Lux Radio Theatre - You're My Everything

Summary

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Podcast Summary

Lux Radio Theatre – “You're My Everything”

Harold’s Old Time Radio | July 19, 2026
Featuring: Gene (Jeanne) Crain as Hannah Adams, Dan Dailey as Tim O'Connor, produced by Irving Cummings
(Original radio broadcast; episode theme: A love story set amid the changing world of early Hollywood, following the journey of two star-crossed lovers navigating the entertainment industry, cultural divides, and family.)

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Main Theme

“You're My Everything” dramatizes the journey of Hannah Adams, a Boston society woman, and Tim O’Connor, an Irish-American song-and-dance man, set during Hollywood’s transformational shift from silent movies to talking pictures. Their whirlwind romance, marriage, forays into show business, and the impact on their family life are brought to life with wit, music, and period charm. The episode explores love across class divides, the allure and pitfalls of fame, and the importance of family.

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Key Discussion Points & Story Breakdown

1. The Meet-Cute: Boston, 1924

• Setting: Belmont Theatre.
• Hannah is an upper-class Bostonian, attending Tim’s musical performance repeatedly.
• Tim O'Connor is affable and witty onstage (“You should have brought your umbrella. …You better go home and soak your feet in a hot mustard bath.” – Tim, [03:43]).
• Hannah, smitten, arranges for Tim to escape the rain by inviting him for a “home-cooked meal”—which, it turns out, is at her own house.

Notable Moment

• Awkward Introduction: Hannah’s family is perplexed but gracious to Tim, who thought he was being led to a restaurant, not a society home ([04:47]).

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2. Romance Blossoms Amid Family Scrutiny

• Hannah and Tim’s budding affection: Playful banter and innocent flirtation ("You better watch your step, or one of those fresh guys might even lose his head and try and kiss you good night. Like this." – Tim, [09:28]).
• Family tensions: Aunt Jane exposes Hannah’s lies about attending the symphony ([06:44]); the family's expectations clash with Tim’s background.
• Aunt Jane’s Intervention: She bluntly interrogates Tim about his intentions—"Are your intentions honorable or aren’t they?" ([14:23])—and contrasts their backgrounds ("My grandfather was an Irish cop." – Tim, [15:13]).
• Proposal by Pressure: Aunt Jane orchestrates a decisive confrontation, suggesting they settle things by marrying, despite their protestations ([16:06]).

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3. Leap into Show Business and Hollywood

• After marriage, Hannah joins the chorus—scandalizing her Boston roots.
• Hollywood call: A talent scout sees promise in Tim—"How would you like to go to Hollywood?" ([20:28]).
• Screen Test Chaos: Tim’s awkwardness shines in his film test:
  • “Now you inhale again. …blow the smoke out in curls, I think.” – Director Blanton ([23:53])
  • Comic attempts at romantic scenes with Hannah on set ([25:19]).

Notable Quote

• Hannah’s retort during her accidental screen test: “Oh, I hope I don’t sneeze again, darling.” ([25:45])

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4. Unexpected Fame, Ambition, and Sacrifice

• Hollywood twist: Studio wants Hannah as their new star, not Tim ([27:12]).
• Comic misunderstanding: Hannah says she “can’t do it” because she’s “going to have a baby” ([28:06]); turns out it’s speculation, not immediate news.
• Hannah’s reluctant stardom: Silent film success, but frustrations abound—“Why do I have to keep on being a movie star? I just want to be with you.” – Hannah, [35:49]
• Tim struggles: Accepts touring gigs, missing Hannah.

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5. Changing Times: Hollywood’s Ups and Downs

• Transition to “talkies”: Hannah phases out as Tim’s career ascends ([39:28]).
• Parenting conflicts: Debates about daughter Janie’s budding show business interest versus her childhood.
  • “Don’t you want her to be like other children? To know something besides movies?” – Hannah, [42:17]

Notable Segment

• The Reversal: Tim’s yearning for simple rural life—"I'm getting out of pictures, baby. I'm going to be a farmer." ([44:07])

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6. The Next Generation: Janie’s Stardom

• Janie O’Connor, at age 7, lands a movie role after an impromptu studio visit with her father.
• Parental conflict: Hannah, wary of the industry’s toll, opposes Janie’s career despite Tim’s enthusiasm ([47:37]).
  • “If I could be sure it’d be just this one picture…” – Hannah, [48:25]
  • Tim promises—then is caught out when a contract with options comes to light ([49:32]).

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7. Climax & Resolution: Family Over Fame

• Estrangement: Hannah threatens to leave with Janie after feeling betrayed about Janie’s contract ([50:31]).
• Reunion at Janie’s world premiere: Emotional family reconnection is facilitated by Aunt Jane’s behind-the-scenes maneuvering (“You wanted him back, didn’t you? And you’ve got him, haven’t you?” – Aunt Jane, [55:47]).
• Sweet closure: Father and daughter reunite, pledging never to let division come between them again.
  • “Let’s don’t ever go through this again.” – Janie, [56:17]
  • “Ain’t nobody gonna do no seceding from nobody, nowhere, no time, no ma’am.” – Tim, [56:24]

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Memorable Quotes and Moments

• On love and differences:
  • “Maybe my family don’t have a lot of money... but they always been pretty swell people and a lot of fun.” – Tim ([15:30])
• On the absurdity of silent movie stardom:
  • “I can’t tell which one of the singers is you…” – Hannah, during record shop scene ([10:34])
• On rural dreams and movie fatigue:
  • “Just get me out with those cows and chickens...” – Tim, [44:26]
• On showbiz cycles:
  • “People just don’t go to musicals anymore. They're fed up. …It’s a cycle, honey. A couple of years from now, maybe it'll be musicals again.” – Tim, [43:54]

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Notable Musical Numbers

• “Varsity Drag” – Chorus and Tim ([02:20])
• “You’re My Everything” – recurring motif ([01:47], [11:10])
• “Chattanooga Choo Choo” – cast on soundstage ([40:15])
• “The Good Ship Lollipop” – Janie’s performance ([53:36])

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Timestamps for Major Segments

• Opening & Setting: [00:31] – Hollywood introduction
• Meet-cute & Dinner: [01:57]–[05:57]
• Aunt Jane’s Confrontation: [13:46]–[17:21]
• Hollywood Screen Test: [22:41]–[27:06]
• Hannah’s Stardom & Tim on the Road: [29:23]–[36:00]
• Parenting Debates: [41:58]–[43:54]
• Janie’s Studio Audition: [45:10]–[47:55]
• Contract Dispute & Fallout: [49:03]–[51:04]
• Boston Premiere & Reunion: [52:10]–[56:24]

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Tone & Style

• Warmth and Wit: The episode brims with period banter, gentle humor, and affectionate jibes.
• Family-Focused: Explores class, ambition, and the push-pull between career and home life.
• Musical and Melodramatic: Frequent interludes of lively songs, prim 1920s-30s dialogue, and comic misunderstandings.

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Final Thoughts

"You're My Everything" is a quintessential Golden Age radio romance—balancing starry aspirations with the grounding power of love and family. The production brings old Hollywood to life, from chorus lines to movie soundstages, while poking gentle fun at its own melodrama (“You better be careful, see? …about the kind of guys you pick up.” – Tim, [09:00]). Ultimately, it’s a celebration of finding one’s happiness not in stardom, but in steadfast devotion to each other.

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Transcript

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[Narrator]

From Hollywood, the Hollywood Radio Theater, Starring Gene Crane and Dan Daly in you're my everything. Ladies and gentlemen, your producer, Mr. Irving Cummings.

[Producer Irving Cummings]

Greetings from Hollywood, ladies and gentlemen. 25 years ago, I was right in the midst of those turbulent days in Hollywood when silent movies were changing over to sound. In fact, it was my privilege to make the first feature length talking picture at the 20th Century Fox studio. And in tonight's play, from that studio, we'll bring you a love story of those days. You're my everything. And as our stars of this musical comedy drama, we have Dan Daly in his original role of the song and dance man, and that charming actress, Jean Crane. You're my everything now you're my everything. Starring Jean Crane as Hannah Adams and Dan Daly as Tim o'. Connor.

[Musical Chorus/Singer]

My everything Underneath the so you're my everything.

[Producer Irving Cummings]

Boston, 1924. At the Belmont Theater, a matinee performance is underway and for the fifth time in two weeks, a pretty young lady named Hannah Adams is in the audience. Believe me, the show isn't that good, but there's an affable young man on the stage named Tim o'. Connor.

[Musical Chorus/Singer]

Here is the.

[Tim O'Connor]

See how it goes?

[Musical Chorus/Singer]

Down on the heels, up on the toes. That's the way to do the varsity drag. Hotter than hot and newer than new. Meaner than mean and bluer than blue. Gets as much applause as waving a flag. You can pass many a class whether you're dumb or wise? If you all answer the call when your professor cries. Everybody down on the heels, up on the toes. Staff school, learn how it goes. Everybody do the varsity Drag.

[Producer Irving Cummings]

It's an hour later, the performance is over. And outside the theater, here's Hannah Adams again, waiting for the rain to let up.

[Tim O'Connor]

Oh, I only said gazanite.

[Hannah Adams]

Yes, well, thank you, Mr. O'. Connor.

[Tim O'Connor]

You know me?

[Hannah Adams]

Oh, no, no, I don't really, but I. I just saw this show and. And I think you're. Well, honestly, I think it's simply. Simply.

[Tim O'Connor]

You should have brought your umbrella. Yes, speaking of umbrellas, do you Know a place around here a fella can get a good steak dinner?

[Hannah Adams]

Well, no, not. Not exactly.

[Tim O'Connor]

Maybe some nice seafood, spaghetti even. Anything. Just as long as it isn't baked beans.

[Hannah Adams]

Baked beans?

[Tim O'Connor]

Oh, not that I have anything against your famous Boston baked beans, you understand, but why? They're the bulwark of our civilization. But after three weeks is a steady diet. You better go home and soak your feet in a hot mustard bath.

[Musical Chorus/Singer]

Well, Bean, nice seeing you.

[Hannah Adams]

Wait, wait. I. I do know a place where they serve a good home cooked dinner. Oh, I'd be glad to show you, if you like.

[Tim O'Connor]

I like.

[Hannah Adams]

Well, I. I'm just going in that direction.

[Tim O'Connor]

There's no sign of a taxi. Is it very far?

[Hannah Adams]

Not if you don't mind walking. It's in Louisburg Square.

[Tim O'Connor]

Louisburg Square?

[Hannah Adams]

Oh, but I know a shortcut. Come on this way, Mr. O'. Connor.

[Tim O'Connor]

Look, are you sure there's a place around here to eat? This doesn't look much like a restaurant neighborhood. Where are we anyhow?

[Hannah Adams]

Louisburg.

[Tim O'Connor]

Louisburg? You mean we're not even in Boston?

[Hannah Adams]

Well, I mean, this is Louisburg Square.

[Tim O'Connor]

Oh, ritzy, huh?

[Hannah Adams]

Well, the people who live here think this is just about all there is to Boston.

[Tim O'Connor]

Yeah. Well, how much farther is this restaurant?

[Hannah Adams]

Well. Well, this is it right here.

[Tim O'Connor]

This? But this looks like somebody's house. Hey, Kind of expensive, isn't it?

[Hannah Adams]

Oh, no, no, it isn't at all expensive, but. But to tell you the truth.

[Producer Irving Cummings]

Oh, well, aren't you coming in?

[Hannah Adams]

Oh, good evening, Father.

[Producer Irving Cummings]

Good evening, dear.

[Hannah Adams]

Father, father, this is Mr. O'. Connor. Mr. O', Connor, my father, Professor Adams.

[Tim O'Connor]

Oh, well, it's nice to know you, Professor Adams.

[Hannah Adams]

Mr. O' Connor is having dinner with us tonight, Father.

[Producer Irving Cummings]

Really?

[Henry Mercer]

Well, splendid, splendid.

[Producer Irving Cummings]

Come in, Mr. O'. Connor.

[Tim O'Connor]

Oh, thank you, sir.

[Producer Irving Cummings]

Now, if you let me have your hat. Tell Mother I'll be right in, Hannah.

[Tim O'Connor]

Ms. Joy looks okay.

[Hannah Adams]

Oh, good evening, Mother.

[Mrs. Adams (Hannah's Mother)]

Good evening, dear.

[Hannah Adams]

Mother, this is Mr. O'. Connor. He's going to stay and have dinner with us.

[Mrs. Adams (Hannah's Mother)]

Oh, well, we're very happy to have you, Mr. O'. Connor.

[Tim O'Connor]

Thank you. It's very nice to be here.

[Hannah Adams]

Father will be right in.

[Mrs. Adams (Hannah's Mother)]

Yes, dear.

[Hannah Adams]

Oh, excuse me. And this is my Aunt Jane from

[Aunt Jane]

Salem, where the witches come from. Good evening, young man.

[Tim O'Connor]

Good evening.

[Hannah Adams]

Will you excuse me for just a minute? I'll be right back.

[Mrs. Adams (Hannah's Mother)]

Don't be long, dear. Dinner's almost ready. Oh, tell Elizabeth to set another place.

[Hannah Adams]

Yes, Mother.

[Mrs. Adams (Hannah's Mother)]

Well, Mr. O', Connor, did you go to the symphony this afternoon, too?

[Tim O'Connor]

The Symphony?

[Mrs. Adams (Hannah's Mother)]

Why, yes. That's where Hannah's been. Didn't she tell you?

[Tim O'Connor]

No, she didn't mention it.

[Aunt Jane]

That's strange. The symphony seems to be the only thing Hannah's interested in lately.

[Henry Mercer]

As a matter of fact, Mr. O',

[Producer Irving Cummings]

Connor, I'm the only unmusical one in the entire family. Like General Grant, I know only two tunes. One is Yankee Doodle and the other one isn't There.

[Hannah Adams]

You see? I told you I wouldn't be very long.

[Mrs. Adams (Hannah's Mother)]

We were just about to discuss music, dear.

[Henry Mercer]

Yes?

[Tim O'Connor]

Your mother was wondering how you enjoyed the symphony this afternoon.

[Hannah Adams]

Oh?

[Tim O'Connor]

She was surprised that you hadn't mentioned it.

[Aunt Jane]

Perhaps Hannah didn't mention it because she wasn't there.

[Mrs. Adams (Hannah's Mother)]

Wasn't there?

[Aunt Jane]

Perhaps she was at the Belmont Theatre again.

[Hannah Adams]

Oh, Aunt Jane. But. But how did you know?

[Aunt Jane]

I'm not exactly a recluse. I saw you there Last Saturday, ogling Mr. O' Connor here along with the rest of the flappers.

[Tim O'Connor]

No kidding. How'd you like the show, young man?

[Aunt Jane]

You're a guest in my brother's house. I prefer not to answer that.

[Producer Irving Cummings]

So you're an actor, Mr. O'? Connor?

[Tim O'Connor]

Well, I wouldn't go so far as to say that, sir.

[Aunt Jane]

He's what they call a hoofer. How.

[Mrs. Adams (Hannah's Mother)]

How interesting. Well, we.

[Hannah Adams]

We were just standing there and. And Mr. O' Connor asked me if. If I knew a good place where he could get a steak, and how.

[Tim O'Connor]

But. Well, it was raining, Mrs. Adams, you see, and I.

[Hannah Adams]

He said he was tired of eating,

[Tim O'Connor]

and you know how it is in a strange town.

[Hannah Adams]

Besides, Mother, you're always talking about Boston hospitality and. And I just thought it would be sort of nice to bring him home.

[Mrs. Adams (Hannah's Mother)]

Yes, dear, of course. But I.

[Tim O'Connor]

Well, I suppose I ought to apologize, Mrs. Adams. But you see, I really thought that this was a restaurant.

[Mrs. Adams (Hannah's Mother)]

A restaurant?

[Hannah Adams]

Yeah, a place where you eat.

[Director Mr. Blanton]

Oh.

[Producer Irving Cummings]

Well, I can't see that any great harm's been done. Hannah appears to have behaved very humanly, if not properly.

[Henry Mercer]

While Mr. O'Connor here is guilty of

[Aunt Jane]

trying to get himself a good dinner for nothing.

[Tim O'Connor]

Yeah, Well, I guess that about covers it.

[Mrs. Adams (Hannah's Mother)]

Oh, well, it's quite all right, I suppose.

[Producer Irving Cummings]

Oh, yes, indeed. Glad to have you.

[Hannah Adams]

Dinner is served, Mrs. Adams.

[Mrs. Adams (Hannah's Mother)]

Oh, thank you, Elizabeth. This way, Mr. O'. Connor. And I do hope you like Boston baked beans.

[Tim O'Connor]

Oh, ye be.

[Hannah Adams]

Oh, Mother?

[Mrs. Adams (Hannah's Mother)]

Yes, dear?

[Hannah Adams]

Nothing, I guess.

[Producer Irving Cummings]

Sorry you can't stay longer.

[Tim O'Connor]

I'm sorry too, Professor. Eat and run. But you know how it is. The show must go on, Unfortunately. Well, thank you all for a Very nice dinner. Oh, I had a hat, didn't I?

[Hannah Adams]

It's right here, Mr. O'.

[Director Mr. Blanton]

Connor.

[Tim O'Connor]

Oh, thank you.

[Hannah Adams]

You had it. It's still a little damp.

[Tim O'Connor]

Yeah. Thanks. Would you step outside for a minute? I want to give you a piece of advice.

[Hannah Adams]

Advice? Oh, look it. It stopped raining.

[Tim O'Connor]

In the future, you'd better be careful, see? I mean about the kind of guys you pick up.

[Hannah Adams]

Oh.

[Tim O'Connor]

First thing you know, you're gonna bump into one of these cads that'll try and date you up for lunch tomorrow. Well, will you?

[Hannah Adams]

Will I what?

[Tim O'Connor]

Have lunch with me tomorrow.

[Hannah Adams]

Oh, but I couldn't possibly do that. What time?

[Tim O'Connor]

12 o'. Clock.

[Hannah Adams]

I don't think my mother would let me. Where?

[Tim O'Connor]

Copley Plaza. Oh, yeah, and another thing. You better watch your step or one of those fresh guys might even lose his head and try and kiss you good night. Like this.

[Hannah Adams]

Oh, thank you for. For warning me.

[Tim O'Connor]

Yeah. I feel a lot better now. Good night, Hannah.

[Hannah Adams]

Good night, Tim.

[Tim O'Connor]

But you just can't have lunch with me and rush right off. Besides, I have a surprise for you. Come on, we're going in this store.

[Hannah Adams]

The music store? What for?

[Tim O'Connor]

You never knew I made a photograph record, did you, Tim? Oh, well, it's nothing much really. It's just a record.

[Hannah Adams]

Oh, I can't wait to buy it. What song did you sing?

[Tim O'Connor]

Take it easy. Maybe they don't even carry it.

[Hannah Adams]

Maybe they're all sold out.

[Tim O'Connor]

Well, let's find out. How do you like it? Terrific, huh? Only record I ever made.

[Hannah Adams]

Oh, it's wonderful. But I. I can't tell which which one of the singers is you.

[Tim O'Connor]

Keep your shirt on. You'll hear it. I'll tell you when. Oh, that corsage. Be sure and put it in the ice box when you get home. You can wear it again when we go out to dinner tonight.

[Hannah Adams]

Oh, Tim, I can't. We always go to Uncle Edward's Thursday night.

[Narrator]

Uncle Edward?

[Hannah Adams]

We've been going to Uncle Edward's every Thursday night for. For years.

[Tim O'Connor]

Oh, just think of what a relief it'll be for Uncle Edward when you don't show up. I'll pick you up at 6:30.

[Hannah Adams]

But I can't, Tim. I shouldn't. Really, I. I just.

[Tim O'Connor]

Now wait a minute. Wait a minute. Wait. Here it comes.

[Hannah Adams]

Here.

[Tim O'Connor]

This is me. Wait a minute. Right now.

[Musical Chorus/Singer]

Because I love you.

[Tim O'Connor]

Well, how'd you like me?

[Hannah Adams]

Oh, it's beautiful.

[Tim O'Connor]

I do the same phrase solo again a little while later on. Now, about tonight.

[Hannah Adams]

Tim, please let me listen. I want to hear you Again?

[Musical Chorus/Singer]

Yeah.

[Tim O'Connor]

You know, I can't understand why this record didn't sell better.

[Musical Chorus/Singer]

You're the song. I see.

[Hannah Adams]

Hey, everybody.

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[Hannah Adams]

Tim, hadn't you better go now? Your taxi's waiting.

[Tim O'Connor]

Okay. Oh, I left a ticket at the theater for you for tomorrow's matinee.

[Hannah Adams]

I won't be there tomorrow, Tim.

[Tim O'Connor]

We'll be there. But tomorrow's our last matinee. We're closing Saturday night.

[Hannah Adams]

I. I just think we shouldn't see each other again.

[Tim O'Connor]

Hey. What is it?

[Hannah Adams]

Well, you said yourself it can't mean anything that we live in two different worlds.

[Tim O'Connor]

Well, yes, we do, but.

[Hannah Adams]

Then what are we arguing about?

[Tim O'Connor]

All I'm saying is I don't see why we can't go on seeing each other as long as I'm here.

[Hannah Adams]

I'd just rather not, Tim.

[Tim O'Connor]

And you want this to be goodbye?

[Hannah Adams]

Well, isn't it?

[Tim O'Connor]

Will you kiss me good night?

[Hannah Adams]

If you really want me to.

[Tim O'Connor]

I don't suppose I have to tell you how swell it's been knowing you.

[Hannah Adams]

Goodbye, Tim.

[Tim O'Connor]

Yeah. So long, Hannah.

[Hannah Adams]

And Jane. Well, I think it's very nice of you inviting me here for afternoon tea, but.

[Aunt Jane]

Speak up, Hannah. What are you trying to say?

[Hannah Adams]

Well, you keep looking around as if you're expecting somebody else.

[Aunt Jane]

Yeah, I most certainly am. And there he is.

[Hannah Adams]

Oh, no, no.

[Musical Chorus/Singer]

Mrs. Adams, I presume. Good afternoon, Tim.

[Aunt Jane]

I was beginning to think you haven't got my note.

[Tim O'Connor]

Carrying it right here next to my heart. How are you, Hannah?

[Hannah Adams]

I'm fine, but I'm.

[Aunt Jane]

What would you like? We're having tea and crumpets.

[Tim O'Connor]

I'll have tea and crumpets, so help me.

[Aunt Jane]

Waiter. The gentleman will have the same. Well, I suppose you're wondering what this is all about.

[Tim O'Connor]

You can't shoot a man for wondering.

[Aunt Jane]

Very well, Mr. O'.

[Hannah Adams]

Connor.

[Aunt Jane]

Just what are your intentions toward my niece, Aunt Jane?

[Tim O'Connor]

My what?

[Aunt Jane]

You've been seeing her constantly up until

[Tim O'Connor]

the night before last.

[Aunt Jane]

Either your intentions are honorable or they aren't.

[Tim O'Connor]

Certainly they're honorable.

[Aunt Jane]

But you don't want to marry her.

[Hannah Adams]

Oh, Aunt Jane, I could.

[Aunt Jane]

Yes or no?

[Tim O'Connor]

Well, I don't know. Well, that is, not exactly.

[Aunt Jane]

Not exactly?

[Tim O'Connor]

Oh, no, I didn't mean not exactly. I just.

[Aunt Jane]

Before you get any high, faluting notions, young man, let me tell you something about this girl. She's an 11th generation Bostonian. Seven of her male ancestors in a straight line, including the two that came over from the Mayflower, were ministers of the gospel. The other four were professors of Greek at Harvard.

[Hannah Adams]

Aunt Jane, he's not interested in that.

[Aunt Jane]

Look at her. Any fool can see that she was cut out to marry a man of family and position.

[Tim O'Connor]

Well, that's exactly what I told her.

[Aunt Jane]

Are you going to tell me that you're such a man?

[Tim O'Connor]

I certainly am not. My grandfather was an Irish cop.

[Aunt Jane]

Irish?

[Tim O'Connor]

Yes. And my mother and father, now that they're retired from the stage, run a sort of a pay as you go theatrical boarding house in Jersey City.

[Aunt Jane]

And yet you deliberately set out to make this child fall in love with you with a background like that.

[Tim O'Connor]

Now, wait a minute. You got a lot of nerve talking about me and my background. Maybe my family don't have a lot of money and never learned Greek, but they always been pretty swell people and a lot of fun. Say, just who do you think you

[Aunt Jane]

are anyway, young man, I like you. You may not have any blue blood in you, but at least you got blood.

[Hannah Adams]

Oh, how could you do such a horrid thing, Aunt Jane?

[Aunt Jane]

Well, Hannah, if it's of any interest to you, I think you should marry him.

[Tim O'Connor]

Huh?

[Hannah Adams]

Marry him? After what you said?

[Aunt Jane]

For heaven's sake, what difference does it make how it's settled? So long as it's settled. Well.

[Tim O'Connor]

Well, don't you think that Hannah's mother and father might have something to say about it?

[Aunt Jane]

Don't worry. They'll have plenty to say. But make up your minds if you've got any. I'm going to powder my nose. You can both end up old maids as far as I'm concerned.

[Hannah Adams]

Oh, how could she say such things?

[Tim O'Connor]

I'm not worried about her.

[Hannah Adams]

The point is, she had no right to. Well, you don't have to marry me.

[Tim O'Connor]

I don't have to marry anybody.

[Hannah Adams]

Besides, what makes her think I'd marry you? Why, I. I wouldn't any more marry you than. Than. Than you'd marry me.

[Tim O'Connor]

Do you know how much I make a week?

[Hannah Adams]

Just wait till I get Aunt Jane home telling me we were going to have tea while all the time.

[Tim O'Connor]

How am I supposed to Support a wife. Steak, 30 cents a pound. Eggs 22 cents a dozen. Butter.

[Hannah Adams]

What?

[Tim O'Connor]

Then I'd have your railroad fare and your hotel bills.

[Hannah Adams]

What did you say?

[Tim O'Connor]

I said it wouldn't be fair to ask any girl to live on what I make.

[Hannah Adams]

Oh, but I wouldn't cost much, really. I. I could learn to cook and I could.

[Tim O'Connor]

Of course, there's always a chance, you know, they might be able to use you in the chorus.

[Hannah Adams]

Me? On the stage?

[Tim O'Connor]

What's the matter with the stage?

[Hannah Adams]

Oh, nothing. Only I. I can't sing or dance.

[Tim O'Connor]

What's that got to do with being a chorus girl?

[Hannah Adams]

Besides, you. You don't love me.

[Tim O'Connor]

Who said I didn't?

[Hannah Adams]

Well, you certainly never said you did.

[Tim O'Connor]

Oh, for the love of Mike. Do you think I'd have wasted all this time if I didn't love you?

[Hannah Adams]

But you never said.

[Tim O'Connor]

Well, haven't you got eyes? Can't you see that I love you?

[Aunt Jane]

Yes. Can't you see it's written all over him?

[Tim O'Connor]

Aunt Jane, you know you're a swell gal.

[Aunt Jane]

I agree with you. And to prove it, I've just arranged your wedding for you. I even ordered the ring and the flowers.

[Hannah Adams]

Aunt Jane, I. I just don't know what to say.

[Aunt Jane]

Don't say anything. Go ahead and kiss the man.

[Tim O'Connor]

Yeah, just go ahead and kiss the man.

[Hannah Adams]

Tim.

[Aunt Jane]

That's more like it. I was afraid I was going to have to do that for you, too.

[Hannah Adams]

Hannah, that's enough.

[Aunt Jane]

Hannah. Why, Hannah Adams.

[Narrator]

We'll continue with this week's production of the Hollywood Radio Theater in just a moment. Make a friend and you make an ally. There's a thought for you to keep in mind, as many another American has. Although Emory Alvord graduated college with an AB in agriculture, he wasn't completely happy. Through the work of a local missionary group, he discovered there was a great need for agricultural assistance in Southern Rhodesia. So together with his wife, Albert volunteered for the job. At first they found the backward Bantus disinterested, the climate almost unbearable, living conditions far from ideal. But Alvird wasn't discouraged. He planted a corn crop that yielded more than the natives had ever seen. Then the Alberts built a new house for the boss of the village. Not a crude hut like all the others, but constructed of bricks, which they made themselves from straw and mud. When it was finished, the boss moved in with some misgivings, spurred on by the local witch doctor. Gradually, however, as the Alberts work brought bigger and better crops to the natives and improved their living conditions, the fears and superstitions of the natives were dispelled, and eventually even the witch doctor was won over to Christian thinking. For 30 years, the Alvords remained to gain the love and admiration of the natives throughout most of Southern Rhodesia. As one grateful Bantu chieftain expressed it, Cecil Rhodes founded Rhodesia, but Emery Alvord founded the people of Rhodesia. Emery Alvord did something else, too. He discovered that by helping others, you help your country. Now, our producer, Mr. Cummings.

[Producer Irving Cummings]

Act two of You're My Everything, starring Dan Daly as Tim O' Connor and Gene Crane as Hannah. You've heard, of course, of chorus girls who get married and go into society. But how many society girls have you heard of who get married and go into the chorus? That's exactly what our Hannah has done, to the consternation of Boston and the confusion of the chorus. Well, anyway, Hannah's very nice to look at and the show's doing fine. It's moved to Chicago now. And tonight backstage, Tim brought someone into the dressing room.

[Tim O'Connor]

Well, go ahead, Mr. Plum. Go ahead. Tell the bride why you're here.

[Henry Mercer]

Well, I guess I'm here to ask a question, Mrs. O'. Connor. How would you like to go to Hollywood?

[Hannah Adams]

Hollywood? What would we do in Hollywood?

[Tim O'Connor]

Believe it or not, baby, Mr. Plum is a talent scout. And he seems to think this o' Connor guy might do pretty good in the cinema.

[Hannah Adams]

You in the movies?

[Henry Mercer]

Well, I've caught the show several times, Mrs. O'. Connor. I have a hunch this husband of yours has a real chance out there.

[Hannah Adams]

Well, I. I'd better sit down.

[Musical Chorus/Singer]

Not bad, huh? Have a little swimming pool running around the house. Some of them little old diamond bracelets

[Tim O'Connor]

climbing up down your arm.

[Henry Mercer]

Of course, we'll pay all expenses during the test, Mrs. O'.

[Producer Irving Cummings]

Connor.

[Musical Chorus/Singer]

Sure.

[Tim O'Connor]

If the worst comes. The worst, we'll always starve.

[Hannah Adams]

Oh, I'm not worried about that, darling. You'll be as good as anybody they've got out there. Why, why, even better.

[Tim O'Connor]

I'll be bigger than Rudolph Valentino and Tom Mix roll into one. I'll be another Rin Tin Tin. Incidentally, we're leaving Sunday night.

[Hannah Adams]

Sunday night?

[Henry Mercer]

Then. It's all set, Mrs. O'. Connor. I can wire the coast.

[Hannah Adams]

Well, you heard him, Mr. Flumm. I. I guess we're going to Hollywood. Hey, everybody.

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[Director Mr. Blanton]

Okay, boys, get ready lights and cameras for the o' Connor test.

[Tim O'Connor]

I'm all set, Mr. Blanton. You ready for me, huh?

[Director Mr. Blanton]

Clear the set, everybody. Mrs. O'. Connor?

[Hannah Adams]

Oh, yes.

[Director Mr. Blanton]

If you'll just wait over there, please.

[Hannah Adams]

Oh, yes, yes, of course.

[Director Mr. Blanton]

Are you all right, old boy?

[Henry Mercer]

Me?

[Musical Chorus/Singer]

Sure.

[Tim O'Connor]

You're still gonna tell me what to do, aren't you?

[Director Mr. Blanton]

Naturally, old bean. I am a director, you know. All right, boys, we're ready. Music. Camera. Just stand there, Mr. O'. Connor.

[Henry Mercer]

That's it.

[Director Mr. Blanton]

Now then, you reach for your cigarettes. Nonchalance, old boy. Man of the world, you know. Okay, Bert.

[Tim O'Connor]

Okay, Mr. Blanton.

[Director Mr. Blanton]

Now light the cigarette.

[Henry Mercer]

That's it.

[Director Mr. Blanton]

Now, fine. You toss the match away and exhale. I said exhale, old boy.

[Henry Mercer]

There we are.

[Director Mr. Blanton]

Now. Now you hear something, you listen again. Oh, it's an ominous sound. Well, react, dear boy, react. Now, you turn around.

[Tim O'Connor]

You look the other way.

[Director Mr. Blanton]

Now the sound is gone. You're safe. They didn't find you. You inhale again. Ah, sophistication. Sophistication. Mr. O', Connor, please. You blow the smoke out slowly in. In curls, I think.

[Hannah Adams]

How's that burn?

[Tim O'Connor]

All real swell curls, Mr. Blandon.

[Director Mr. Blanton]

A little more curly, if you can. Ah, good. Oh, very, very, very, very good. That's in Burt, you.

[Tim O'Connor]

You mean. That's all, dear boy.

[Director Mr. Blanton]

I'll tell you when you're through.

[Tim O'Connor]

Sorry.

[Director Mr. Blanton]

Now, do you suppose you can hold a woman in your arms? Could you kiss her?

[Tim O'Connor]

Haven't any complaints lately.

[Director Mr. Blanton]

Oh, now, let me see. Let me.

[Hannah Adams]

Ah.

[Director Mr. Blanton]

Could I borrow you for a moment, darling?

[Janie O'Connor]

Me?

[Henry Mercer]

Well.

[Hannah Adams]

Oh, Mr. Blanton, but I couldn't.

[Director Mr. Blanton]

No, no, nonsense. All you have to do is stand next to him. I'm not interested in you, only in him. His reactions. Now, dear boy, may I be you for a moment?

[Tim O'Connor]

Sure, if you can stand it.

[Director Mr. Blanton]

All right. Now watch me. Ready, Mrs. O'. Connor. Oh, darling, I adore you. You're my very life. Tell me, tell me that you love me too.

[Tim O'Connor]

Oh, for heaven's sake.

[Hannah Adams]

Oh, I'm terribly sorry, Mr. Blanton. I just couldn't help it. Your. Your mustache.

[Musical Chorus/Singer]

No.

[Director Mr. Blanton]

Go ahead, Mr. O'. Connor. Try to make love to her. All right, Bert.

[Producer Irving Cummings]

Camera.

[Henry Mercer]

Music.

[Director Mr. Blanton]

Your arms, Mr. O'. Connor. Put your arms around her.

[Tim O'Connor]

Yeah, yeah, but what do I say,

[Director Mr. Blanton]

dear boy? You can say anything you wish. Motion pictures neither talk nor sing. It's how you look.

[Tim O'Connor]

Okay, okay, okay. I'm sorry.

[Director Mr. Blanton]

Try it again, Bert.

[Tim O'Connor]

They're rolling, boss.

[Hannah Adams]

Why, I hope I don't sneeze again, darling.

[Tim O'Connor]

What are you trying to do, wreck my career just when I'm learning how to be a great lover?

[Director Mr. Blanton]

Kiss. A hand.

[Producer Irving Cummings]

The wrist.

[Director Mr. Blanton]

The forearm. Well, now we're getting somewhere.

[Hannah Adams]

That's what he thinks.

[Tim O'Connor]

Whatever possessed me to fall for a dame like you anyhow?

[Hannah Adams]

My romantic.

[Tim O'Connor]

I suppose you think I like to take you in my arms like this and kiss you. I tell you, I'm the luckiest guy ever walked home with a silly little flapper who didn't have any more brains than to pick up a hungry hoofer.

[Hannah Adams]

Are you sorry I did?

[Tim O'Connor]

Sure, I'm sorry. So sorry. I adore you.

[Hannah Adams]

Oh, I adore you, too. Great lover.

[Director Mr. Blanton]

Keep going, old boy.

[Producer Irving Cummings]

Expression.

[Director Mr. Blanton]

Expression.

[Tim O'Connor]

Well, then kiss me, will you, and make blanton happy.

[Director Mr. Blanton]

That's it. That's it.

[Hannah Adams]

Cut.

[Director Mr. Blanton]

Cut. That's old, boys.

[Hannah Adams]

Save the lights.

[Tim O'Connor]

This is a screen test.

[Director Mr. Blanton]

We have your address, old boy. You'll hear from us one way or another. And thanks for your help, Mrs. O'. Connor.

[Hannah Adams]

Darling. Now may I laugh you too?

[Tim O'Connor]

Holy moses. Just tell me, what am I doing here?

[Hannah Adams]

Tim? Tim, is that you? Well, how did they like?

[Tim O'Connor]

Only sensational, honey. And to quote Mr. Mercer.

[Hannah Adams]

Who's Mr. Mercer?

[Tim O'Connor]

Nearly the head of the studio, you dumbbell.

[Hannah Adams]

Oh. Oh, yes, of course. Well, when do you start to work?

[Tim O'Connor]

Well, that's the funny part. I don't. It's you they were talking about me with your push. Mrs. O', Connor, I am reliably informed that within six months, half the babies in america will be named after you.

[Hannah Adams]

Oh, tim, please be serious.

[Tim O'Connor]

And what's more, Mr. Mercer personally guarantees he'll make you a star overnight.

[Hannah Adams]

They're crazy, tim. Well, I won't let them do this to you. And I'm not an actress.

[Tim O'Connor]

I'm a personality. And that's exactly what they want in pictures. You don't have to act. No one even hears your voice. All you do is make faces.

[Hannah Adams]

Well, I won't do it. I won't let them treat you like this.

[Tim O'Connor]

Now, wait a minute. Nobody's doing anything to me. Why, I ought to have my head examined. Even thinking about going to the movies. I'm a hoofer. I can get all the jobs I want. Now, you go in there and potty your nose, because we're going back out to that studio and you're gonna sign a contract for more dough than. Now, what's the matter, Tim?

[Hannah Adams]

I. I can't do it.

[Tim O'Connor]

Why can't you do it?

[Hannah Adams]

Well. Well, I. I'm going to have a baby.

[Tim O'Connor]

A baby? No. You're kidding. Why didn't you tell me before?

[Hannah Adams]

Well, I was afraid you might not want one.

[Tim O'Connor]

Want one? Why, I wouldn't take a billion bucks for, well, at least a million. Now, where's the telephone?

[Hannah Adams]

Jim, what are you going to do?

[Tim O'Connor]

What am I going to do? I'm going to call my folks. I'm going to call your folks. I'm going to. Hey, look. Look in the mirror, honey. Hiya, Pop. That's me, pup. Hello? Hello, operator?

[Hannah Adams]

Tim, wait a minute.

[Tim O'Connor]

Just tell me, when's it gonna be, honey?

[Hannah Adams]

Well, that's just it. I don't expect it for years yet.

[Musical Chorus/Singer]

Years?

[Hannah Adams]

Well, I didn't mean I was gonna have a baby now. I. I just meant I hope to have one sometime in the next few years.

[Tim O'Connor]

So you wanna play, huh?

[Hannah Adams]

Now, Tim.

[Tim O'Connor]

Tim, I'll teach you to play. Gags on me.

[Director Mr. Blanton]

Me?

[Hannah Adams]

If you tickle me, I'll. No, no, don't stop. I only meant it if I got to be a movie star.

[Tim O'Connor]

Only you got to get dressed. Are you going to that studio?

[Hannah Adams]

No. No, I don't want to be in the movie.

[Tim O'Connor]

Just once more.

[Janie O'Connor]

Yes.

[Hannah Adams]

Yes, I'll go. Stop tickling me. I'll do anything. I'll even go in the movies.

[Tim O'Connor]

Well, then, Mrs. Okana, let us get going.

[Henry Mercer]

Henry Mercer finds new star for Superior Pictures.

[Hannah Adams]

Hannah Adams, hailed by studio as discovery of year.

[Musical Chorus/Singer]

Mercer, the star.

[Henry Mercer]

Hannah Adams in the heart of a coed.

[Tim O'Connor]

What are you so worried about, baby? The picture's a big success. You're a star, just like Mercer said you'd be.

[Hannah Adams]

But, Tim, the heart of a coed.

[Tim O'Connor]

Well, you saw it only 12 times.

[Hannah Adams]

Well, it's so.

[Tim O'Connor]

What's so silly about it? The people love it.

[Hannah Adams]

What's silly about it? For the very first shot here, there I am out in the backyard, hanging up a pair of bloomers. Well, then Harold drives by and sees me. First I. I wave like this. And I wave like that. And then I pat my hair. And then I. Then I wave again. And what happens? A title flashes on the screen. It says Yoo hoo. Oh, geez. Really?

[Tim O'Connor]

Oh, but that next shot was far more artistic. Baby Harold gets out of the car and goes into a convulsion. Title on the screen.

[Hannah Adams]

What are you doing, Harold?

[Tim O'Connor]

Reaction from Harold. Title on screen. I'm doing the bunny hug.

[Musical Chorus/Singer]

Can't you see?

[Hannah Adams]

Oh, that's one picture that won't be banned in Boston. I'll be banned.

[Tim O'Connor]

Oh, Hannah, for heaven's sakes. They think you're great. You are great. You're exactly what the public's been yelling for.

[Hannah Adams]

Yeah, that's what Mr. Mercer keeps telling me.

[Tim O'Connor]

Well, he's right. When is the next epic start?

[Hannah Adams]

Day after tomorrow. Superior Pictures present Hannah Adams, America's hotshot girl in flaming flappers.

[Tim O'Connor]

Think you can start without me, honey?

[Hannah Adams]

Tim. Then you've heard from Chicago?

[Tim O'Connor]

Yeah. Nightclub job, two weeks guaranteed.

[Hannah Adams]

You. You're accepting it, aren't you?

[Tim O'Connor]

Baby, we've been through all that.

[Hannah Adams]

Oh, I know, I know. You've got to accept it. You can't just sit around here doing nothing while I'm.

[Tim O'Connor]

There's one thing I'm sure of, though. Soon as those two weeks are up, I'm coming right back. I don't think I can take it, honey. Me in Chicago and you out here.

[Hannah Adams]

And then what, darling?

[Tim O'Connor]

Then I'll hang around till I get sick and tired of you. And I'll look for another job. Two weeks somewhere else.

[Hannah Adams]

Tim, I'm scared.

[Tim O'Connor]

You don't mean that, honey.

[Hannah Adams]

I don't know, Tim. All I know, all I'm sure of is how much I love you.

[Tim O'Connor]

That's my hotcha girl.

[Henry Mercer]

Flaming Flappers breaks box office records in key cities.

[Hannah Adams]

Mercer. Signing new contract with Hannah Adams.

[Henry Mercer]

Hannah Hacha Adams.

[Producer Irving Cummings]

Number one box office star of year.

[Tim O'Connor]

What about it, Lou? What are you doing with my Call of Hollywood?

[Mrs. Adams (Hannah's Mother)]

Take it easy, Mr. O'.

[Hannah Adams]

Connor. I got the house, but your wife isn't home. Oh, you don't want to speak to

[Mrs. Adams (Hannah's Mother)]

the maid, do you?

[Musical Chorus/Singer]

What do you think?

[Mrs. Adams (Hannah's Mother)]

I think you want to speak to Mrs. O'.

[Hannah Adams]

Connor.

[Tim O'Connor]

Hey, that sounds like my cue.

[Musical Chorus/Singer]

Keep trying, will you, Lou?

[Tim O'Connor]

And here he is again, folks. The man you've all been waiting for, Tim o'.

[Musical Chorus/Singer]

Connor. I may be wrong, but I think you're wonderful I may be wrong, but I think you're swell I like your style say, I think it's marvelous I'm always wrong so how can I tell? All of my shirts are unsightly all of my ties are a crime if, dear, and you I picked rightly it's the Very first time you came along. I think you're wonderful I think you're grand But I may be wrong Though your lot is sad, I am just as bad Mine is really quite a hopeless case.

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[Musical Chorus/Singer]

Oculus advise glasses for my eyes. Without them, I can't even see your face. I may be wrong, but I think you're one.

[Producer Irving Cummings]

Oh, good evening. May I help you?

[Hannah Adams]

I'm Mrs. O'. Connor.

[Producer Irving Cummings]

Mrs. O', Connor?

[Director Mr. Blanton]

Wave.

[Henry Mercer]

Why, yes.

[Producer Irving Cummings]

You're Hannah Adams. Oh, just wait till Tim knows your ears.

[Hannah Adams]

Could you find me a table, please? Somewhere out of the way.

[Producer Irving Cummings]

Right this way, Mrs. O'. Connor.

[Musical Chorus/Singer]

You might be John Barrymore. You came along. I think you're wonderful. I think you're grand But I may be wr.

[Tim O'Connor]

I thought it was some kind of a gag when they. Oh, baby, am I glad to see you. When'd you get here?

[Hannah Adams]

About half an hour ago. I. I took an airplane. Oh, darling, I just had to.

[Tim O'Connor]

Sure, sure, I know. But what happened all of a sudden? When did you decide to come?

[Hannah Adams]

The other night, just after I talked to you.

[Tim O'Connor]

I tried to put a call through just a little while ago and they said you weren't home. I couldn't find figure where you were.

[Hannah Adams]

I wanted to surprise you, Tim.

[Tim O'Connor]

You sure did, baby. Now, what about the new picture? Aren't you starting it?

[Hannah Adams]

I was.

[Tim O'Connor]

What do you mean you was?

[Hannah Adams]

Well, I. I made them put it off.

[Tim O'Connor]

How?

[Hannah Adams]

Well, I just told them I was gonna have a baby again. Well, it worked, didn't it? I'm here.

[Tim O'Connor]

What a day.

[Hannah Adams]

Oh, it was awful, wasn't it? But I just couldn't stand it another minute. Darling, I happened to me in love. Do you mind? And you know, I'm. I'm not very bright. Bright about making up excuses.

[Tim O'Connor]

Well, you do all right.

[Hannah Adams]

Anyway, why do I have to keep on being a movie star? I just want to be with You.

[Tim O'Connor]

Well, this won't go on forever, baby. You've still got that vacation coming. Maybe I can get one too. We'll go away together.

[Hannah Adams]

Oh, we'll never go anywhere. Either you'll be working or. Or I will. It's been that way for months now. And for what? To. To build a trust fund so we can have the finest tombstones in Forest Lawn. Well, it's the only time we'll ever be together. Oh, sometimes, Tim, sometimes I wish those talking pictures would come in.

[Director Mr. Blanton]

Hey.

[Tim O'Connor]

Yeah? What about them?

[Hannah Adams]

Oh, they sing a song or something in the Jazz Singer. It doesn't mean anything. It. It's just a. Just a.

[Tim O'Connor]

What is it, honey? What's the matter?

[Hannah Adams]

Oh, it's nothing. Nothing.

[Tim O'Connor]

You look pale or something.

[Hannah Adams]

I just feel dizzy all of a sudden.

[Tim O'Connor]

I bet you haven't eaten a thing. I'll get some hot coffee.

[Narrator]

Hey, Jack.

[Hannah Adams]

Oh, no, no, darling. No, I. I'm fine now, honestly.

[Tim O'Connor]

Oh, now, look, honey.

[Hannah Adams]

Wait a minute. There is something I'd like. Tim, do you know what I'd really like?

[Tim O'Connor]

No, honey. What would you really like?

[Hannah Adams]

A great big sour dill pickle.

[Tim O'Connor]

Well, then I'll get you a Hannah. Hannah. But girls don't ask for dill pickles. Unless.

[Hannah Adams]

I told you I wasn't any good at making up excuses.

[Tim O'Connor]

Holy Moses. I'm a father. And this time she means it.

[Producer Irving Cummings]

We'll continue shortly with a third act of you're my everything.

[Narrator]

Make a friend and you make an ally. There is a thought for you to keep in mind, as many another American has. Dr. Frank Laubach kept it in mind and devoted his life to helping others. He first went to the Philippines as a missionary in 1915 and some 10 years later went to live among the then primitive Moros. He asked them to teach him their language, not a syllable of which had ever been written. But Dr. Laubach found that by means of phonetic charts, he could teach the illiterate Moros how to read and write their own language for the first time. Until the Depression, money came in from Americans who'd heard of the doctor's work. And then a Moro chief gave Dr. Laubach an idea how he could continue his teaching. Through the theory of each One Teach one, each native who learned to read and write would teach another to do the same, and so on. Within seven years, each One Teach One helped the natives rise from a 95% illiteracy to a point where over 70% of them could read and write. Dr. Laubach enlarged the scope of each One Teach One to reach other countries. And from his work was born the World Literacy Committee, which has sent teams into 67 countries to spread the theory of each one teach one in over 200 different languages. In 20 years, over 65 million people learned to read and write through the system, a system which has brought the family of nations closer through education and proved most graphically that by helping others, you help your country. We pause now for station identification.

[Producer Irving Cummings]

The curtain rises on Act 3 of you're my Everything, starring Gene Crane as Hannah and Dan Daly as Tim. Well, a lot of people. Time has gone by and a lot of things have happened. For one thing, Tim and Hannah have their baby only at age 7. James, hardly a baby anymore. For another thing, Hannah's no longer in the movies. Along came talkies and out went Hannah. But if Hannah went out. Tim's come in. Yes, Tim o' Connor is now the biggest star at Superior Pictures.

[Musical Chorus/Singer]

Is this the Chattanooga Choo Choo track Friday night? Boys, you can give me a shine. I can afford to board the Chattanooga Choo Choo. I've got my fare and just a trifle to spare. You leave the Pennsylvania station by the quarter to four. You read a magazine and then you're in Baltimore. Dinner in the diner Nothing could be finer Than to have your ham and eggs in Carolina. When you hear the whistle blowing day to the bar then you know that Tennessee is not very far. Shut up. Along the crawling. Gotta keep it rolling.

[Tim O'Connor]

Boo boo Chow.

[Musical Chorus/Singer]

There you are. Cut.

[Director Mr. Blanton]

Cut. Cut. Oh, that's it.

[Tim O'Connor]

That was great, Tim.

[Henry Mercer]

Great.

[Tim O'Connor]

Okay, everybody, it's all for today. Stage five tomorrow morning.

[Henry Mercer]

Well, Tim, I hate to make predictions, but I really think we've got something here.

[Tim O'Connor]

Well, I sure hope so, Mr. Mercer. I hate to let you down.

[Henry Mercer]

Oh, and before you go home, stop over in the office, will you?

[Tim O'Connor]

Sure. Oh. Anything wrong, Mr. Mercer?

[Henry Mercer]

Oh, no, no, no, no. But some of our big exhibitors, well, they're complaining about all these musicals. They're yelling for melodrama, serious stuff. And I just thought, me, melodrama. We'll talk about it later. Just don't worry about it.

[Tim O'Connor]

So if it's okay with you, honey, I think I'll take Janie over the studio tomorrow. Oh, she gets such a kick out of watching me work. Oh, not that I'm a proud papa, but you should.

[Hannah Adams]

You want her to miss school again, Tim?

[Tim O'Connor]

So she misses one day?

[Hannah Adams]

It's not just that, Tim. You've got that child so spoiled already that all she thinks about is singing and dancing.

[Tim O'Connor]

What's wrong about that?

[Hannah Adams]

Don't you want her to be like other children? To know something besides movies? Oh, Tim, please. I'm just not going to have her childhood spoiled. But what am I doing encouraging her? Teaching her your songs and dances? It just isn't right.

[Tim O'Connor]

Okay, honey, if that's the way you feel about it. Only don't be mad at me. Come on, give me a kiss.

[Hannah Adams]

Tim, I'm. I'm serious.

[Tim O'Connor]

Sure, baby. I know.

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[Tim O'Connor]

Besides, you don't have to worry about it much longer. Did you see this in tonight's newspaper?

[Hannah Adams]

Did I see what in the newspaper?

[Tim O'Connor]

This ad here. It's for Will Rogers new picture. See what it says in big letters? This is not a musical.

[Hannah Adams]

Well, what does that mean?

[Tim O'Connor]

Mercer knows exactly what it means. He says people just don't go to musicals anymore. They're fed up.

[Musical Chorus/Singer]

They want drama.

[Tim O'Connor]

It's a cycle, honey. A couple of years from now, maybe it'll be musicals again. Who knows?

[Hannah Adams]

Tim, what will this do to you?

[Tim O'Connor]

I'm a cook goose, honey. And at last I can do what I've always wanted to do. I'm getting out of pictures, baby. I'm going to be a farmer.

[Hannah Adams]

A what?

[Tim O'Connor]

Why not? We get ourselves a few acres out in the valley. Build a swell little house, live the simple life. What do you say? Oh, it'll be swell for Janie.

[Hannah Adams]

Tim, do you really mean this?

[Tim O'Connor]

Just get me out there with those cows and chickens. You won't be able to drag me back. As for these flickers, Never heard of them.

[Hannah Adams]

Oh, Tim, I'd love it. When?

[Tim O'Connor]

Well, I think we could start talking to those real estate operators. Say Saturday.

[Hannah Adams]

Saturday. Oh, darling, honestly. I'm sorry I fussed at you like that.

[Tim O'Connor]

You'd better be. I'm a gotta be treated right man that needs plenty of loving. Even more than plenty.

[Hannah Adams]

Something like this?

[Tim O'Connor]

More. Give the horses a good rub down, Johnny. They're pretty hot.

[Janie O'Connor]

Yes. Give the horses a good rub down, Johnny. They're pretty hot.

[Tim O'Connor]

Look, big shot, I'll give the orders around here.

[Janie O'Connor]

Yes, sir.

[Tim O'Connor]

Where do you suppose Mommy is?

[Janie O'Connor]

Don't you remember? She went shopping this morning.

[Tim O'Connor]

Oh, yeah, yeah. Shopping.

[Janie O'Connor]

Pop, you know what I read in the Hollywood Reporter this morning? Musicals are coming back.

[Tim O'Connor]

They are, huh?

[Janie O'Connor]

Alexander's Ragtime Band just broke the house record at the Roxy.

[Tim O'Connor]

You don't say. Well, you can stop hinting, see, because I am through. In pictures, I'm a farmer.

[Janie O'Connor]

Some farmer.

[Tim O'Connor]

Well, whatever I am, that's what I'm going to stay. Understand?

[Janie O'Connor]

Just mentioned it, Pop. And you know what I saw on Variety? Well, Bobby Graves is in the hospital. He's got appendicitis. Imagine, nine years old and he catches appendicitis.

[Tim O'Connor]

Hey, he just started his picture.

[Janie O'Connor]

What'll they do?

[Tim O'Connor]

What can they do? The kids are the star. They left the clothes down, of course. Tough on the studio, honey. You know, that's the same studio where mom and I used to work.

[Janie O'Connor]

Gee, I suppose there's no telling when he'll be out either.

[Tim O'Connor]

What are we worrying about the studio for? Come on, let's drive into town and pick out something nice to send to Bobby. Wait a minute.

[Janie O'Connor]

Yeah, Pop?

[Tim O'Connor]

While we're there. While we're in town.

[Janie O'Connor]

Where?

[Tim O'Connor]

I think maybe we'll stop by the studio.

[Janie O'Connor]

Something tells me you're thinking about something.

[Tim O'Connor]

Just an idea, kid. Your old man has got a sensational idea.

[Janie O'Connor]

Well, what are we waiting for, partner?

[Tim O'Connor]

One over the car. I'll leave a note for Mom.

[Hannah Adams]

Oh, now, wait. Wait just a second, darling. Just catch your breath and say that over again.

[Janie O'Connor]

I'm in the movies, Mummy. I'm in the movies. That's where we've been, at the studio.

[Hannah Adams]

Darling, do you mind playing outside for just a few minutes? I'd like to talk to Daddy alone.

[Janie O'Connor]

Well, sure, Mommy. But, gosh, aren't you excited? Oh, boy. Wait, I tell the mom.

[Hannah Adams]

Tim.

[Tim O'Connor]

Just a hunch I had, baby, and it worked. Henry Mercer is nuts about it. The part was for a girl, see?

[Narrator]

For a boy.

[Tim O'Connor]

And I got him to change it to a girl. And not only that, I talked to him into giving me a bit part.

[Musical Chorus/Singer]

There's an old, old colored butler in it. And that way I can be on a set with Jeannie.

[Hannah Adams]

Don't you think you might have talked to me about it first?

[Tim O'Connor]

But I didn't know about it first. It was just a gamble, baby. Marissa might have said no.

[Hannah Adams]

You know how I feel about Jane and working in pictures. Tim, you promised me.

[Tim O'Connor]

But I thought you'd be tickled to death. After all, the picture business never did us any harm.

[Hannah Adams]

You know, as well, as I. What it'll mean. Long hours, rehearsals, costume fittings, posing for publicity, people chasing after her every minute. I. I just don't want that for her.

[Tim O'Connor]

But Janie's got real talent. You just can't.

[Hannah Adams]

I've tried to keep her sweet and simple like other children, but you. You just egg her on.

[Tim O'Connor]

I didn't know you were gonna feel this strong about it. Gee, this puts me in an awful spot. Mercer's got the whole studio turned upside down. They're rewriting the script, and it. Oh, listen, honey. Listen. Suppose we let her just make this one picture? She still has about six weeks before school starts. Then if you're still unhappy, I'll tell Marissa that you and I. Well, that we've decided she just better not go on. I'm sorry, baby. I guess I just didn't stop to think.

[Hannah Adams]

Tim, if. If I could be sure it'd be just this one picture.

[Tim O'Connor]

I give you my word, honey. I won't even mention it again. Cross my heart and hope to die.

[Hannah Adams]

All right, Tim, you win.

[Tim O'Connor]

Atta girl. Kiss me.

[Hannah Adams]

Oh, you big mug.

[Henry Mercer]

So I thought I'd drive out and tell you the good news. Tim. They ran a rough cut of Jeannie's picture last night in New York.

[Musical Chorus/Singer]

Yeah?

[Tim O'Connor]

Yeah.

[Henry Mercer]

Every adjective in the book, Tim. A real smash.

[Tim O'Connor]

No kidding. Chip off the old blocker.

[Henry Mercer]

Listen, you ham. You never could hold a candle to this kid. She's good.

[Tim O'Connor]

Ow.

[Henry Mercer]

Well, they want her back east for the opening in Boston. That means you and Hannah.

[Hannah Adams]

Well, hello, Henry.

[Henry Mercer]

Well, Hannah, I just dropped by to tell you that everybody's crazy about Janie's picture. Oh, incidentally, not that money means anything to you farmers, but naturally we want to do a little better on the next one.

[Tim O'Connor]

Well, it's filthy stuff, of course.

[Hannah Adams]

Next one. Another picture. Oh, no. I thought you understood that, Henry.

[Henry Mercer]

Understood what? What about her contract, the options?

[Hannah Adams]

What options? Tim, you promised me.

[Tim O'Connor]

Of course I did, baby. But no studio makes a contract without options.

[Hannah Adams]

Then you knew all along.

[Tim O'Connor]

Oh, for the love of Pete. This is something Janie loves. It's in her blood.

[Hannah Adams]

I'm sorry, Henry, but Jane is not going to make any more pictures.

[Henry Mercer]

Well, this is a fine time to tell me. What am I supposed to say to New York?

[Hannah Adams]

I don't know. Perhaps Tim has some suggestion.

[Henry Mercer]

Well, Hannah, wait.

[Tim O'Connor]

Let her go. Let her go. I've got something to say about this.

[Henry Mercer]

You better make it good with the mood she's in.

[Tim O'Connor]

Don't worry. Look, you mind waiting? I'll go upstairs and settle this Right now.

[Hannah Adams]

But you deliberately lied to me, Tim. Going behind my back and signing that contract.

[Tim O'Connor]

Well, what if I did? She's my child too, you know.

[Hannah Adams]

And fine care you take of her. Making her work all week in that slush and those wind machines. Why, she almost came down with pneumonia.

[Tim O'Connor]

Pneumonia? She sneezes a couple of times and you build it up until. Oh, for the love of Mike.

[Hannah Adams]

Well, it's not going to happen again, Tim. Even if I have to.

[Tim O'Connor]

Have to what?

[Hannah Adams]

Even if I have to take her away from here.

[Tim O'Connor]

You'll take Janie nowhere.

[Hannah Adams]

Now, wait a minute, Tim, I. Hannah,

[Tim O'Connor]

what's got into you? I used to think you had a brain, but now the way you're acting.

[Hannah Adams]

Jane and I are leaving on the first plane for Boston.

[Musical Chorus/Singer]

Oh, that's fine.

[Tim O'Connor]

You're going home to Mother.

[Hannah Adams]

Huh?

[Tim O'Connor]

I haven't seen that since your last picture. Are you out of your mind?

[Hannah Adams]

I'd like to know who's going to

[Tim O'Connor]

stop if you walk out of this house. Hannah. You know what it means, don't you?

[Hannah Adams]

I know exactly what it means. So if you'll excuse me, Tim, I'm going to find Jane.

[Aunt Jane]

Well, here are the afternoon papers, Hannah. Or have you seen them already?

[Hannah Adams]

No, not yet. Aunt Jane.

[Aunt Jane]

Take a look at this. Gala world premiere of Rebel in Crinoline at Royale Theater tonight. Boston society and civic leaders to pay tribute to the dog.

[Hannah Adams]

Well, that's. That's very nice, isn't it?

[Aunt Jane]

I haven't been as excited since the day you and Tim were married. Sorry. Where's our movie star?

[Hannah Adams]

She's upstairs taking a bath. And calm down now. We don't have to be at the theater until 8 o'. Clock.

[Aunt Jane]

Any mail?

[Hannah Adams]

No. Honestly, you. You'd think he'd write or wire or something. Today of all days. At least to Jane.

[Aunt Jane]

I don't suppose you've written to him either?

[Hannah Adams]

Why should I be the first one to write?

[Aunt Jane]

Oh, for no reason. None of my business. As long as you're both so happy.

[Hannah Adams]

If anybody calls, I'll be upstairs dressing.

[Aunt Jane]

Oh, what a family.

[Musical Chorus/Singer]

All day, I think.

[Aunt Jane]

Well, of all things. A fine thing, I must say. The world premiere of my grandniece's picture goes on and here we are sitting out here in the lobby again.

[Janie O'Connor]

It's just that I'm so nervous, Aunt Jane. Gosh, all those important people in there. What if they don't like it?

[Hannah Adams]

Don't you worry, darling. They love it.

[Aunt Jane]

Can't you be just as nervous in our reserved seats as here?

[Janie O'Connor]

I guess so, Aunt Jane. Come on, Mother.

[Hannah Adams]

Whatever you say, dear.

[Janie O'Connor]

It's a pretty corny picture if you ask me.

[Aunt Jane]

Nobody asked you.

[Hannah Adams]

Well, we'll see all of the finale anyway.

[Janie O'Connor]

That one popped the old southern butler. And Jane Gee's just wonderful in that number.

[Aunt Jane]

That I'd say remains to be seen. Oh, I'll never forgive either of you sitting in the lobby and me with an orchid.

[Producer Irving Cummings]

Hey, don't you worry now, Nelson.

[Janie O'Connor]

Look at Pop. Aunt Jane, look at him.

[Hannah Adams]

I can't find our seats. They're right here. Now sit down and not so loud.

[Tim O'Connor]

Come down yonder to New Orleans and fetch your daddy.

[Janie O'Connor]

Really, Uncle Matt?

[Tim O'Connor]

Sure we will.

[Director Mr. Blanton]

Sure.

[Tim O'Connor]

Now you just close your pretty eyes and go to sleep. Cause I done promised your daddy I was gonna take care of you.

[Janie O'Connor]

Good night, Uncle Matt.

[Tim O'Connor]

Good night, honey.

[Janie O'Connor]

Now is what I dream about, Aunt Jane. Oh,

[Musical Chorus/Singer]

Get on the good ship Lollipop.

[Janie O'Connor]

It's a sweet trip to the candy shop where bonbon play

[Musical Chorus/Singer]

on the sunny

[Janie O'Connor]

peach peppermint bay lemonade stand everywhere ragajack

[Musical Chorus/Singer]

bands fill the air.

[Janie O'Connor]

There you are Happy land on a chocolate bar.

[Musical Chorus/Singer]

See the sugar mold do the Tootsie Roll with a big fat devil's food cake and if you eat too much ooh, ooh.

[Janie O'Connor]

You'll awake with the tummy ache on the good chip lollipop.

[Musical Chorus/Singer]

It's an all night tripping to bear you up with this command.

[Janie O'Connor]

All aboard. All aboard for Candyland.

[Hannah Adams]

Come on, darling, the Picture's almost over. Mr. Mercer will be waiting backstage. You're supposed to make a speech, you know.

[Janie O'Connor]

Cornier and cornier. You better come too, Aunt Jan.

[Henry Mercer]

Ladies. Ladies and gentlemen. On behalf of Superior Studios, thank you for the manner in which you've received our picture. And now it gives me great pleasure to bring you someone. I'm sure that you here in Boston

[Narrator]

are very proud of little Jane o'.

[Hannah Adams]

Connor. That's your cue, darling. Just walk out there and make a little speech.

[Aunt Jane]

Knock em dead, sweetheart.

[Janie O'Connor]

Well, well, here it goes.

[Musical Chorus/Singer]

Oh, you.

[Director Mr. Blanton]

So you think she's good too, Tim?

[Tim O'Connor]

I'd have gotten here sooner, baby, but I didn't get your telegram.

[Hannah Adams]

Telegram? What telegram?

[Aunt Jane]

I can't hear a word the child's saying out there.

[Tim O'Connor]

Why, the wire you sent me.

[Hannah Adams]

But I didn't send any wire.

[Tim O'Connor]

Of course you sent me a wire. What's this?

[Aunt Jane]

Well, you wanted him back, didn't you?

[Hannah Adams]

Well, well, yes, but. But.

[Aunt Jane]

And you've got him, haven't you?

[Tim O'Connor]

Now wait a minute.

[Hannah Adams]

You too.

[Aunt Jane]

You wanted to come, didn't you?

[Tim O'Connor]

Well, sure, but not if Hannah didn't want me.

[Aunt Jane]

Oh, be quiet. I got both of you into this mess in the first place and I'm going to see that you don't get out of it. Well, go on, you.

[Tim O'Connor]

You act.

[Aunt Jane]

Either hit her or kiss her. Jane's speech. We've missed her entire speech.

[Janie O'Connor]

Well, I guess I got through. Daddy.

[Tim O'Connor]

Hello, baby girl.

[Janie O'Connor]

Oh, Daddy, we missed you so much.

[Tim O'Connor]

Yeah, I know, honey.

[Janie O'Connor]

And please, I don't know how you feel, but let's don't ever go through this again.

[Tim O'Connor]

Oh, no, don't you worry, my little missy. But from now on, the Confederates and the Yankees, they plain love each other. And ain't nobody gonna do no seceding from nobody, nowhere, no time, no ma'.

[Musical Chorus/Singer]

Am.

[Narrator]

And I'm all our stars will return. Sergeant Kenneth Kaiser was the first man of the 40th Infantry Division to die in Korean combat. And his memory is perpetuated today in the Kenneth Kaiser High School, the first co educational high school in all Korea. It's a tribute too, to the men of the 40th who wanted a living memorial to one of their heroes. The bodies of Sergeant Kaiser raised the $16,000 that went into its construction. They planned the building and they provided much of the labor. 285 boys and girls there proudly wear the tiny enameled metal pins that are replicas of the insignia of the 40th Division. It's a dynamic, continuing memorial that has promise of making its influence felt for generations to come. Such acts by you and your friends today are shaping our world of tomorrow. Now, Mr. Cummings, with our stars.

[Producer Irving Cummings]

And our congratulations to Dan Daly and Gene Crane as they come forward for a curtain call. Well, that place certainly brought back memories, particularly the good ship Lollipop. It reminded me of Shirley Temple.

[Tim O'Connor]

You directed Shirley Temple in many of her pictures, didn't you, Irving?

[Producer Irving Cummings]

Yes, and that's one reason I welcome sound to the screen. It brought a whole new wealth of talent with it.

[Hannah Adams]

Oh, it must have been wonderful to hear as well as see great singers for the first time.

[Producer Irving Cummings]

Yes, and we just take it for granted today. Why singers like Isio Pinza, Roberta Peters, Jean Pierce. Any one of them would have been a thrill. And now 20th Century Fox has starred them all in one picture.

[Hannah Adams]

In tonight we Sing the Story, which stars David Wayne as Saul Huroch, who also discovered so much talent.

[Tim O'Connor]

Taxi.

[Musical Chorus/Singer]

Taxi. Taxi.

[Producer Irving Cummings]

Taxi. D. You're not leaving so soon, I hope.

[Tim O'Connor]

No, I just wanted to call your attention to a lot of undiscovered talent in a 20th Century Fox picture called

[Hannah Adams]

Taxi and just who is this undiscovered talent?

[Director Mr. Blanton]

Me.

[Hannah Adams]

Now, shame on you, Dan. Your talent is very much appreciated.

[Producer Irving Cummings]

Yes, indeed. We don't allow any untruth like that.

[Tim O'Connor]

I believe you. Now, Irving, what's for next week?

[Producer Irving Cummings]

Next week we're going to have one of the most appealing pictures I've ever seen. It's Warner Brothers heartwarming story of the anguish as well as the happiness that an adopted baby brought to a young couple in Close to My Heart. And as our stars from the original cast, Academy Award winner Ray Milan. And as his co star, lovely, talented Phyllis Thaxter.

[Hannah Adams]

Oh, I just love the picture, Irving. Good night.

[Producer Irving Cummings]

Good night. We'll be seeing.

[Narrator]

Hollywood Radio Theater is produced by Mr. Irving Cummings, our orchestra, directed by Rudy Schrager. This is Ken Carpenter inviting you to be with us again next week for another worldwide presentation of the Hollywood Radio Theater, brought to you through the facilities of the United States Armed Forces Radio Service.

[Director Mr. Blanton]

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[Musical Chorus/Singer]

Wait.

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[Tim O'Connor]

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