead, the last time you gave me a five dollar tip.
Yeah, but the last time I didn't know you were a Brooklyn fan. Good morning.
Good morning. How do you like that? Twenty-five cents.
How do you like that? Twenty-five cents. I could have taken Martha Ray or Jack Carson.
I know what they would have tipped me. Eh, so I'm fifteen cents ahead.
Music
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Music
Well darlings, while I was out at the ballpark finishing my twelfth hot dog and my fifteenth soft drink,
who's been tampering with my script?
Well, who do you think? Who should come up to the left field box where I was sitting and say,
How do you do, Miss Bankhead?
But old reliable himself, Tommy Hennies.
Applause
Well, Tommy, I've been looking for you to come up to bed. Where have you been?
Oh, I'm coaching this year, Miss Bankhead.
You know, in this business, by the time you get to be thirty-five, you're all through playing.
Not me, darling. When I was thirty-five, I mean when I get to be thirty-five, I'm going to retire too.
You mean you're going to stop playing too?
Oh no, I mean retire from the theater. I'm going to keep on playing.
Well, in your business, I guess you can. But towards the end of last season, I was having trouble getting to first base.
I've been having that trouble for years, darling.
When I did get on third base, and somebody would hit a long high ball, I'd have trouble getting home.
Me too. One long high ball and I have trouble getting home.
Hey, Tallulah, introduce me.
Go away. Tell me, Tommy.
Oh, come on. Don't be a hog. Come on. Introduce me. Hey, who's the creep?
Oh, this creep just happens to be Tommy Henry. I mean, this is Tommy Henry.
This is Tommy Henry? Get out of here. This crumb, are you kidding? Tommy Henry? What do you got back from your dugout? Tommy Henry.
Tommy Henry. Hey, who's Tommy Henry?
Now, would you mean to say you've never heard of Old Reliable?
Oh, I know who you are, but who's Tommy Henry?
Oh, Tommy Henry just happens to be one of the greatest all-time Yankee ballplayers. He's been with them since 1937.
Oh, a ballplayer. Hey, you know, I don't understand baseball, Tommy. Maybe you can wise me up on the game.
What would you like to know, Miss Creep?
That is me, sweetie.
Tell me about baseball.
Well, to start with...
Cut. That's enough about baseball. Let's talk about us, old boy.
Now, Martha, if you want to learn about baseball, there's nobody who can tell you more about it than Tommy Henry. Go ahead, Tommy.
Well, first I guess you have to know that there are nine men in four bags.
You mean that men and women play together?
No, no.
Come on, Tommy, you know...
Just nine ballplayers to a team. Haven't you ever seen a ballgame?
Oh, sure. You know, my favorite ballplayer is... he's... oh, what's his name? Oh, you know, the one that looks like Joe DiMaggio.
Looks like Joe DiMaggio?
Yeah. Well, I remember seeing the paper one day. Joe DiMaggio's double wins game.
Hiya, Jess. You mind if I cut in here?
Oh, Jack, this is Tommy Henry.
This creep is Tommy Henry?
Not me, you dope. I'm Martha Ray.
Oh. Well, hello, Tommy. Glad to see you.
Glad to know you, Jack.
You know, I was once in baseball.
Yeah? What position did you play?
I was in left field.
Oh, an outfielder.
No, no. I sold hot dogs.
One day an awful thing happened. I dropped a whole tray of hot dogs in the left field stands.
Oh, that's terrible. What did you do, Jack?
It didn't take me long to clean them, but I had to go all the way around to right field to sell them.
Tommy, this is something I happen to know about you. You're quite a singer, aren't you?
Oh, I don't know. During the winter, I sing some barbershop quartet numbers.
Well, how about singing something for us?
Well, I can't do much without the other three fellas.
Oh, what a phlegm's excuse. I sing. I don't need any excuse like that.
I've heard you sing, Miss Bankhead. There is no excuse.
Three other fellas, indeed. I'm a whole quartet by myself.
Listen to this, darlings, in spite of my code.
I sing a little tenor, sing a little baritone, also sing a little bass.
I have a most peculiar voice, full of charm and grace.
You can have your pericolour, your sonatra, and your ping, but they can't take my place.
I sing a little tenor, sing a little baritone, also sing a little...
You'll never make it, Miss Bankhead.
You want a bet? Step aside, Buster, I may spray.
Hey, hey, hey, hey, hey.
Here's a word from RCA Victor.
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It's the new Singers' Single Series, 54 all-time Tin Pan Alley tunes by nine of America's brightest recording stars.
And speaking of RCA, here is one of their biggest recording stars, the guitar playing, sweet singing, Tennessee plowboy Eddie Arnold.
Thank you.
Hiya, Tallulah honey.
Well, I'm fine, Eddie baby. Nice to see you. How you been, Lammy Pie?
Oh, I'm fair to the Midland.
I'm having a little trouble there myself.
Well, how's everything down home? How's the mint crop on your farm?
Oh, we got a big crop of mint this year, about 10 glasses full.
Oh, that's slim pickings. What have you been doing since you came up north, Eddie boy?
Spying.
Well, good for you. Where are you stopping in town, Eddie?
The Dixie Hotel.
Well, naturally. Seen any shows?
Well, I saw the Tennessee Williams play.
Well, naturally.
In the South Pacific?
Well, naturally.
Mr. Roberts, E. Lee?
A lovely play, if I ever saw one.
And have you taken any of the sights while you've been up here?
Yes, I took in a few of them.
There's one sight you gotta take in, Eddie.
Every Southern who comes up here rushes right out there the first thing to enjoy this sight.
Which one is that, Tallulah?
Grant's tomb.
Eddie, honey, we better stop talking like this. We're in enemy territory.
How about you singing that newest RCA Victor recording of yours, Kentucky Walls?
Well, I'm aiming to.
Well, aim ahead, honey child.
Mary, how about some music for Eddie, if you please?
We were walls in that night in Kentucky by that beautiful harvest moon.
And I was a boy that was lucky, but it all ended too soon.
As I sit here alone in the moonlight, I see a smiling face.
And I long once more for your embrace and that beautiful Kentucky Walls.
We were walls in that night in Kentucky by that beautiful harvest moon.
And I was a boy that was lucky, but it all ended too soon.
As I sit here alone in the moonlight, I see a smiling face.
And I long once more for your embrace and that beautiful Kentucky Walls.
Here are two northern gentlemen who have something to say about some of the finest tobacco in the South, Bing Crosby and Bob Hope.
Now here's Chesterfield's answer to Cyrano de Bergerac, Bob Hope.
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And Chesterfield leaves no unpleasant aftertaste. That fact has been confirmed by the country's first and only cigarette taste panel.
So make our cigarette your cigarette. The reasons go together like this.
By Chesterfield, Chesterfield, the one that brews its case. Yes, Chesterfield's a milder, milder plus no aftertaste.
So ho, open a pack and give them a sniff. Then you'll smoke them.
Well, darlings, we have more show for you, but that'll be in just a minute after Ed Huller, he says.
This portion of the program has been brought to you by the makers of Anisyn for fast relief from the pain of headache, neuritis, and neuralgia.
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Now to Lula Blossom, honey, if you want to ring your ever-loving chime.
I sure do, Ed. This here, darlings, is NBC, the national broadcasting company.
This is the big show, and Tallulah Bankhead is about to introduce her next guest.
Yes, ladies and gentlemen, at this time.
Oh, Tallulah, if you don't mind, I'd like to introduce this fellow.
He's from Brooklyn, and I want you to meet him for more reasons than one, if you know what I mean, Miss Bankhead.
Of course, Judy. I mean, Eddie.
See, this fellow's a very good catch. They've been trying to catch him for years.
Miss Bankhead, may I present a young man who has become generally recognized in the nightclub and variety world
as Brooklyn's ambassador to the United States, Phil Foster.
Well, Phil, what do you think of her?
For this, you brought me all the way to New York.
You know, I don't like to leave Brooklyn unless there's a special purpose.
I got a tie-on and a jacket. For what? For what?
I want you to meet this girl.
Go on. Since when does a girl wear a bust of brown haircuts?
Boy, what some guys would do to get out of the Army.
Just a minute, you. My name is Tallulah Bankhead.
Tallulah? What kind of name is that? I never heard of such a name.
Come on, what's your real name? Cassie?
Cassie! Phil, please, that's no way to talk.
Come on, the deal's off. Give me back my broker's fee.
How can I say to the fellas on the corner, I want you to meet my friend Tallulah.
Tallulah! They'll run me out of the neighborhood.
And what my grandmother call her.
How about Tallulah-luh?
Tallulah-luh?
I knew I mispronounced it.
They won't call you that in my neighborhood.
Besides, in my neighborhood, there's something bigger and more important than girls right now.
And I'm talking about the Brooklyn Dodgers.
You see, you're looking at a real Brooklyn Dodger fan.
And I want you to know right now, people, if you ever get a chance to see a game at Ebbets Field,
don't miss the opportunity. What a game. Believe me, what a game.
Sometimes a ballgame starts and interferes with it.
Now, you know, all ballgames in Brooklyn start at 1.30.
The game starts at 1.30. Half past seven in the morning, you'll find this fella standing in line.
Something like this. 7.30 in the morning.
He wouldn't wait in line as long for a job.
11 o'clock he yells to somebody,
Open the gates!
You creep!
I'm sweating!
My sandwich is a spoiler!
Come here!
Finally open the gates. If they're waiting in line so long, you'd figure this guy would run to the front row front seat, wouldn't you?
Not this fella.
His favorite seat happens to be in the 15th row behind a pole.
He don't like baseball.
By 1 o'clock, somebody in a subtle Brooklyn voice will suggest that the ballgame is about to begin.
Something like,
Here comes the brooks!
Who's fetching?
This fella says, let me look. I can see. 20-20.
20 inches for one eye, 20 inches for the other eye.
It's Hatten.
Hatten! What are you doing? Throwing the game.
This fella says, let him fish.
This fella says, I don't want.
This fella says, let him fish!
I told you! I don't want! Alright? I don't want!
Come on! Let him fish!
Okay. You know what wasn't for that fella? He said, okay, Hatten will never pitch a ballgame.
Then the guy said, I'll bet you half a buck the first ball Joe throws is a strike.
Foot up or shut up.
Put your money where your mouth is.
I'll bet you half a buck against your glasses and you're home blind.
He's put up all the bet socks.
Right one!
Once! Let me do it.
This goes on until about the ninth inning when the Brooklyn's are leading 2-1.
Possible.
The fella in the center field begins to talk to Hatten and pitch to hold the lead.
Hatten is only ten miles away.
But he's going to hear this boy. This boy is talking pretty loud.
He sounds something like, catch them Joe!
I'm with you!
I'm with you Hatten! Baby, I'm with you!
4-1!
Tommy the Teen Joe!
I'm with you baby boy!
If you see a bad play, I'll be at ease!
4-3!
What are you doing?
4-4!
Trade us to the Giants!
Right now, it's not my intention to talk to you people that live in Brooklyn or have been to Brooklyn.
It's my intention to talk to you people having any intention ever going to Brooklyn.
You see, we people from Brooklyn realize that whatever you want from life, you can find any block in Brooklyn.
It's like a little nation in itself. What are you looking for?
Candy store, drug store, butcher, baker, doctor, whatever you want.
And any block in Brooklyn.
Now with this in mind, also in any block in Brooklyn is a thing called a book.
This is not to be mistaken with the book of the month.
This is the book of the block.
My block, the book's name is Fat Melbourne.
See, the fellow takes 30 cent bets, 40 cent bets.
If he gets a dollar and a quarter bet, he lays it off on the next block.
The kind of rain that wipes out ballgames.
Now if you know fellows that hang around corners, you know what? They like to bet on things.
They bet on anything as long as it's a mine bet.
There's always one fellow who'll say, I bet you a million.
This is not so bad. There's always a guy next to him who says, I'll take half the bet.
One day there's a tremendous rain, can't go to bed on it.
Up to go to the movie. Got to go to a movie when it's raining.
You ever see where fellows go to a movie when it's raining? Up to go to college. They hide along the wall.
And every so often they push it out in the rain just to see if it's raining.
When they get to the theater, they always tell you one fellow, lay it out.
The guy that gets caught buys the ticket, walks inside, he says to one fellow, you owe me 45 cents.
The fellow says, I'll pay you. I'll pay you.
The guy says, pay me now when I watch the picture.
I'll pay you. What do you want me to do? Break a bill?
Now they sit and watch the picture. One ends and about to start is the Western picture.
So Fat Melvin turns around to the seven fellows and says, look man, I don't like to watch a picture unless I got a little action on it.
The guy says, what are you talking about?
I said, how many guys do you figure ought to get killed in this picture?
The guy says, 15. He says, you got to bet.
Now they're happy, they're betting on a picture.
One guy gets killed, two, four, five.
All of a sudden they shoot an Indian and he falls off the wrong side of the mountain.
Now we have a little trouble.
The seven fellows say the Indian is dead.
Fat Melvin says he's hanging by a tree on the other side of the mountain.
Can't see him. What an argument.
Finally they decide if at the end of the picture they need his death to prove it one way or another, they'll all go behind the screen and they'll see if he's hanging.
This goes on until 13 men are dead, one minute left to go to the end of the picture and things are very exciting.
Because the hero's best friend is a fellow by the name of Killer.
He's got two villains lined up against the wall. He says, I reckon I'm going to let you have him, boys.
Wipe your alchemy, get you off the face of the earth.
Now Fat Melvin figures out very quickly, 13 plus two, he loses.
He pays off. So from the seat he begins to talk to the picture.
Something like, what do you want to kill him for?
That's all you got to do is kill people.
You got to kill him. Kill him in another picture.
The seven guys are yelling, die!
You little dogs, die!
Fat Melvin says, come on, don't be so bloodthirsty.
Bang, bang, two shots ring out. The book can't look.
What happens? One fellow says, one guy is dead, the other one's wounded.
14 and a half.
Fat Melvin keeps talking to the picture. Kid, live.
Live, kid, you're too young to die.
I don't care about the money.
I don't care about the money. Live!
I'll kill you if you don't live.
And he dies. As he dies, Fat Melvin turns around and says, how do you like that?
For miserable eight dollars, they threw the picture.
That was just hilarious, Phil Foster.
You must drop in again sometime, darling.
And now, how about a little music?
Meredith Wilson has an exciting arrangement of a famous spiritual, swing low, sweet chariot.
So here are Meredith Wilson's big show orchestra and chorus to present it.
Hallelujah, sing hallelujah.
Hallelujah, hallelujah.
Hallelujah, hallelujah.
Hallelujah, sing hallelujah.
Swing low, swing low, swing low, sweet chariot.
Come and point and carry me home.
Swing low, sweet chariot.
Come and point and carry me home.
Swing low, sweet chariot.
Come and point and carry me home.
Swing low, sweet chariot.
Come and point and carry me home.
I looked over Jordan and what did I see?
Come and point and carry me home.
A band of angels coming after me.
Coming for to carry me home.
Swing low, sweet chariot.
Coming for to carry me home.
Swing low, sweet chariot.
Coming for to carry me home.
If you get there before I do.
Coming for to carry me home.
Tell all my friends that I'm coming to.
Coming for to carry me home.
Time sometimes up and sometimes down.
Coming for to carry me home.
But still my soul is lying in heaven's rebound.
Coming, coming, swing low, sweet chariot.
Coming for to carry me home.
Coming for to carry me home.
Merideth, as always, that was simply divine, darling. Come here, Merideth.
Now, without getting into too long a discussion with you, Merideth, I just want to say that your orchestra and chorus number this week was simply thrilling, inspiring, beautifully done.
Would you like for me to play it again?
Over my dead body.
Well, that's a date.
Wherever I am when it happens, I'll come and play it over you. I'll make a note of that.
Don't bother, darling.
It would be my pleasure, Miss Bankhead.
Don't be so happy. I'm not going until I'm good and ready.
Oh, Tallulah.
I'm not ready, Eddie.
Why are you talking about going, not going? You're too young to be talking like that.
Oh, thank you, darling. That's the sweetest thing that's been said on this program for weeks.
Now, you say something about me. Something young.
Ah, Bartler Ruffer.
Oh, I'm already young? Oh, yes. See how young I look?
Yes, I guess you're right. A man is as old as he looks.
Yes, and a woman is as old as she likes.
Hello, Mother. Hello, Dad. Can I go out to the circus tonight? Can I hunt? Can I please?
Please, Dad. Please, Mother. Hunt in the circus, please. Can I go, please?
Get off my lap.
Tallulah, stop talking to him like that. I finally got a son and you're going to make him neurotic?
Come here, baby. Come here.
Yes, Daddy. See? Daddy likes me.
Ah, for you, Mommy.
Isn't this nuts, baby?
My son, the first thing you've got to do is to learn to sing with your old daddy. We'll make records.
See? You'll bring a little money into the house and we'll split half and half.
Did you take arithmetic yet?
No, Daddy.
We'll split half and half. 90 for me and 10 for you.
Now, here is a beautiful song. It's called When You and I Were Young Maggie Blues.
Come on, Gary. I mean, Jack.
Wait. Wait a minute. There's something not kosher here.
What's that?
You're hogging the microphone.
Maggie, as you used to long ago.
The green grave is gone from the hill.
Maggie, where once the day is gone.
But I love you the same as before.
When you and I were young.
Daddy Arnold, huh? Well, well.
Wow.
I think we ought to repeat the last eight bars, don't you?
Do you, Edward?
Why, why do you think we ought to pick it up, Edward Boyle?
From the green grave, huh?
That's a pleasant thought.
The green grave is gone from the hill.
Maggie, where once the day is gone.
But I love you the same as before.
When you and I were young.
Very well done, boys.
And now let me get in here and do a little something.
Yeah, I was wondering about that, Toulouse.
About what, Martha?
Well, I was wondering about what you do on this program.
You know, all I've known so far is lies, murders.
Very well done, boys.
Delivious, Phil.
Where are you all stopping while you're in town, 8-a-hundred?
Darling, open my dead body.
Step aside, buster.
I see a little tenner.
I see a little bando.
I also see a little fatty.
I am high, isn't she sweet?
Well done, darling.
You had the makings of another Tallulah bank hit.
Do you think the world is ready for two Tallulah bank hits?
That's what I keep telling her.
But when I started to say Tallulah...
But when I started to say Tallulah, before I stepped on your lap,
it's a surprise to me to see a big shot, legitimate actress like you doing a bit here on radio.
After all, I always think of you as a...
What, as a heck of a great actress.
Why, Martha, darling, I'm deeply touched. I actually believe you really mean that.
You do?
Then I must be a heck of a great actress, too.
I'll figure that out later.
Meanwhile, I'm going to do something here that no other actress has ever done, I believe.
I'm going to read that classic poem dedicated to our national sport,
which opens its season this week.
A poem by Ernest Thayer, Casey at the Bat.
This poem was immortalized with the late DeWolf Hopper,
and I would like to try and give you my impression of his interpretation.
The Outlook
The outlook wasn't brilliant for the Mudville Nine that day.
The score stood four to two with but one inning more to play.
And then when Cooney died at first and Barrows did the same,
a sickly silence fell upon the patrons of the game.
A struggling few got up to go and deep to scare.
The rest clung to the hope which spins eternal in the human breast.
They thought if only Casey could but get a whack at that.
We'd put even money now with Casey at the bat.
But Flynn preceded Casey as did also Jimmy Blake.
And the farmer was no good and the latter was a fake.
So upon that stricken multitude grim melancholy set,
for there seemed but little chance of Casey getting to the bat.
But Flynn let drive a single to the wonderment of all.
And Blake, the musty spy, tore the cover off the ball.
And when the dust had risen and the men saw what had occurred,
there was Blake safe at second and Flynn a-hogging third.
Then from five thousand floats who went up a lusty hill,
it rumbled through the valley, it rattled in the dill,
it knocked upon the mountain top and recoiled upon the flesh.
For Casey, mighty Casey, what advancing to the bat!
There was pride in Casey's bearing as he stepped into his face.
There was ease in Casey's manner and a smile on Casey's face.
And then responding to the cheers, he lightly ducked his hat.
But no stranger in the crowd could doubt who was Casey at the bat.
Ten thousand eyes were on him as he rubbed his hands with this,
ten thousand hands applauded as he wiped them on his shirt.
And then while the writhing pitcher ground the ball into his hip,
defiance gleamed in Casey's eyes.
They sneer curled Casey's lip.
Ah, the leather-covered sphere came hurling through the air,
and Casey stood out watching it in lofty, grander air.
Closed by the steady batsman, the ball unheeded sped.
That ain't my style, said Casey.
Steve Raghwin, the Emperor said,
Uncle, from the bettors, black to purple,
there went a bumbuffle roar like the beating of a storm
waved on a stern and distant shore.
Kill him! Kill the Emperor!
Tried someone in the stand,
and it's likely they'd have killed him had not Casey raised his hand.
With a smile of Christian charity, great Casey's visit shone.
He still writhing tumult. He made the game go on.
He signaled to the pitcher once more that Spiro had flew,
but Casey still ignored it, and the Emperor said,
Steve Raghwin, too!
Thraught! Tried the maddened thousands, and echo answered,
Thraught! But once conch a look from Casey,
and the multitude was awed.
They saw his face go stern and cold.
They saw his muscles train,
and they knew that Casey wouldn't let that ball go by again.
The smile is gone from Casey's lips.
His teeth are clenched in hate.
He pounds with cruel violence his battered on the plate,
and now the pitcher holds the ball, and now he lets it go,
and now the air is shattered by the force of Casey's blow.
Oh, somewhere in this favored land the sun is shining bright,
somewhere bands are playing, somewhere hearts are light,
somewhere men are laughing, somewhere children shout,
but there is no joy in muttful mighty Casey had struck out.
Divine, Hulula, simply divine, my dear.
Well, thank you, Jack, darling.
Haven't you ever wondered what happened to good old Casey
when he got home after the game?
Well, as a matter of fact, Jack, no, I never did.
Well, now let me show you.
See, Martha, Ray, and I have been worrying about that.
We figured that after the game,
Casey got home and was comforted by his darling wife.
Something like this.
All right, Casey, we're all good.
Come on, come on, that's all I want to know.
We're all good.
Two guys on base and you standing there with your bat
on your shoulder letting all the good ones go by.
I want to know.
I don't know.
I simply do not know.
Honest to Tommy Henrik, I simply do not know.
It was just one of those things.
Ah, shut up, you bum.
Don't you know I've got old neighbors here watching me on television
and you strike out.
Why, you blind bat.
Now, just one minute.
You can call me anything you like,
but don't you call my little old bat blind.
It's a Louisville slugger.
So there.
So what happened?
I don't know.
I simply do not know.
Something within me snapped.
Well, I keep telling you, you're wearing it too tight.
Well, I know I am.
And it's all on account of television.
That plunging neckline sweatshirt you make me wear.
It was bad enough before with all those people in the stands staring at me.
But now with everybody staring at me on television, well.
And this, when I go to bed, I'm only going to let them televise my head.
I want an old war-hopper.
I don't know.
I simply don't know.
Something must have gotten in my eye.
Yeah, yeah, that girl in the box with the dirty blonde hair.
What dirty blonde girl?
I never noticed any girl in any game.
It was just when that dirty blonde ball came over, it had too much kerp.
I mean the ball.
Ah, shut up and answer the phone.
Hello.
Hello, Casey.
This is Tallulah, darling.
In the right field box, remember?
Uh.
Hey, hey, hey, who's that on the phone, Casey?
Not that blonde dame in the box.
Yeah, that's, uh, well, no.
No, no, it's the coach, my.
Well, coach, what's going on?
Aren't you meeting me tonight, darling? Did you get my signal?
Signal? Oh, oh, yes, yes, your signal.
I flashed my mirror at you.
I'm sorry the sun got in your eye and made you strike out.
Oh, that's all right.
Well, honey, are you going to meet me tonight?
Hmm? Oh, yeah, yes, coach.
I'll, uh, I'll meet you in the locker room.
Locker room? How cozy, darling.
Ah? You want me to come over for some practice?
Well, if you feel you need it, what time?
Okay, nine o'clock tonight for practice, huh?
Practice at night?
Yeah. Well, yes, Martha, this is practice for night games.
Now, just a minute. That don't sound like no coach to me.
Give me that phone. I'll bet it's that dirty blonde.
Hello, you. Hey, you stay away from my man, you hear?
Or I'll bat your brains out.
I beg your pardon?
Hey, well, what do you know? It is the coach.
We hope you'll be with us next Sunday when we'll have with us
Fred Allen, Joan Davis, Portland Huffer, Judy Holliday,
Liza Kirk, Herb Schreiner, Fran Warren, 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.
Martha?
May you find that long-awaited golden day today.
Meredith?
May your troubles all be small ones and your fortune ten times ten.
Olivia?
May the good Lord bless and keep you till we meet again.
Jack?
May you walk with sunlight shining and a bluebird in every tree.
Eddie?
May there be a silver lining back of every cloud you see.
Bill?
Fill your dreams with sweet tomorrow, never mind what might have been.
Tommy Hendrick?
May the good Lord bless and keep you till we meet again.
Eddie Arnold?
May you long recall each rainbow, then you'll forget all the rain.
May the warm and tender memories be the ones that will remain.
Fill your dreams with sweet tomorrow, never mind what might have been.
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.
Good night darlings and God speed 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.
Hear the $64 question later, right now it's Bill Harris on NBC.