Everything For The Boys 44-01-18 (01) Petrified Forest

Summary

Podcast Summary: Harold's Old Time Radio – "Everything For The Boys 44-01-18 (01) Petrified Forest"

Introduction

In the March 28, 2025 release of Harold's Old Time Radio, episode "Everything For The Boys 44-01-18 (01) Petrified Forest," host Ronald Coleman, alongside guest Ginger Rogers, brings to life Robert E. Sherwood's classic dramatization, "The Petrified Forest." Set against the backdrop of World War II, this episode immerses listeners in the tense environment of an English bomber base, capturing the emotional and psychological struggles of American servicemen stationed far from home.

Setting the Scene

The episode opens with Ronald Coleman introducing the setting: a bomber base a few miles outside London. The atmosphere is thick with anticipation as two American flyers prepare for yet another bombing mission against Hitler's stronghold. Coleman emphasizes the gravity of the situation, highlighting the sacrifices made by servicemen for the safety and happiness of their families back home.

Notable Quote:

• Ronald Coleman [00:30]: "Men die for things like that. Die so that their children can face clearly the enormous problem of ice cream."

This quote underscores the personal motivations behind the soldiers' service, connecting everyday human experiences with the broader war effort.

Character Introductions and Interactions

Ronald Coleman introduces his guest, Ginger Rogers, who plays Ms. Gabriel Maple, a young woman with a passion for poetry and art. Their interactions reveal the personal backgrounds and inner lives of the characters:

• Alan Squire (Ronald Coleman): A conflicted American serviceman, weary from the constant threat of war and searching for purpose.
• Gabriel Maple (Ginger Rogers): An artist yearning for a meaningful connection and inspired by the poetic works of François Villon.

Notable Quotes:

• Gabriel Maple [05:27]: "I want to paint pictures to make people think about other people."
• Alan Squire [12:58]: "Brains without purpose, noise without sound. Don't listen to me."

These exchanges highlight the characters' desires for significance and understanding amidst the chaos of war.

Conflict and Tension

The core conflict arises with the introduction of Duke Mantee, a menacing figure accused of multiple murders. Alan confronts Duke, leading to a tense standoff that encapsulates the struggle between good and evil:

Notable Quotes:

• Alan Squire [17:16]: "Look at his chin. He's a killer. I have never seen a killer."
• Duke Mantee [21:01]: "One bullet, Duke. Will you do it?"

The confrontation serves as a catalyst for exploring themes of morality, redemption, and the psychological toll of war on individuals.

Climax and Resolution

As tensions escalate, Alan faces a moral dilemma involving a $5,000 insurance policy intended for Gabrielle. The interplay between duty, love, and survival reaches its peak when Duke presses Alan to endorse the policy in exchange for his safety. This moment forces both characters to confront their deepest fears and values.

Notable Quotes:

• Alan Squire [21:01]: "Any woman is worth everything that any man has to give."
• Gabriel Maple [22:31]: "I wish you were together."

In a dramatic turn, Gabrielle intervenes, expressing her affection and belief in Alan's worth beyond material wealth, ultimately leading to Duke's defeat and Alan's reaffirmed sense of purpose.

Conclusion and Messages

The episode concludes with a poignant message from Ronald Coleman and Ginger Rogers to the servicemen listening at the bomber base. They emphasize the importance of continued support through war bonds and maintain a connection between the home front and the fighters overseas.

Notable Quote:

• Ronald Coleman [30:16]: "Good luck, boys. God be with you."

This farewell reinforces the podcast's overarching theme of unity and collective effort in times of conflict.

Themes and Insights

"Petrified Forest" delves into several enduring themes:

1. Sacrifice and Duty: The characters embody the personal sacrifices made by servicemen for their families and country.
2. Search for Meaning: Both Alan and Gabrielle grapple with finding purpose amidst the devastation of war.
3. Redemption and Morality: The confrontation with Duke Mantee serves as a moral battleground, highlighting the struggle between good and evil.
4. Love and Connection: Gabrielle's role underscores the sustaining power of love and human connection in dire circumstances.

Key Quotes and Moments

• Ronald Coleman [00:30]: Establishes the personal stakes behind the war effort.
• Gabriel Maple [10:20]: Her recitation of François Villon's poem symbolizes a longing for beauty and meaning.
• Alan Squire [12:58]: Reflects the existential crisis faced by soldiers.
• Final Farewell [30:16]: Reinforces the show's commitment to supporting the troops.

Final Thoughts

This episode of Harold's Old Time Radio masterfully blends dramatic storytelling with emotional depth, offering listeners a heartfelt portrayal of wartime experiences. Through rich character development and compelling conflicts, "Petrified Forest" serves as both entertainment and a tribute to the resilience and unity of those who serve.

Notable Moments with Timestamps:

• [00:30] Ronald Coleman introduces the setting and the mission's emotional weight.
• [05:02] Alan shares his introspection on sacrifice and war.
• [12:58] Alan discusses his feelings of purposelessness.
• [17:16] The confrontation with Duke Mantee heightens the tension.
• [22:35] The pivotal moment where love and duty intersect.
• [30:16] The heartfelt farewell message to the servicemen.

Conclusion

"Everything For The Boys 44-01-18 (01) Petrified Forest" encapsulates the essence of the Golden Age of Radio, blending classic drama with timeless themes. For newcomers, this episode offers a profound glimpse into the human side of war, enriched by memorable performances and evocative storytelling.

Transcript

[Ryan Seacrest]

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[Ronald Coleman]

From Hollywood, California and Obama base in England, Auto Life brings you Everything for the Boys. The Command Theater of the air, starring Mr. Ronald Coleman and his guest for tonight, Ms. Ginger Rogers. To play Arch Ober's radio dramatization of the Petrified Forest. Everything for the Boys is presented by the electric autolite company and its 22 great manufacturing plants. Builders of precision equipment for 35 years, world famous for autolite spark plugs, batteries, wire, cable and electrical systems for automotive, aviation and marine use. This is Ronald Coleman. Two American flyers are waiting for this broadcast in the shadow of a flying fort at a bomber base a few miles outside of London. Soon these boys will leave for another bombing mission on Hitler's crumbling European fortress. Our famous guest for this evening, Ms. Ginger Rogers and I are going to speak by special overseas radio directly to these men. But before that, at their express command, we are going to bring to them and to you the first of our great plays. Gentlemen of the Army Air Forces, we are at your command a message to you sitting at home awaiting this play about to be sent to two boys, perhaps your own sons, at that bomber base overseas. I want you to think of a young lady about 4 years old. She has big tails, and in her hand is the last tubby little bit of an ice cream cone on her face. Besides the ice cream is the expression that comes to all children when they meet the realization that the ice cream cone must once more become a thing to be dreamed of and not effect. Men die for things like that. Die so that their children can face clearly the enormous problem of ice cream. A marble rolled down the drain. A kite that got stuck in a tree. You and I are being given today a golden opportunity of seeing to it that the fathers of these children will soon be flying that first kite with their son or handing that ice cream to their small daughter. Today, America begins to pour its entire strength into a Drive to raise 14 billion of dollars for fighting equipment for these men. This is our opportunity to say to the father of that little lady, I know what you expect of me. I will buy bonds in the fourth Warlone Drive. Yes, all of us, every one of us, will back the attack. Our command play Robert Sherwood's classic, the Petrified Forest, as dramatized for radio by Art ober. Our stars, Mr. Ronald Coleman and his guest, Ms. Ginger Rogers. The scene, England. The place, a bomber base. The time. Those tense, terrible moments before the takeoff for the target of the night.

[Ginger Rogers]

More coffee, lieutenant?

[Ronald Coleman]

Thank you, Ms. Gabriel.

[Ginger Rogers]

Donuts, sergeant?

[Ronald Coleman]

Sure. Thanks. Ms. Gabriel.

[Ginger Rogers]

How much more time is there?

[Ronald Coleman]

Well, there goes the first section. That means we take off in 20 minutes.

[Ginger Rogers]

Well, I'd better get back to work.

[Ronald Coleman]

You're pretty swell.

[Ginger Rogers]

What is that coffee you drink?

[Ronald Coleman]

I mean, it's. Oh, you can laugh at me, but we fellows know what you've done in this man's war. You know, all these hours waiting, I've been thinking how many people in this world, a guy like me is grateful to you? War is hell. But yesterday, over the channel, it was as if. All at once.

[Ginger Rogers]

Please go on.

[Ronald Coleman]

All at once, it was as if the air all around me was filled with the wings of those RAF flyers who died to give us. Today. So many have given so much for us.

[Ginger Rogers]

Long before the war began, there were some who knew the meaning of the word sacrifice.

[Ronald Coleman]

Can I ask you where you were long before the war?

[Ginger Rogers]

I was in a combination filling station and lunch room in a place called Black Mesa, Arizona.

[Ronald Coleman]

No kidding?

[Ginger Rogers]

No kidding. Black Mesa, Arizona. Where first it was day and then it was night. Nothing ever happened. Except one day. Everything happened.

[Ronald Coleman]

Good afternoon, miss. Can I order something to eat here? Sure.

[Ginger Rogers]

Didn't you see the sign outside the Black Mesa Barbecue? Try our brew plate. What do you have?

[Ronald Coleman]

What is a barbecue?

[Ryan Seacrest]

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[Ronald Coleman]

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[Ginger Rogers]

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[Ronald Coleman]

Why are you looking at me like this?

[Ginger Rogers]

I've never seen anybody like you before.

[Ronald Coleman]

I am rather dusty and bedraggled.

[Ginger Rogers]

I didn't mean. Look here, are you just tramping along?

[Ronald Coleman]

Just tramping along?

[Ginger Rogers]

Oh, you're English.

[Ronald Coleman]

Well, you might call me an American cousin. I. I am rather hungry.

[Ginger Rogers]

What's your name?

[Ronald Coleman]

Alan Squire.

[Ginger Rogers]

My name's Gabriel Maple. Glad to meet you.

[Ronald Coleman]

How do you do, Ms. Gabrielle? I. I'm really very hungry. Could you please.

[Ginger Rogers]

Oh. Oh, I'm sorry. One hamburger coming up.

[Ronald Coleman]

I say, young fellow, would you like to see a picture of that Duke Mantee? I've got a paper. Why, yes. Quite a fellow, Duke Mantee, isn't he? Great Scott. You mean to say this man killed six people? Him and his friends did, when they sprung up in the law. He doesn't look very vicious, does he? Oh, you can't tell the killer from this picture. Except for his chin. It's the funny thing about a killer always holds his chin. I. I don't think I've ever seen a killer. I have. Plenty of them. Ever hear of Billy the Kid? Oh, yes, indeed. I know them well. He took a couple of shots at me. I congratulate you on still being with us. Well, just wanted to scare the pants off me. He did.

[Ginger Rogers]

Here's your barbecue, Mr. Squire. I gave you a little salad on the side.

[Ronald Coleman]

Ah, thank you. What line of work are you in, mister? Well, I have been at times, a writer. Magazines, want ads or patent medicine labels.

[Ginger Rogers]

Your supper's ready in the kitchen, Graham.

[Ronald Coleman]

Oh. Oh, and I'm ready for it. Well, pleased to meet Mr. Squire. Pleased to meet you, sir.

[Ginger Rogers]

Your hamburger. All right.

[Ronald Coleman]

That's a charming old gentleman. Is he your grandfather?

[Ginger Rogers]

Yeah. I haven't met many writers, except one. He said I ought to go to Hollywood. And be sure to look him up. What the devil? They never mean it.

[Ronald Coleman]

I don't suppose they do. Of course. You want to go to Hollywood?

[Ginger Rogers]

No, I want to go to France.

[Ronald Coleman]

France? What?

[Ginger Rogers]

I was born there, you see, My father, he's over in Phoenix today. He was in the war and he met my mother there. And that's how I happened. Mother's still there.

[Ronald Coleman]

I see.

[Ginger Rogers]

Yep. Some people seem to think it was cruel of her to leave me but once she didn't have any money to take care of me. And she just couldn't live in this place. Do you think she was cruel?

[Ronald Coleman]

Not if you don't miss Gabrielle.

[Ginger Rogers]

She sent me a book for my birthday. It's the Poems of Francois Vion.

[Ronald Coleman]

Look.

[Ginger Rogers]

Isn't it a beautiful old book?

[Ronald Coleman]

Yeah.

[Ginger Rogers]

When I read these poems, they kind of get the stink of the gasoline and the hamburgers out of my system.

[Ronald Coleman]

Would you read one of them to me?

[Ginger Rogers]

Yeah. You mean now?

[Ronald Coleman]

Yes.

[Ginger Rogers]

Okay. I'll read you the one I like best. Mine own heart, lady with no gainsaying you shall be always Till I die Nor sweet cease to serve, but serve more constantly this is the end for which we twain are met. You know, that's wonderful stuff, but that's the way the French people are. They understand everything. That's why I want to go to France.

[Ronald Coleman]

If I were you, I'd stay here, Gabrielle, and avoid disappointment.

[Ginger Rogers]

What makes you think I'd be disappointed?

[Ronald Coleman]

I've been to France.

[Ginger Rogers]

Why are you here?

[Ronald Coleman]

Europe's in a mess. Dictators, appeasement and the inevitable consequences. I want to see America.

[Ginger Rogers]

What are you looking for?

[Ronald Coleman]

Oh, I don't know. Perhaps. Perhaps an old man who had his pants frightened off him by Billy the Kid. And a very pretty young lady who reads the poetry of Francois Villon.

[Ginger Rogers]

I think I like you.

[Ronald Coleman]

Hey, cab. The sheriff just drove up with a car full of deputies, and he says he thinks maybe that Duke Mantee will be heading this way. He killed six people over in Oklahoma City. Did you know that?

[Ginger Rogers]

Yeah, I know that.

[Ronald Coleman]

Oh, okay. Oh, boy. I wish that killer would come this way. I'd sure show him. He seems to have an abundance of vitamins.

[Ginger Rogers]

Yeah. Bo used to play football. Did you. Did you hear what I said a moment ago when I said I like football? You?

[Ronald Coleman]

Yes, I heard you.

[Ginger Rogers]

Well, I. I do other things that would surprise you.

[Ronald Coleman]

I. I'm sure you do.

[Ginger Rogers]

I paint pictures.

[Ronald Coleman]

Oh. Are they any good?

[Ginger Rogers]

I know.

[Ronald Coleman]

Oh, please let me see them.

[Ginger Rogers]

Well, they're kind of crazy pictures.

[Ronald Coleman]

All the better. I'd like to learn.

[Ginger Rogers]

Right. You asked for it. I've got a couple here under the counter. There they are. Well, are they that bad?

[Ronald Coleman]

I'm impressed. Tremendously impressed.

[Ginger Rogers]

Are you kidding?

[Ronald Coleman]

No, no, no, Gabriella, I've never kidded anyone outside of myself, but this is amazing work. I'm beginning to believe that you're amazing, too.

[Ginger Rogers]

I want to paint pictures to make people think about other people. Oh, I want that. But I'm not much I believe you could be not in Black Mesa, Arizona now, when I have to sit here day after day, you tell me what to do. Mr. Squire, you've got brains. I can see it.

[Ronald Coleman]

Brains without purpose, noise without sound. Don't listen to me. I. I was born just too late for the last war. And now the world's in a mess again and I'm afraid there'll be no new war to clear the air. So I'm an intellectual with no place and no faith and no hope for the future. That's in the way of my life.

[Ginger Rogers]

Where are you going from here?

[Ronald Coleman]

Whatever the road outside leads to, it.

[Ginger Rogers]

Leads to the Petrified Forest. It's just a lot of dead old trees in the desert have turned to stone.

[Ronald Coleman]

Petrified Forest. Beautiful resting place for me.

[Ginger Rogers]

I'd like to go away with you.

[Ronald Coleman]

I beg your pardon?

[Ginger Rogers]

I'd like to go away with you.

[Ronald Coleman]

I'm afraid, Gabrielle, I could never.

[Ginger Rogers]

You mean you haven't enough money? Well, we could some our way. Oh, you could show me everything. All the wonderful sculpture and painting and explain everything and. Oh, we could have a time together.

[Ronald Coleman]

That's a rather startling proposal, my dear.

[Ginger Rogers]

Wouldn't you like to be loved by me?

[Ronald Coleman]

Yes, Gabrielle, I should like to be loved by you. There's no risk of arguing with me, Claire. It's not going to get any cooler until we get out of the desert. Young woman, how far is it to the Phoenix Biltmore? Are those your best cigars?

[Ginger Rogers]

Yep. Phoenix is a good 200 miles from here. Good heavens, miss, where's the ladies room? It's that way, ma'am. Would you show me? Yeah.

[Ronald Coleman]

Haven't you got any better cigars than these?

[Ginger Rogers]

No, sir.

[Ronald Coleman]

I say, would you have room in your car for another party? Who is it? Myself. I. I don't know.

[Ginger Rogers]

Did you get your cigars, mister?

[Ronald Coleman]

I don't think they're good enough.

[Ginger Rogers]

Okay.

[Ronald Coleman]

About that ride, sir.

[Ginger Rogers]

You're going away?

[Ronald Coleman]

Yes, I must.

[Ginger Rogers]

Oh, please. Well, George, have you got your cigars? Must you stay here all day, dear?

[Ronald Coleman]

This gentleman wishes us to give him a lift as far as Phoenix.

[Ginger Rogers]

Well, come ahead. Let's be on our way.

[Ronald Coleman]

Thank you. You're always in a hurry, Claire.

[Ginger Rogers]

Thank you, Edelman.

[Ronald Coleman]

Well, goodbye, Gabrielle.

[Ginger Rogers]

Why must you go?

[Ronald Coleman]

Why, I'm a man who was born too late for everything. Man without a place. Remember?

[Ginger Rogers]

I. I like you so very much. Will you remember that?

[Ronald Coleman]

Yes, I remember. Goodbye.

[Ginger Rogers]

Goodbye.

[Ronald Coleman]

Oh, I. I beg your pardon. That's okay, mister. Okay. Hey, Gabby, did you see the swell car those People came in. Oh, that fellow was just looking at your crazy pictures, huh?

[Ginger Rogers]

Yeah, my crazy pictures.

[Ronald Coleman]

Gabby. Listen, how about us taking a little walk tonight, huh? Listen, honey sweet, you gotta grow up sometime. You gotta stop being afraid. You think I'm something terrible, and you gotta keep away from me. Well, I'm not so bad, Gabby. I'm just a big guy with a good heart and plenty of hot blood. I'm full of love, honey, and so are you. You don't know it yet, but you are. And when we get out there in the moonlight, you. Well, you'll be glad it's happening. Honestly, you will. Honey sweet.

[Ginger Rogers]

Yeah, what's the difference? I'll go with you, Bo. Anytime you want.

[Ronald Coleman]

Gabby. Gabby, I want.

[Ginger Rogers]

No, Bo's not Gabby.

[Ronald Coleman]

Gabby. Who?

[Ginger Rogers]

What?

[Ronald Coleman]

It's that Duke Mantees. The killer Duke Mantees. All right, all right. Shut up and stand over there against that wall. You two, up there. Over there with the rest of them. Swim. Come on in here, Gramp.

[Ginger Rogers]

Come on out here, Gramp.

[Ronald Coleman]

All right, all right. I hear you. What's all the commotion? What? Who are you? Sit down. You won't get hurt. Oh, you're Duke Mantee, aren't you? You're the killer. Sit down, Grandpa.

[Ginger Rogers]

Mr. Squire. Alan. I didn't think I'd ever see you again.

[Ronald Coleman]

Look at his chin. Mr. Squire, remember what I told you. He's a real killer. I should imagine he is. He's a gangster and a rat, and he ought to be put on the way. Are you talking about me, hairback? I. I'm not afraid of you. Better not talk anymore, Bo. Mr. Mante is a peculiar phenomenon. He's a throwback to another age. Man like myself, living outside of his proper time. The difference is that he knows what he wants to do and does it, while I neither know nor do. What's he talking about, Duke? I'm listening to. Thank you, Duke. You know, rather than wait here for the police, I think you better come with me. I'm planning to be buried in the Petrified Forest. I. I've been a foul in a theory about that. What interests you? It's the graveyard of the civilization that moved out from under us. It's the world of outmoded ideas, self sacrifice, patriotism. The ideal of the unity of mankind, selflessness. Fools like myself who believe in such nonsense are so many dead stumps in that desert.

[Ryan Seacrest]

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[Ronald Coleman]

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[Unknown Speaker]

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[Ronald Coleman]

That's where I belong. And so do you, Duke. For you're the last great apostle of rugged individualism, aren't you? Yeah, maybe you're right, pal. Yeah, I don't fit you. We are.

[Ginger Rogers]

Duke, look out.

[Ronald Coleman]

And where you are the rest of you? Right here. Back. One more grab at me and the next, sluggly right through your head.

[Ginger Rogers]

Boo's your hand.

[Ronald Coleman]

I had a chance to get his gun and I mocked it. Tough luck, hairback. You blonde. Take him out in the kitchen. Fix him up, slim. She's got him banned his time up. A pleasure. Come on, hero.

[Ginger Rogers]

Does it hurt badly, Bo?

[Ronald Coleman]

Say, Duke, did you mean to hit him in the hand or was that just a bad shot? It was a bad shot, Grandpa. I had to get it off first. Do you mind if I reach in my pocket for something? What do you want? I was traveling with all my worldly possessions on me. This insurance policy, it's my only asset. It's for $5,000 and I. I want to endorse it over so that the money would be paid to Ms. Gabrielle. That. That young lady in there by all the trolley. He's drunk. Duke, if these fine, substantial citizens. Mr. And Mrs. Chisholm here witness my signature, I'm sure the endorsement of the policy over to Ms. Gabrielle would be legal. Okay, thank you. Would you sign here? Mr. Chisholm? Do you realize what you're doing? I Do thank you for your signature, Mrs. Chisholm. Yes, I'll sign. Thank you.

[Ginger Rogers]

You're in love with her, aren't you?

[Ronald Coleman]

Perhaps I am. It don't mean a thing. He ain't gonna die. Insurance policy's no good to her. He ain't gonna die. I believe that's where you're wrong, Gramp. Diop. Listen to this. That blonde girl has heroic stuff in her. She has the energy, the vitality with which to fight the future battles. Why, she may be one of the immortal women of the France where she was born. Another Joan of Arc or George sand or Madame Curie. I want to show her that I believe in her. And how else can I do it? Living, I'm worth nothing to her. Dead, I can buy her the tallest cathedrals and golden vineyards and dancing in the streets. One well directed bullets will accomplish that. One bullet dupe. Will you do it? Once they get over, pal? Mr. Squire, your crazy is alone. There ain't a woman alive or ever did live that's worth $5,000. Ah, you're a forgetful old man, Gramp. Any woman is worth everything that any man has to give. Anguish, ecstasy, faith, jealousy, love, hatred. Life or death. When you've reached my age, you'll learn better sense.

[Ginger Rogers]

George. Did you hear that?

[Ronald Coleman]

I heard, Gramp. That granddaughter of yours. Do you know what she is? What is she? She's the future. She's the renewal of vitality and courage and aspiration. All the strength that's gone out of you and out of me. And Mrs. Chisholm. Please don't look at me like that.

[Ginger Rogers]

All I know is I. I wish.

[Ronald Coleman]

You were talking about me. Duke.

[Ginger Rogers]

Duke deroad.

[Ronald Coleman]

I think there's a car coming. We ought to lam out of here. Yeah. Back way, Mr. Mrs. Whatever your name is. Me? Yeah. You and your wife are coming along with us. Shut up your important stuff while you're with us. Nobody will shoot at me.

[Ginger Rogers]

For heaven's sake, George, keep quiet and do what he says.

[Ronald Coleman]

I'll take them out the back wasteland. Okay. Come on, you two. Come on. Well, how about me, Duke? Me too. You better stay right where you are, Alan.

[Ginger Rogers]

Bose will be all right. He can't. Where is everybody?

[Ronald Coleman]

God, sister, I'm going through. You better stay right here for a while. So long. You wait.

[Ginger Rogers]

Alan. Why you come back?

[Ronald Coleman]

What's the matter, pal? Duke, what I asked you to do before. You still want that? It's no matter whether I want it or don't want it. You got to do it. You Hear me? You've got to do it. Okay, pal.

[Ginger Rogers]

Alan.

[Ronald Coleman]

Try to do it so it wouldn't hurt, pal. I'll be seeing you soon.

[Ginger Rogers]

Alan.

[Ronald Coleman]

Gosh almighty, he really meant for him to do it. Oh, Ellen, it doesn't hurt. It. At least it doesn't seem. Gramp, that someone is crap. Oh, so use Gramps, right? It's funny, isn't it?

[Ginger Rogers]

What? Alan, what did you say?

[Ronald Coleman]

Funny. I. I had to come all this way to find a reason to live and die.

[Ginger Rogers]

Alan.

[Ronald Coleman]

Cappy. Gabby, listen. He's life insurance for $5,000. He said it was for you because you were. I think he said the future. Does that make any sense to you?

[Ginger Rogers]

We'll bury him out there in the Petrified Forest.

[Ronald Coleman]

What? What?

[Ginger Rogers]

That's what he wanted.

[Ronald Coleman]

Oh, the sheriff. I'll go call the sheriff.

[Ginger Rogers]

Mine own heart you shall be always till I die. Nor cease to serve, but serve more constant like this is the end for which we do. Amen.

[Ronald Coleman]

You have just heard Mr. Ronald Coleman and his guest star, Ms. Ginger Rogers, in Arch Ober's dramatization of the Petrified Forest. At this moment, two American boys at a flying base in England are waiting to speak to the folks at home. It's after midnight there now and one minute. Hold on. Is that a signal from our engineer? Is our call ready?

[Ginger Rogers]

You talk to him first, Ronnie.

[Ronald Coleman]

Hello? Hello? Staff Sergeants Cassidy and Badnin, are you there? This is Staff Sergeant Cassidy. Is that you, Mr. Coleman? Yes, Sergeant. Is Sergeant Badnin with you? Yes, he is.

[Ginger Rogers]

Hello, Sergeant Badnin. How are you? Sergeant Badnin, are you there?

[Ronald Coleman]

He's here all right, Ms. Rogers. He's a scared. He can't fall and so am I.

[Ginger Rogers]

Scared you fellas?

[Ronald Coleman]

Oh, well, we've been on plenty of mission, but we never figured our next one would be to talk to Ginger Rogers.

[Ginger Rogers]

Oh, I think you're very sweet.

[Ronald Coleman]

I like you too, Ginger.

[Ginger Rogers]

Who said that?

[Ronald Coleman]

Sergeant Badland. He's recovered. Sergeant Cassidy, our new program is everything for the boys. So what can we do for you? Well, we talked it over and we were wondering, could you. I mean, could you spot a. Let us hear the things we missed. Well, what for instance? Well, we've been feeding a fine over here, but ice cream sodas. Honestly, no more soda from fish and chips. Well, what'll it be, boys? When we hear a double chocolate soda being mixed, whipped cream on top. Well, no sooner said than done. Jim Banon, some ice cream, syrup and soda water.

[Ginger Rogers]

And three scoops of ice cream. One strong three.

[Ronald Coleman]

Oh, mammy, show Me the way to go home. There it is, boys. Now what do we do with it, huh? Have Miss Rogers drink it and sack of me. Well, I understand, Sergeant Cassidy, that you are very anxious to have us get you some information about yourself sister's new baby. Your very first niece, I'll say I am. Never had much to do with babies before. Not as young as Connie Ra. Did you find out anything about her?

[Ginger Rogers]

We certainly did, Sergeant. Connie Ray is as healthy as she could be and growing like a little weed.

[Ronald Coleman]

That's good. We also heard that she has your disposition. Uh. Oh, that's bad. You have a sister too, haven't you, Sergeant Badnam? You bet I do, Mr. Coleman. She lives right there in Los Angeles. How sorry long since you last heard her voice? Gosh, let me think. Well, all I can say that it's.

[Ginger Rogers]

Been too long when it's high time something was done about it.

[Ronald Coleman]

What do you mean, Miss Rogers?

[Ginger Rogers]

Just this, Sergeant. Hi, Harry. This is your sister, Helen.

[Ronald Coleman]

Oh, gosh, this is the biggest surprise I've ever had. Ellen. Gosh, it's good to hear your voice.

[Ginger Rogers]

Harry. I can hardly talk.

[Ronald Coleman]

Come on, sis.

[Ginger Rogers]

Harry, you know the folks. You didn't tell the folks that you're in the air forces?

[Ronald Coleman]

Sure, but I just don't know what I can do about it.

[Ginger Rogers]

Well, Harry, that's what I wanted to talk to you. The folks know what? Yes, the folks know that you're a fire. And they're terribly, terribly proud of you.

[Ronald Coleman]

Oh, gosh, S. That's wonderful. That's the greatest news I've had for weeks and weeks.

[Ginger Rogers]

Harry, there isn't any more time. Stay well and keep those letters coming.

[Ronald Coleman]

I will, Helen. Thank you. And the folks back home keep that equipment coming. And Helen, have the fixed by war bonds, will you? It makes it feel good to hear about it. Amen.

[Ginger Rogers]

Yes, I will. Happy landing to Perry.

[Ronald Coleman]

So long, sis. Say, we have a few seconds more. Anything else we can do for you, Sergeant Batman? Yeah, there is, but I don't want you think I try to be frank? Well, all you have to do is ask for it. Well, I'm not murdered. And I was wondering. Miss Rogers.

[Ginger Rogers]

Yes, Sergeant?

[Ronald Coleman]

Would you. Could you.

[Ginger Rogers]

Well, say it. Say it.

[Ronald Coleman]

Well, could you tell me your private Hollywood cell phone number?

[Ginger Rogers]

Yes, I can, but not on a transit Atlantic hookup. I'll mail it to you.

[Ronald Coleman]

Good enough. Sorry, we've got to go now. Thanks a lot, Mr. Coleman. And Ms. Roger. All right, thank you.

[Ginger Rogers]

Thank you. Good luck.

[Ronald Coleman]

Good luck, boys. Ladies and gentlemen, the transatlantic circuit is Broken. And two American boys waiting on the edge of an English meadow turn toward their flying portrait. True American boys. And if Ms. Rogers and I have given them a few minutes of pleasure without their acting, we are happy indeed. And they will all be grateful to you if you carry through in your task of providing them with fighting equipment. Next week, Otto might cordially invite you to another half hour of everything for the boys. Your new global half hour. Power uniting the home front and the fighting front. Your host, Ronald Coleman, will have as a special guest Ms. Irene Dunn in Arch Obller's dramatization based upon an exciting Jack London story. All at the express command of a group of fighting marines who will listen in and then speak to Mr. Coleman and Ms. Dunn directly from a base in the South Pacific. With our most sincere thanks to Ginger Rogers for being with us tonight. We leave you now until next week when at the command of our fighting men from a base in the South Pacific, we bring you Ms. Irene Dunn. This is Ronald Colman saying good night to you and the boys. And God be with you. Satisfying Martin saying good night for Auto Light. Our program has come to you from Hollywood. This is the National Broadcasting Company. Step into the world of power, loyalty and luck. I'm going to make him an offer he can't refuse with family. Canolies and spins mean everything. Now you. I get mixed up in the family business. Introducing the [e-mail] test your luck in the shadowy world of the Godfather slot. Someday I will call upon you to do a service for me. Play the Godfather [e-mail] Welcome to the family. No purchase necessary VGW Group void where prohibited by law, 21 + terms and conditions apply.

[Unknown Speaker]

Es gratis, Basil. Y hay servicios de interpretacion. Dis poniblas. Yame al uno ocho. Siete, siete. Tres, cuatro, cinco. Tres. Cuatro. Ocho, cuatro.