Charlie McCarthy Show 39-10-22 Ep129 Olivia Dehavilland

Summary

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Podcast Summary: Harold's Old Time Radio — Charlie McCarthy Show 39-10-22 Ep129 (Olivia De Havilland)

Date of Episode: October 9, 2025
Main Theme:
This episode offers a charming window into the Golden Age of Radio, replaying a classic “Chase and Sanborn Hour” broadcast from October 22, 1939, featuring Edgar Bergen & Charlie McCarthy, Nelson Eddy, Dorothy Lamour, musical guests, and special guest star Olivia de Havilland. The show skillfully blends comedy, music, dramatic storytelling, and vintage advertisements, capturing family entertainment before the dominance of television.

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Main Segments & Key Discussion Points

1. Opening Banter & Running Gags (01:06–02:35)

• Charlie McCarthy (Edgar Bergen’s ventriloquist dummy) and Nelson Eddy kick off the show with playful insults and comedic exchanges, including reading a mock letter from Don Ameche warning Eddy about Charlie’s antics.
• Charlie responds with bravado and wit, highlighting his trademark mischievous tone:
  • "I am waiting for your return, at which time I will be most happy to clip you. So help me and mow you down. Insincerely yours, Charlie. Lil Wood mug us." (01:54)
• The banter establishes the light-hearted, quick-paced rhythm familiar to fans.

2. Musical Interludes (02:35, 05:06, 19:21, 45:47, 57:08)

• The show features spirited musical numbers, including “Tramp, Tramp, Tramp,” “My Love of Londonderry,” “A Man and His Dream,” “Go Fly a Kite,” and a medley of Victor Herbert’s songs.
• These segments both entertain and evoke the era’s musical tastes:
  • Nelson Eddy introduces “My Love of Londonderry”: "Inspired by the old and familiar Londonderry air, Helen Boardman Knox made it into a romantic love song..." (05:06)

3. Charlie and Bergen’s "Breakup" Comedy (09:34–18:46)

• The classic ventriloquist team playfully explores a “breakup” plot:
  • Charlie claims he’s quitting Bergen for “the Great Frederick”—a supposedly superior ventriloquist, magician, fire eater, and used car salesman. Bergen tries to talk Charlie out of it, but Charlie insists:
    • "Your gravy train has been derailed, brother." (10:57)
    • "Mr. Bergen, you are a man of fine character and probably honesty. Probably honest. Yes. I give you the benefit of the doubt." (16:26)
  • Charlie promises to finish the show and arrange for Bergen to meet Frederick “next Sunday.”
• This segment showcases the duo’s wordplay and satirical take on show business ego.

4. Special Dramatic Sketch: "Stormy Quarrel" with Olivia de Havilland (23:35–34:25)

• Olivia de Havilland stars in an original, atmospheric radio play set during a thunderstorm, sharing scenes with Gordon Oliver and Fred Mackay.
  • The story involves Mary Roberts (de Havilland), her marital spat, a mysterious stranger seeking “Lucia Adams,” and a Civil War ghost story set in a storm-battered Virginia home.
  • Tension builds around a local legend: "Death will follow stormy quarrel." (29:00)
  • A supernatural twist helps avert tragedy when the husband is saved from a washed-out bridge by the stranger’s warning.
  • The ending blurs reality and legend:
    • "George, look...The triangular fragment isn't missing anymore." (34:03)
• The sketch’s gothic tone, sound effects, and acting provide gripping contrast to the show’s humor.

5. Comedy with Billy Gilbert – "The Dog Kennel Routine" (38:26–44:42)

• Billy Gilbert joins for a comic discussion about his “kennels” (mispronounced as “canals”), a failing dog business, and his confusion over breeds.
  • Eddie and Lamour riff on the humor:
    • "I'm not good enough for you, Snooty?" (41:32, Gilbert)
    • Wordplay abounds as Gilbert sneezes uncontrollably every time someone says his dog’s name, “Goldenrod.”
• The bit parodies vaudeville and slapstick, richly conveyed through sound and comedic timing.

6. Halloween Banter & Ghost Story with Olivia de Havilland (49:32–56:44)

• Charlie invites Olivia to a Halloween party; they joke about superstitions and party games.
  • Charlie: "I believe it's unlucky to get hit by a truck on Friday the 13th." (50:23)
• Olivia tells “The Headless Horseman” as a party ghost story, with Charlie providing comic interruptions:
  • Olivia: "It was a horse with hoofbeats."
    Charlie: "Well, I'm a ringtail baboon. Amazing. Dr. Clitterpuss." (53:43)
  • The story builds to a punchline about a man carrying his head under his arm, to Charlie's delight.

7. Musical Finale (57:08–59:50)

• Nelson Eddy concludes with a Victor Herbert medley, celebrating the composer’s romantic style and ending with the sentimentality that defined the era's radio shows.

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Notable Quotes & Memorable Moments

• Charlie (to Bergen about quitting):
  "Yep. Your gravy train has been derailed, brother." (10:57)

• Bergen (on their partnership):
  "Our contract has always been verbal."
  Charlie: "Yeah. Yeah. And so has the salary too." (11:25)

• Charlie’s witty postscript in resignation:
  "Tell the milkman to leave only one bottle of milk from now on. Grade B." (17:05)

• Olivia de Havilland (in the ghost story):
  "The triangular fragment isn’t missing anymore." (34:03)

• Billy Gilbert’s performance:
  "Every time I tell anyone that the dog is called Goldenrod, it makes me...I sneeze." [followed by a remarkable sneezing fit] (43:17)

• Halloween banter:
  Charlie: "Well, don't do it at my party [crawl on hands and knees]. It's childish." (50:54)
  Olivia: "I never hobnob with goblins." (50:16)

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Timestamps for Important Segments

• 01:06 — Opening banter: Charlie, Bergen, Nelson Eddy
• 02:35 — Musical: "Tramp, Tramp, Tramp"
• 05:06 — Musical: "My Love of Londonderry"
• 09:34 — Charlie & Bergen argue: “breakup” storyline
• 16:26 — Charlie’s resignation letter
• 19:21 — Musical: "A Man and His Dream" (Dorothy Lamour)
• 23:35 — Olivia de Havilland dramatic sketch ("Stormy Quarrel")
• 38:26 — Comedy: Billy Gilbert "The Dog Kennel Routine"
• 45:47 — Musical: "Go Fly a Kite"
• 49:32 — Halloween party banter & “Headless Horseman” (Olivia & Charlie)
• 57:08 — Musical Finale: Victor Herbert Medley

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Tonal & Stylistic Highlights

• The language is full of period slang, wordplay, gentle ribbing, and wholesome humor.
• Emotional transitions—from the satirical “breakup” to eerie ghost stories to playful Halloween jests—keep the mood dynamic.
• Frequent returns to musical warmth and lilted delivery by vocal stars anchor the show in nostalgia.

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For listeners seeking the mix of musical performance, witty repartee, celebrity guests, and classic radio drama that defined the 1930s, this episode is a prime example—anchored by the charisma of Edgar Bergen & Charlie McCarthy and the star appeal of Olivia de Havilland.

Transcript

[A]

Limu Gamu and Doug Limu and I.

[B]

Always tell you to customize your car.

[A]

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[B]

Limu.

[A]

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[C]

We save.

[B]

That may have been too much feeling. Only pay for what you [e-mail] Liberty Liberty Liberty. Liberty Savings Ferry unwritten by Liberty Mutual Insurance Company and affiliates excludes Massachusetts. The makers of Chase and Sanborn coffee. The superb blend you know is fresh. Present the Chase and Sanborn Hour and your host, Nelson Eddy. This is Nelson Eddy sending off another Chase in Sanborn Hour.

[A]

And this is Charlie McCarthy worrying Nelson Eddy.

[B]

No, you're not worrying me, Charlie. I received some good advice in the mail yesterday from Don Ameche.

[A]

Well, you got a letter from Don Ameche.

[B]

Yes, I did.

[A]

What did he say?

[B]

Well, first of all, he wants to be remembered to everybody. To Edgar Bergen, to Dorothy Lamour, to.

[A]

Robert Armbruster and to Jason Sambar and orchestra.

[D]

Correct.

[B]

And then McCarthy, he says, quote, nelson, you will probably be heckled plenty by that rambunctious rascal Charlie.

[A]

How true. How true.

[B]

Try not to let him get you.

[A]

No, try not to. That's right.

[B]

Warn Charlie that I am gradually getting enough strength on my vacation to look forward to a return bout soon. With a little wooden mug.

[A]

A little wooden mug.

[C]

How do you like that?

[A]

Take a letter, Mr. Eddy.

[B]

What is it, Charlie?

[A]

Dear Michie, I have only this to say. I am waiting for your return, at which time I will be most happy to clip you. So help me and mow you down. Insincerely yours, Charlie. Lil Wood mug us.

[B]

Okay, Charlie. But before you knock me out in the first round, I'd like to welcome our guests. The delightful Olivia de Havilland and the explosive Billy Gilbert. And to add their wishes to ours that you will continue to like us as well as you do chasing Sandborn coffee.

[A]

Little wooden mug, you know, and it's humiliating. That's just. That's all that is. It's humiliating.

[B]

With Robert Armbruster showing the way, the chorus joins me in the marching song. Tramp, tramp, tramp From Naughty Marietta.

[A]

Call me a wooden mug oh, Charlie. Okay, sing. A little wooden mug.

[E]

That's the most.

[F]

When the tropic sun is riding or the moon is in the sky we must go where dangers hiding Ready to do or die Are you fighting sons of wildcats? Are you with me Wrong or right? Then follow where I go out to.

[B]

Meet the savage foe here's to men.

[F]

Who love a fight here's to men who love a fight.

[B]

When the tropic sun is riding or the moon is in the sky we.

[F]

Must go a danger hiding ready to do our draw Are you fighting thunder wildcats? Are you with me Wrong or wrong? Then follow where I go to meet.

[B]

The savage foe Here's a man who.

[F]

Love a fight here's the man who.

[C]

Laughed apart.

[B]

Inspired by the old and familiar Londonderry air, Helen Boardman Knox made it into a romantic love song. To her resetting of the music, she added a beautiful and poetic lyric. Then, very appropriately, she called it. My love of Londonderry.

[F]

Was in the dear old town of Londonderry Poor Twas in the merry merry month of May Twas there I found my own My blue eyed darling in one short hour she stole my heart away Will you be mine? Past her gently pleading Surely it was heaven that made you Just for me Only one moment she gave me from her sweet blue eyes but in that gladness I saw the love that never died Was in the dear old town of Londonderry Was in the the merry merry month of May the black torn bars were bursting into flower the little birds were singing blood My own heart with joy itself was bursting.

[G]

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[F]

God ever bless the merry month of.

[H]

May.

[F]

For it was then.

[C]

I found.

[F]

My blood darling and wooden one heart to be my own.

[A]

That was nice, Mr. Eddy. Very swellish.

[B]

Thanks, Charlie. You're quite a lover of music, aren't you?

[A]

Yes. Yes. There's nothing like a song for lightening the burdens of life. And believe me, I'm carrying a double load.

[B]

What's bothering you now, Charlie?

[A]

Oh, it's. It's still Bergen.

[B]

What's the nature of your complaint?

[A]

Oh, I don't know. Incompatibility, I guess.

[B]

Are your trouble still monetary?

[A]

No, no. Just a question of dollars and cents. That's why I'm going to quit him.

[D]

Quit him?

[A]

Yep. Yep.

[B]

That's a serious step, Charlie.

[A]

Yes, it is, sir. Him seemed funny not supporting Bergen anymore.

[B]

Say, Edgar, did you know about this?

[A]

Did I know about what?

[B]

Nelson, when Charlie tells me he's through with you.

[A]

Through with me? You'll be ho ho. Ing out of the other corner of your mouth. That's what you'll be doing.

[B]

What do you mean, Charlie?

[A]

I mean I'm quitting Bergen. Quitting? Yes.

[C]

Kill you.

[A]

Quit it. Yeah.

[H]

Your.

[A]

Your gravy train has been derailed, brother. But, Charlie, this. This is nonsense. Oh, is it, now? What will you do without me? That ain't the question, brother.

[H]

What will you.

[A]

Well, don't worry about me, Charlie. But I really can't believe this, Al.

[D]

No.

[A]

After all these years we've been working together. Yeah, Working and happy. Yeah, well, you've been happy, I've been working, but my mind's made up. Well, I can't force you to stay. Our contract has always been verbal. Yeah. Yeah. And so has the salary too. We should think twice to before we break up a friendship of such long standing. Don't you think? Yes. Yes, you should. Yes. Now, what brought you to this sudden decision? Charlie, that's Frederick.

[D]

Who?

[A]

The Great Frederick, that's who. Oh, I see. Yes, the Great Frederick. Yes. And who is the great Frederick? Who is the great Frederick? Yes. He's a great ventriloquist, that's what he is. Oh, you don't know him, huh? No, I never heard of him. Oh, well, that's nothing. After all, who heard of Bergen before I came along? You think that don't cut a little? I see. So Frederick is this great ventriloquist. Yes. He's not only a great ventriloquist, he's as great a ventriloquist as there ever was. Yes, he is. But he's also a magician. Oh, yeah. And a fire eater. And a notary public. He's quite versatile. Yes, he sells used cars too. Well, he's a man of many accomplishments. Yes, he is. There's nothing he can't do. And he doesn't either. But is he really. Is he really a good ventriloquist? Good? He's great. Brilliant. He's the best I've ever seen. And he's got his own tuxedo too.

[H]

Oh, I see.

[A]

Yes, sir, he has. He doesn't move his lips either.

[D]

Oh, he does.

[A]

You get that? Yes, sir. He doesn't. No, he doesn't. Like you just did. Yes. Yes, he certainly has talent. Yes, and he's got hair too. Well, has this man offered you a contract to work with him? Contract? I'm the boss of this act. Oh, I see you're the boss. Yes, the boss. Yes, sir. Yes, sir. Yes, sir. Esther, you bet your butchers. Yes, sir. Someday I'll have my old office, too, just like you do. Is that so? Yes, I'll have all that stuff, too. Yeah. I can see myself now, sitting there in my swindle chair. Yes, sir. I'll have a desk for each foot. So that's what you're going to do. Yeah, that's what I'm gonna do. And what are you going to do? So you're. Well, in spite of the great Frederick, I'll continue as a ventriloquist. Yeah. Yes, I'll carry on. I'll keep a stiff upper lip. Yeah, you might try and keep the lower one still too. Like Frederick does. Yes, I know Frederick does. Yes, he keeps his lower lip still. Yes, he does. Yes, he does that. Yes. And he's got hair, too. Yes, I know. I know. That's salt in an open wound. Well, when are you planning on leaving, Charlie? Well, I guess tomorrow. I guess I'll go. I was going to give you my resignation then, but as long as you know now. I'll give it to you now. Your resignation? Yes, I have it here written out. Would you like to read it? No. Will you read it to me, Charlie?

[E]

Yes.

[A]

All right. I have it here. It's Mr. Edgar Bergen. Guess you know who that is.

[E]

Yes.

[A]

I hereby tender my resignation to you most tenderly. The reason for severing this partnership is purely for business betterment, see? So you can't stop that forging. Mr. Bergen, you are a man of fine.

[G]

Time is precious. And so are our pets. So time with our pets is extra precious. That's why we started Dutch. Dutch provides 24. 7 access to licensed vets with unlimited virtual visits and follow ups for up to five pets. You can message a vet at any time and schedule a video visit the same day. Our vets can even prescribe medication for many ailments. And shipping is always free With Dutch. You'll get more time with your pets and year round peace of mind when it comes to their vet care.

[A]

Character and probably honesty. Probably honest. Yes. I give you the benefit of the doubt. Is that the best you can do? Well, all right then. A man of fine character and honest if watched. Now, let's see. Where was I? I will be only too glad to recommend you as a performer for informal weddings, clambakes and bingo.

[E]

Part.

[A]

Or wherever. The entertainment requirements are not too exacting. Sign Charlie McCarthy later. Bergen and McCarthy now of McCarthy and Cole Coal. Company. See? Sounds good, huh? Yes. Is that all? No. There's a P.S. here too. Would you mind reading that too? I read the whole business here, P. S. Tell the milkman to leave only one bottle of milk from now on. Grade B. That's all? That's all. Well, Charlie, I accept this resignation. What? I accept. Ain't you gonna put up a fight?

[B]

No.

[A]

Charlie, I only ask two things of you. Well, what are they? Well, will you finish out the show today? Oh, sure, sure, Durgan, Sure. And I would like to meet this great Frederick to see if he's all that.

[E]

You?

[A]

Uh huh. Well, would you like to talk to him? Yes. When? Well, how about, say, next Sunday? Next Sunday? Yes. Fine. Oh, next Sunday. Yes. Oh, yes. Yes. Well, where will you be next Sunday? I'll be here. You will?

[H]

Yes.

[A]

Yes, I'll be here. You really think so? I'm sure of it. Okay, Al, It'll be awfully dull here, but I'll bring him around next Sunday. All right.

[B]

Popular songs have had dreams. Walking and talking and even dancing and romancing. But our own dream analyst, Dorothy Lamour, has decided to give us the latest word on the subject as she sings about a man and his dream.

[C]

A hidden lane of moon and here and there a star For a man and his dream night A cricket's cry A whispered word a kiss and now and then a sigh For a man and his dream and their eyes when they meet Seem to say it's the blind and their hearts proudly beat To a tomb that is older than time Night must fade away and yet it leaves a love so all the world will say There's a man and his dream Beside him in the midnight glow when lamps are low and their eyes when they meet Seem to save the blind and their hearts proudly beat towards moon that is sweeter and older than.

[E]

Time.

[C]

Night must fade away and yet it leaves a love all the world will say There's a man and his dream A man.

[B]

Holidays and special events are marked in red on the calendar because they're days to remember. So here's a big red letter to put on your calendar for today.

[D]

Yes, it's a red letter day to both old and new friends of Chase and Sanborn Dated Coffee because we're announcing later the first prize winner in our great Chase and Sanborn contest. And it's a red letter day in your home if you decide to change to this superb blend tomorrow because Chasen Sanborn Dated Coffee in the new silver package is one of the finest blends in the world. Roasted in the fine modern ovens we've built throughout the country from one of the roasting ovens nearest your home. Our rapid fresh food special delivery service rushes this freshly roasted coffee to your grocer at the peak of its delicious freshness. And you can tell you're getting this fine, mellow coffee at the height of its rich fresh flavor because every package is dated and no package remains in your grocery store over 10 days. Your assurance of freshness? It's dated because coffee is a fresh food from the moment it's roasted. This fine coffee is handled rapidly as a fresh food should be. Our fast trucks visit your grocer every few days, leaving only enough Chase and Sanborn dated coffee to supply the demand until the next trip. This fresh food delivery service plus the date on the front of the package makes expensive containers unnecessary. We use the economical dated silver package instead. This saves money and the saving is passed on to you. Take advantage of that economy yourself. Buy fresher, richer, delicious Chase and Sanborn dated coffee in the new silver package tomorrow.

[B]

We cordially welcome a four letter girl to our midst tonight for youth, beauty, charm and talent go hand in hand with Olivia de Havilland. With such an amazingly long list of successes already to her credit, we all look forward to seeing Mr. Haviland soon in Warner Brothers historical production the Private Lives of Elizabeth and Essex. Tonight she appears for us together with Gordon Oliver and Fred Mackay in an original radio sketch entitled Stormy Quarrel. Olivia de Havilland. The swirling rain and crackling thunder of a violent summer storm are beating down on the ancestral Virginia. The Virginia home of Dr. George Roberts and his lovely young wife, Mary. The power lines are down and the old house is entirely in darkness. The telephone hasn't worked all evening. And to make matters worse, Mary Roberts is alone in the house. Alone because of a quarrel she has had with her husband. A quarrel which sent him in a fury out into the storm earlier in the evening. Regretfully now, Mary watches through the rain drenched window for the first sign of her husband's returning car across the valley when suddenly a knock sounds through the gloomy.

[E]

Oh, George. Hank. Goodwill, darling.

[H]

Oh.

[A]

I'm sorry.

[E]

I thought you were my husband. You want to see the doctor, Doctor?

[I]

Excuse me, but Come in, won't you?

[E]

There, that's better. You get wrench standing out there. I'd make a light, but there isn't any. The storm, you know.

[I]

Yes, ma'.

[H]

Am.

[E]

The doctor's just gone out for a little while. You ought to be along any moment.

[A]

Yes, yes.

[I]

Would you mind telling Lucia, Ms. Adams, that I've come.

[E]

Lucia Adams. But there's no one here by that name. This is Dr. Roberts home.

[I]

Dr. Roberts.

[E]

Well, I don't wonder you became confused. A storm like this and not a light to be seen.

[I]

But this should be the house. The five pines at the edge of the road. That's where Lucia always met me. Oh, I'm terribly sorry to have bothered you. Perhaps I. Oh, don't go.

[E]

Come and sit down. You can see your way. My husband may be able to help you. And it's kind of. Kind of scary alone in this big house tonight.

[I]

I'd better go. I'm so late.

[E]

Oh, no, it's all right, really. There's a little fire left in the grate and cup of coffee to warm you up, if you like.

[I]

I wish it weren't so dark. I should like very much to look at you. Your voice, it's. It's so much like. Lucius. I'm sorry. I shouldn't have said that.

[E]

Well, perhaps I should prove very disappointing. I take it that you and Lucius.

[I]

Became engaged last year. I haven't seen her for almost 10 months.

[E]

Oh, you've been away.

[I]

I shouldn't complain. I've not been the only one.

[E]

No, I suppose not. Here's the coffee. If I don't knock it over in the dark.

[I]

You're very kind. I might at least introduce myself. I'm Thomas Kate. I'm with Beckwith's company.

[E]

Oh, Beckwith's.

[I]

Yes, we're just outside Richmond.

[E]

Well, I. I should know the name, I suppose. Beckwith. Lucia Adams. Well, I have heard that name somewhere. Now I'll have to meet her. I'm sure she must be very nice and very pretty.

[I]

She is indeed, Mrs. Roberts.

[E]

And after 10 months, I don't suppose even this storm would hold you back.

[I]

From nothing, would not even death.

[E]

What made you say that?

[I]

I don't know. I didn't mean to, really. It just seemed to come out. You will excuse me, won't you? You see, it should be this house, and yet it can't be. I don't know. I'm so tired, I can't seem to think straight.

[E]

Well, I'm sorry you don't feel well, but the doctor will be here any minute. He'll know what to do for you.

[I]

What's that up there? That black circle on the wall?

[E]

Why, you have remarkable eyes. Seeing that in the dark.

[I]

We're used to operating in the dark, ma'.

[A]

Am.

[E]

It's a cannonball.

[I]

Cannonball? Embedded in the wall there. I didn't think they fired Them that size in the Revolution.

[E]

Well, it isn't from the revolution, Mr. Carpet. From the Battle of Williamsburg.

[I]

The Battle of Williamsburg?

[D]

Yes.

[E]

It must have been orbit stent when it struck the house, for it just hit the wall and stayed there. All except a fragment of it. But I don't suppose even your eyes can detect the missing piece.

[I]

A triangular fragment from this side.

[E]

Why, your side's amazing. Well, there's a. There's an old story in our family connected with that fragment.

[I]

An old story, ma'?

[H]

Am?

[E]

Yes, it's. It's told about a girl, young and pretty, engaged to a dashing young cavalry officer. His regiment was stationed outside of Richmond, where she was staying. They intended to get married before he was ordered into the lines. But the night before their wedding, just such a night as this, wind and rain and thunder, they quarreled.

[I]

It was his fault.

[E]

Yes, it seems that. Oh, you know the story?

[I]

No, no, you must tell me.

[E]

Well, she ran away from Richmond that night and came through all that storm here to her aunt's house.

[I]

I should have known.

[E]

And the next day, the day that should have been her wedding day, she was here when the siege of Williamsburg. The fighting was pretty heavy, but they thought this house was out of range of the battle. And she was sitting just about where I am now when that cannonball struck and the triangular piece flew off and killed her.

[I]

She was killed.

[E]

It was very tragic. But the story doesn't end there. Her fiance, the cavalry officer, not hearing from her, went off to war and was killed in the battle of Warwick River. He never knew what happened to her.

[I]

And he never saw her again.

[E]

No, that's the thrilling part, because they say he's still searching for her. His ghost, that is. But he never finds her. And according to an old tradition in our family that death will follow stormy quarrel. He never will find her until he atones to the fight they had that stormy night in Richmond.

[I]

And tell me, ma', am, how is he to atone?

[E]

Well, that's never been quite clear, but it has something to do with the curse. Death will follow stonely quarrel. I think he must sometimes defeat the old legend and save two lovers from their stormy quarrel.

[D]

Yes, ma'.

[H]

Am.

[I]

You quarreled with your husband tonight, did you not?

[E]

Yes, I did. It was. It was stupid. Oh, you don't mean. Oh, no, no, that's too silly.

[D]

What, ma'?

[H]

Am.

[E]

Death will follow stormy quarrel. Oh, but that's. That's just superstition.

[I]

Of course, ma'.

[A]

Am.

[I]

Tell me, your husband.

[E]

Oh, look, look. There he is across the Valley. See, I know those car lights. One of them's dim. That's my husband. That must be he. I guess I'm pretty silly, but, you know, that story must have got under my skin a little.

[I]

You're not silly, ma'.

[A]

Am.

[I]

Your husband has to come across the river.

[E]

Yes. You see, he's just going down into the valley. Look now, there he is. He's going down out of sight. He'll be here in 10 minutes.

[I]

Will he come across the bridge by the large boulder?

[E]

Yes. Then around the turn and up the hill and home.

[I]

The bridge, ma', am, is washed out.

[E]

Washed out? Oh, no, no. He won't see it. He'll be killed.

[I]

Don't fear, ma'.

[D]

Am.

[I]

There'll be no death in this house. Ton.

[B]

Oh, blast this windshield wiper. It's no good on a night like this.

[I]

Now, where's that bridge turn off? Oh, there she is.

[H]

Hold.

[E]

Hold on.

[H]

Don't go over.

[E]

What was that?

[H]

Pull there. Don't try the bridge.

[B]

Love of Mike. A horseback rider. What a night for a canter.

[A]

Hello there.

[B]

What can I do for you?

[I]

Don't try the bridge. She's washed out.

[B]

Washed out? Great Scott, man. Thanks. If I'd never have seen it, I wouldn't have had a chance.

[I]

There must be no death in your house.

[A]

This? No.

[B]

Of course.

[A]

What?

[B]

No. Well, thanks, old man. I'll cut back to the Valley Stream Bridge. Thanks a million.

[A]

Good night.

[E]

Oh, George, darling. Thank heaven you're home safe.

[D]

Darling.

[I]

Oh, my darling.

[E]

Oh, George. I'm sorry we fought. We won't again, darling. Promise me we won't again.

[D]

Not again.

[B]

We came awful close to ending up on a fight. Mary. If I hadn't been stopped in time, you'd be minus one husband. Big Boulder Bridge is washed out. I know some guy on horseback, a state cop or something. Stopped me just as I was heading into the turn.

[I]

It was too close for comfort.

[E]

He wasn't a policeman.

[B]

He wasn't?

[D]

Who wasn't?

[E]

That was Mr. Copper. He. Thomas Copper. He was looking for Lucia Allen.

[B]

What about the old story?

[E]

Remember Lucia Adams, who was killed by the cannonball fragment? And Thomas Carpenter, fiance. He was here. George. It's all true.

[B]

Oh, Mary, dearest, you're upset.

[E]

He saved us, George. She should come to him now.

[D]

Mary.

[C]

She will.

[E]

I know she will.

[B]

Mary, snap out of it. You're not feeling well.

[E]

Oh, I'm all right, George. Really I am.

[B]

That old story's gone to your head. Here, eye some candles, put a light on the subject and you'll feel Better.

[D]

There.

[B]

Now, doesn't it all seem a little silly?

[E]

Well, I suppose.

[B]

Well, doesn't it?

[E]

Well, I guess so, George.

[B]

No wonder you were upset. This gloomy old house would be enough to give anybody the creeps.

[E]

Yes, maybe it was that.

[B]

Of course it was, dearest.

[E]

Well, I suppose you are right, George. I do feel better now. But it was sort of you, Mary, sitting here in the dark and. And then he saw the cannonball up there and.

[B]

Mary, what's the matter?

[E]

George. George, look.

[B]

What is it?

[E]

The triangular fragment isn't missing anym.

[H]

Sam.

[B]

This is Nelson Eddy. And the chase in Sanborn hour continues. A spine chiller now and then is relished by the best of men. So I give you Saint San's vivid composition, La Danse Macabre. It's all about dancing ghosts and skeletons who are finally dispersed by the morning light. And the rooster crowing. Rattle the bones, Robert. Tinky, tinky, ting la mortic.

[F]

Sam.

[B]

A little mustache followed by a lot of man. That's Billy Gilbert. And a very welcome sight. The combination is Billy is following that mustache around Universal these days where he's going west in Destry rides again. But tonight he's pointed it over here. So our most cordial greetings to the mustache and the man effervescent Billy Gilbert.

[F]

Well, Billy.

[B]

Billy, it's good to see you.

[H]

You don't tell me, Mr. Eddy.

[B]

But I do tell you, Billy.

[H]

I know you do.

[B]

Well, then why did you say I don't?

[H]

I didn't say you don't, I said you do. I mean you don't. You. Please, Mr. Eddy, I don't want no trouble with you.

[B]

I'm sorry, Billy.

[H]

I got enough troubles with my canals.

[B]

Your canals? You been digging ditches, Billy?

[H]

Of course not. I ain't got time all day I'm in my canals.

[E]

What?

[B]

What canals, Billy?

[H]

My dog canals.

[B]

Dog canals? What are you talking about?

[H]

Gilbert's Home for a happy Hounds.

[B]

Oh, you. You mean kennels.

[H]

Didn't I say it?

[B]

Why, I didn't know you were running a kennel, Billy.

[H]

Certainly. And what a headache. It's wonderful. I'm losing money. Head over heels.

[B]

Sort of. A white elephant, is it?

[H]

Not in my dog house. I got enough trouble with just dogs. Say, what do I want with an elephant?

[B]

I don't know. What do you with an elephant?

[H]

Well, I could make a. I don't want no elephant.

[A]

Nelson, what seems to be the matter with our Mr. Gilbert?

[B]

Oh, he's having a lot of trouble with his dogs, Donnie.

[E]

Oh, that's a shame. Billy, why don't you soak him in a mustard bath for an hour or so?

[H]

My thoughts certainly a fine thing. It isn't enough I should drown them. I gotta use mustard in it.

[C]

Oh, I see.

[E]

You're talking. Talking about dogs.

[H]

Boy, isn't that cute? Baby dog.

[E]

I like animals myself, Billy. I've got a little Pomeranian at home. Oh, is that so?

[H]

Isn't that sweet? There's nothing I like like a little pomeranam. A pome, a pomegranate, a pond. A pome. Scotty's is nice.

[C]

Well, Billy, I'm thinking of getting another dog.

[A]

What would you you suggest?

[H]

Say, I got just what you want. What a minute. He comes way down from a long line of mutts. He's just your sweetest dog. Big brown eyes and a cute little nose. He's so exotic.

[C]

Spit?

[H]

Oh, no, of course not. He don't even chew well. He's nicest dog.

[B]

No, no, Billy. Dotty wants to know the breed. What is the dog?

[H]

The dog is man's best friend. Everybody knows, huh?

[B]

Well, of course I know that too.

[H]

Then what are you trying to do, make conversation?

[B]

Of course not.

[H]

Oh, I'm not good enough for you, Snooty?

[B]

I'm not snooty and I'm not talking about you. It's the dog.

[H]

Well, dogs, you almost like me.

[B]

Oh, not like you, Billy.

[H]

Absolutely. Take, for instance, the San Bernardino dog. You know, the one with the cake of schnapps around his neck. Look what he does for us. We're up in the Swiss Alps. We're lost. It's full of snow and avalumps. They got snow there, you know. We're climbing higher and higher. Each one 5,000ft. 10,000ft. 12,000. 12,000ft. Mr. Eddie, I gotta go down. I'm getting dizzy.

[C]

Look, Billy, I don't want to change.

[E]

The subject, but I'd still like to know what kind of a dog it is you have for me.

[A]

What does he look like?

[H]

Well, I tell you, he's so beautiful. Long silky hair. In places you know, he's got big black floppy ears and he's practically got a tail. And he's a fine police dog. Shh.

[E]

What do you mean, police dog?

[H]

Shh. Secret Service. Say, you wouldn't see nothing like him any place.

[E]

Well, I don't know, Billy.

[A]

What I want is a pedigree dog.

[H]

Pedigree?

[E]

Yes.

[A]

Does he have one?

[H]

One? He's got thousands. But don't worry. We give a box of potty with Every dog.

[B]

Well, Billy, what do you call this canine hodgepodge of yours?

[H]

That's the terrible thing. Please, Mr. Eddy. I don't dare to mention his name.

[B]

Oh, it can't be as bad as all that.

[H]

It's worse. What it does to me. Every time I tell anyone that the dog is called Goldenrod, it makes me. You see, that's what I mean. I shouldn't have said it. You see, it makes me immerse. See, I. I sneeze.

[C]

There's no doubt about it, Nelson. He sneezes.

[B]

Well, then why. Why in the world did you call him Golden?

[A]

Stop.

[H]

Don't say it. Your boy. That was a close woman. That's one of two words that always makes me sneeze.

[C]

Goldenrod is.

[H]

Yes, that's. You said it. You. You said it. I told you, Tommy, you never. You didn't have to get any.

[B]

What's the other word that brings on the sneeze? Billy, what's the matter?

[H]

That one isn't good enough.

[C]

But besides, goldenrod.

[H]

You. You said it again, Billy Gilbert.

[B]

Tin Pan Alley these days seems to be as full of advice as it is of songs. The latest suggestion dismisses old man trouble by telling him to go fly a kite. And since there is no one from whom we would more readily take advice than Dorothy Lamour, we will leave it up to Dottie herself to give it. Dish it out, Dotty.

[C]

You'll feel like a feather in the breeze. You want to laugh and sing. Your cares go flying on the end of a string. Go fly a kite. Tie your troubles to the tail. They'll be blown away in the merry gale. Go fly and toss your worries to the wind. And they won't come back. They'll be too chagrined. Go on, make friends with the sky and have a talk with the sun. It's a bright way to live. If you'll pardon the pun. Go fly a kite and you'll imagine you're a king. Cause you got your world on a piece of string. Way up in the sky. Troubles go a flying away up high. When your heart is happy there's no need to slide. Go fly a kite. Tie your troubles to the tail. They'll be blown away by a merry gale. Go fly a kite and toss your worries to the wind. And they won't come back. They'll be too chagrin. Go on, make friends with the sky. Have a talk with the sun. It's a bright way to live. If you'll pardon the wise quack. I mean the pun. Go fly a Kite. And you'll imagine you're a king. Cause you've got your world on a piece of string. Just do as I say and all your cares and more will fly away.

[B]

One of James Whitcomb Riley's poems begins, christmas Eve is nothing to it. New Year's ain't a smell. And it goes on to say that Circus Day is the grandest of all. But even Circus Day has arrival now. And this is the day.

[D]

It's a big day for users of Chase and Sanborn Coffee. The judges have carefully come considered all the thousands of entries in our recent contest, and the winners have been decided. You sent in hundreds of good reasons for changing to Chase and Sanborn Dated Coffee. And we want you to know how grateful we are. One big reason many of you gave for changing is our rapid Fresh food special delivery service. Our trucks rush the freshly roasted coffee from the nearest roasting oven to your grocer. Others spoke of the date marked on the front of every silver package to assure you freshly roasted coffee. We see to it that no dated coffee stays in your grocery store more than 10 days. And that saves you money too, because with our dating and rapid delivery system, costly containers are not necessary. Using the new silver package instead means a considerable saving. And we pass that saving on to you. And out of all the fine reasons sent in, the judges selected the one given by Mrs. Andy Doty of Glen Ellen, Illinois, as the best of all. Mrs. Doty receives the first prize of $2500. Congratulations, Mrs. Doty. And congratulations to all the other 1500 prize winners too. All prize winners will receive notice and their prize money in the mail. Thank you all again for the fine things you had to say about Chase and Sanborn Coffee. And tomorrow, enjoy the coffee so many people like so well ask for Chase and Sanborn Dated coffee in the new silver package.

[A]

Olivia. Olivia, this trivia I give you a rhyme I am making to Olivia and bacon.

[E]

How nice. Charlie, did you make that up all by yourself?

[A]

Yes, I did. Yes. It's just a little thing I fried up in deep fat.

[E]

I'll tell you what I think, Charlie.

[A]

Oh, you don't have to tell me. I'm ashamed of it too. Oh, before I forget it, Olivia. You know, Halloween is pretty soon and. Well, will you come to my party?

[E]

Oh, are you getting a party for Halloween? Well, I suppose you to wear masks and have pumpkins and black cats.

[A]

Oh, sure, sure. Will you go with me if I dress as a goblin?

[E]

Oh, no, I never hobnob with goblins.

[A]

Oh, you never Hobnob with goblins?

[E]

No, I'm terribly superstitious. Aren't you?

[C]

Well, yes.

[A]

Yes, in a way. Yes. I believe it's unlucky to get hit by a truck on Friday the 13th.

[E]

Yes, Charlie, that's right. It's very unlucky. Especially a black truck.

[A]

Oh, I see. Yes, how true. You know, Olivia, we're. We figured up some good games for the party. And we're going to have prizes, too.

[E]

Oh, that's wonderful, Charlie. I love to play games.

[A]

Can you crawl on the floor on your hands and knees?

[E]

Why, certainly I can.

[A]

Well, don't do it at my party. It's childish.

[C]

Charlie.

[E]

Charlie, you betrayed me.

[A]

Yes, sir.

[E]

What games are you going to play?

[A]

Well, we've got one that's a swell game. It's called Pin a Tail on a Donkey. See?

[E]

Oh, that old game. Well, I think I'll just sit and watch.

[A]

Oh, no, you won't. You gotta do something. You know. There's no wallflowers admitted. See?

[E]

Well, now, let me see. What'll I do?

[A]

I don't know.

[B]

What.

[E]

Well, let me see.

[A]

I'll work on it.

[E]

I know what I'll do.

[A]

I knew you'd get some.

[E]

I'll tell a girl ghost story.

[A]

You'll tell it? No. A ghost story. Ooh.

[E]

It's called the Headless Horseman.

[A]

How does it go?

[E]

Well, shall I start with the beginning?

[A]

That's usually a good place to start. Try there first to see how it comes out silly. Well, try to start from the beginning.

[E]

All right. Go hang. Give me a char.

[H]

Yes.

[A]

Yes, ma'.

[H]

Am.

[A]

Yes, ma'.

[D]

Am.

[E]

Once upon a time.

[A]

Yes?

[E]

Long, long ago.

[A]

Funny not nothing ever happens nowadays.

[E]

So sorry. So sorry. So sorry.

[A]

Continue. Once upon a time, long, long ago.

[E]

Yes? Well, there lived an old schoolteacher by the name of Ichabod Crane.

[A]

Ichaba.

[E]

Ichabod. Ichabod.

[A]

Ichabod. Mr. Haviland. Aren't you too old to be talking that way?

[E]

That one. What was his name, Charlie?

[A]

Ichabod Crane, I dare say.

[E]

And he lived in an old, decrepit house.

[A]

Ain't scaring me.

[E]

An old, old house with the windows all shattered and the foundation settling and the roof sagging. Can you imagine that?

[A]

Imagine it. We live in it. But proceed, my little banshee.

[E]

Well, one dark night, Ichabod was riding down a lonely road on the banks of the Hudson. It's eerie, isn't it?

[A]

Eerie? You said Hudson. When it's bank night on the Hudson.

[E]

Anyway, Ichabod was on his way home from school.

[A]

Good Place to be too.

[E]

When out of the darkness, he suddenly heard hoof beats.

[A]

Heard what?

[E]

Hoof beats. What do you think it was?

[A]

What do I think it was? Yeah. Hoof beats.

[E]

What was it, Charles?

[A]

Well, now, let me work on this.

[C]

I have my hand.

[A]

A snake.

[E]

No.

[A]

A fish.

[E]

No, Charlie, it wasn't a fish. It was a horse.

[A]

Oh, that's a dandy story. A horse making hoofbeats. Well, I'm a ringtail baboon. Amazing. Dr. Clitterpuss.

[I]

Or.

[E]

Well, it was amazing because on the horse sat a horseman.

[A]

Well, that's a good trick. Amazing.

[E]

Wait a minute.

[A]

Yes, I can.

[E]

It wasn't just a horse.

[F]

No?

[H]

No.

[A]

It was a horse with hoofbeats. Wasn't.

[E]

Was a man riding on the horse without a head.

[A]

Riding a horse that had no head.

[E]

That's ridiculous. No, the horse had a head.

[A]

Oh, he did, did he? Yes, the man had.

[E]

No.

[A]

Oh, the man had. Had no head. Well, now, that's different. That I can believe. That I can believe. But honestly, didn't he really have a head?

[E]

Well, yes, he had one, yes. But he was carrying it underneath his arm.

[A]

No. Yes, underneath his. Now, that's a nice trick if you can do it. What's right. Gee, that must have scared old Nikobob, didn't it?

[E]

Who, child?

[A]

Nickaboo. Nincompoop.

[E]

Not Nincompoop.

[A]

No.

[E]

Ichabod.

[A]

So sorry. What did Icky do?

[E]

He was terrified.

[A]

He laughs.

[E]

He stood as if frozen to the ground.

[A]

Oh, it was winter, huh? Yes.

[E]

No. No, no, no. Well, then. Then suddenly the rider threw his head at Ichabod.

[A]

No.

[C]

Yes.

[A]

Boy, that's using the old bean, ain't it?

[C]

Poor old Manky.

[H]

Boo.

[C]

Charlie.

[A]

Ichabod. Yes. Yes.

[E]

Isn't that a ghostly story?

[A]

Yes. And you have a ghastly way of telling it, too.

[E]

Shall I go on, Charlie?

[A]

You mean home. Oh, I know. Norris.

[E]

That settles it. I'm not going to tell this story at your party.

[A]

Good. Then you're invited. Will you pick me up at my house?

[E]

Me pick you up?

[A]

Yes. You see, my scooter's having a 500 mile checkup. Having a supercharger put in it too.

[E]

All right, Charlie, I'll call for you. A tent? Mm.

[A]

In your tent?

[E]

Oh, no, Charlie. On my broomstick. Built for two.

[A]

Oh. Oh, well, I'll be in costume too, you know.

[E]

Well, then how will I know you?

[A]

Oh, you'll know me. I'll have my head underneath my arm.

[C]

Yes, I know, Ichibond.

[B]

There are many reasons for the high Place held in the musical son by our own beloved Victor Herbert. One we have always recognized was his ability to translate romance into music. I have combined his Sweetheart's Waltz and For every Lover into a medley. Which I hope will prove my point.

[F]

For I have forsaken the world for you I will make your every dream.

[B]

Come true.

[F]

We know days and nights of love we will climb to the height of love Sweet heart.

[H]

Need no.

[F]

Crown or throne Sweethearts who live and love alone Will find a paradise somewhere Leaving behind a worldly care Sweetheart.

[H]

Will.

[F]

Never fade like an eternal serenade all will end the way it starts Forever will be sweet hearts Loving ever Loving forever Living in ecstasy Knowing your For every lover must meet his face.

[D]

And.

[F]

For this day my heart did wait There is no other no love so great Beloved we are we are hearts blessed by PA.

[A]

Comes the end of.

[B]

The Chase and Sanborn hour. And off we go, each in our own individual. You know, there is something miraculously different about each of us. There's a difference in fingerprints, the way we speak, or wear a hat or even drink our coffee. For instance, Bob Ombres decreased his pinky gaily in the air when he raises his cup. Edgar's one of those noisy guys. He stirs and stirs and there's even a room of the Dottie cools a coffee by fanning it with a sarong. But no matter how different we are and the way we drink our coffee. Coffee all of us are definite duplicates in one respect. We all agree that Chase and Sanborn Coffee is just about the finest in the world. And we're glad that you and all our other friends. All individualists, no doubt feel the same. We'll all be back next week. Edgar Bergen, Charlie McCarthy, Dorothy Lamour and Robert Armbruster. And the Chase and Sanborn Orchestra. Our special guests will be Clark Gable and Vera Vague. So until next Sunday, this is Nelson Eddy looking forward in New York and in San Francisco. Our two great fairs swing into their.

[A]

Fall season with record breaking attention.

[B]

Special attractions at both great shows are.

[D]

Making these banner months.

[B]

So don't miss them. This is the National Broadcasting Company.