Mail Call 011 42-11-04 Betty Rhodes, Bing Crosby, Fred Astaire, Fibber McGee and Molly

Summary

Podcast Summary: Harold's Old Time Radio – Mail Call 011 (42-11-04)

Date: January 26, 2026
Episode Feature: Betty Rhodes, Bing Crosby, Fred Astaire, Fibber McGee & Molly, Meredith Wilson
Host: Presented by Harold's Old Time Radio
Format: WWII-era "Mail Call" variety show for U.S. Armed Forces

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Overview

This episode of Harold's Old Time Radio features an authentic WWII-era broadcast of "Mail Call," a US Armed Forces Radio Service variety show. The program is crafted as a vibrant "letter from home" to soldiers worldwide, directly addressing the fighting men of the United Nations. It blends lighthearted sketches, comedy from beloved characters Fibber McGee and Molly, and musical highlights from stars like Bing Crosby, Betty Rhodes, Fred Astaire, and Meredith Wilson. The show is nostalgic, patriotic, and steeped in the optimism and camaraderie of the era.

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Key Discussion Points and Segments

1. Opening and Introduction

[00:35] – [01:17]

• Ken Carpenter opens with a heartfelt message:

  "Here it is, men—the mail call…this is for you. A personal letter from Bing Crosby, Fred Astaire, Betty Rhodes, Fibber McGee and Molly and Meredith Wilson…postmarked Hollywood…"

• Sets the tone of home, warmth, and connection, aimed at boosting morale.

2. Musical Tribute: "Hit the Leather"

[01:17] – [03:25]

• Bing Crosby introduces stars and transitions to the musical segment.

• Meredith Wilson presents a new, upbeat cavalry-themed song, "Hit the Leather," saluting soldiers’ spirit and unity.

  Notable quote (Bing Crosby):

  "Paragraph number one is a musical tribute to the guys who answer the call of boots and spurs. It’s a new song…called Hit the Leather." (01:54)

3. Comedy Segment: Fibber McGee & Molly Skit

[03:26] – [08:00]

• Comedy about Fibber’s imaginary football strategies, using household objects to reenact plays.

• Molly pokes fun at Fibber’s self-important tales of football greatness.

• Humor built around wordplay (e.g., "Tic Tacs" vs. "tactics") and classic misunderstandings.

• Delightfully absurd interaction with the "little girl from across the street," who wants water for her squirt gun—to fight back at squirting grapefruit.

  Memorable moments:

  • "Maybe you better let them in." – Molly (04:55)
  • "Nazi slippers? What are they?" – Fibber (06:41)
    "Wedgies? No soles, all heels." - Little Girl (06:44)

4. "Holiday Inn" Musical & Story

[08:35] – [26:37]

• Bing Crosby retells and enacts highlights from the musical film Holiday Inn alongside Fred Astaire and Betty Rhodes.

• Listeners are treated to an audio adaptation that blends dialogue, comedy, and signature Irving Berlin songs.

• Key songs include:

  • "White Christmas" [13:19 making] – [15:50]
    Sung as a duet with playful prompts, capturing its simple, homespun charm.
  • "Easy to Dance With" [17:06]
    Features Fred Astaire, expressing his character’s romantic intentions through dance.
  • "Abraham" [19:31]
    Celebrates Lincoln’s legacy with a spirited number tied to the storyline’s February setting.
  • "Be Careful, It's My Heart" and "Easter Parade"
    Songs mark various holidays, blending story progression with musical celebration.

  Notable quote (Bing Crosby, about Holiday Inn):

  "Here’s a new angle—he dances, which means that the heel is on his toes." (10:14)

  Comic banter:

  • Fred Astaire: "She loves me. We’re going to dedicate our lives to making people happy with our feet." (10:40)
  • Bing Crosby: "That kick in the pants you gave me sure is a swell start." (10:49)

  Holiday transitions serve as chapters:

  • Christmas: “White Christmas”

  • New Year’s/Eve

  • Lincoln’s Birthday

  • Valentine’s Day

  • Easter: “Easter Parade”

  • Love triangle and ambition subplot:
    The recurring comedic conflict between Bing and Fred’s characters centers on career, romance, and showbiz aspirations.

5. Bittersweet Finale and Return Home

[23:20] – [26:37]

• The story concludes with showbiz choices and romantic resolutions.

• Bing’s heartfelt reunion with Linda at the Hollywood studio on Christmas Eve wraps with a reaffirmation of love and partnership.

  Notable quote (Bing Crosby):

  "This job is for 365 days a year. No holidays." (26:37)

6. Final Salute & Wartime Spirit

[26:37] – End

• Fibber McGee and Molly join Bing Crosby for a rousing, morale-boosting sendoff, encouraging the troops and reaffirming American unity against the Axis.

  Closing lines (Bing Crosby):

  "It’s the sentiment of everyone—I think we’re a solid-sending nation, and we won’t take our vacation till those Axis bums are safely in the clink." (28:45)

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Notable Quotes & Memorable Moments

| Timestamp | Speaker | Quote/Description | |-----------|-------------|---------------------------------------------------------------------------------| | 01:17 | Bing Crosby | "Taking great pride in knocking out a letter to all you fighting men..." | | 04:26 | Molly | "Yes. I used to hear people say you were one of the most offensive football players in the game." | | 06:44 | Little Girl | "Wedgies? No soles, all heels. So hungry." | | 10:14 | Bing Crosby | "Here’s a new angle—he dances, which means that the heel is on his toes." | | 13:19 | Bing Crosby | "I said I was going to sing this song at the inn tonight." (introducing "White Christmas") | | 14:27 | Bing & Molly | Collaborative, slightly flustered rendition of "White Christmas" | | 17:06 | Fred Astaire | "I could dance nightly just holding you tightly, my sweet..." ("Easy to Dance With") | | 19:31 | Molly | "On a February morn, a tiny baby boy was born—Abraham, Abraham..." | | 28:45 | Bing Crosby | "We’re a solid sending nation and we won’t take our vacation till those Axis bums are safely in the clink." |

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Section Timestamps

• Opening & Welcome: [00:35–01:17]
• "Hit the Leather" Song: [01:17–03:25]
• Fibber McGee & Molly Skit: [03:26–08:00]
• Holiday Inn Story & Songs (incl. "White Christmas"): [08:35–26:37]
• Final Tributes and Closing: [26:37–End]

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Tone and Style

The tone is warm, familiar, and deeply patriotic—packed with the optimism, wit, and vibrant camaraderie typical of 1940s American radio. Comedy sketches play with verbal humor and gentle mockery. Musical moments are heartfelt and nostalgic, especially the debut of “White Christmas.”

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For Listeners

This richly woven broadcast stands as a time capsule of American entertainment at the height of WWII. It offers a mix of comedy, music, and heartfelt messages, designed to comfort and cheer servicemen far from home—and to remind modern audiences of the power of classic radio to connect, uplift, and entertain.

Transcript

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[Ken Carpenter]

Here it is, man the mail call bringing you a letter from home. This is for you. A personal letter from Bing Crosby, Fred Astaire, Betty Rhodes, Fibrill McGee and Molly and Meredith Wilson. Addressed to every soldier, sailor, marine and Coast Guardsman of the United Nations. It's postmarked Hollywood and its address to you.

[Bing Crosby]

This is Bing Crosby with greetings men and taking great pride in knocking out a letter to all you fighting men of the United nations and with some crisp characters here in the collaboration department. For here to fill in a personal paragraph or two along the way are that lovely young lady of songs, Betty Rhodes, the maker of fancy foot music par excellence, Fred Astaire, and that dearly beloved couple who purvey the wiles and witticisms of wedlock, FIBA McGee and Molly. Then of course, there's half a thousand kibbitzers and khaki out in front here ready to embellish this letter with cheers, whistles, cat calls, applause and sundry sound effects. Paragraph number one is a musical tribute to the guys who answer the call of boots and spurs. It's a new song composed by our regular mail call musical collaborator, Meredith Wilson. He's called it Hit the Leather. We're gonna hit the leather and ride Take it all in our stride Hit the leather and ride all the way and leave the poor benighted infantry behind us. They'll have to reach cavalry dust to find us. Let every son of a galloping Yank jump in a saddle or tank, pimp the leather and ride all the way. Well, somewhere mechanize you recognize the outfit we're riding. Hell bent for leather today. Comes now a paragraph in this letter to you men bringing you the combined handiwork of of a certain domestic duo, most distinguished citizens of that metropolis of monkeyshine. Wistful Vista, febber McGee and Molly. Seems like every year about this time the halfback comes out in. Fibber has witnessed the present scene in their living room where various books, sofa cushions and overshoes marked the development of a startling, so he thinks, new football player.

[Fibber McGee]

Now let Me see if this sofa cushion is X. He fades back on reverse, drawing O out of position. Then Z takes out A, leaving an opening between B. Oh, no, I forgot. D broke his leg in the second quarter. J went in. That changes the whole situation. J can't block worth a dime.

[Molly]

Hey, D. What goes on here? What's that junk scattered all over the house for?

[Fibber McGee]

What do you mean, junk? Those are football players. The cushions are Peoria High and the books are Joliet and the overshoes are officials. I'm using your mules as linesmen.

[Molly]

I see.

[Bing Crosby]

Okay, okay, okay.

[Fibber McGee]

Scoff if you want to deri. You know darn well you're talking to one of the greatest football players that ever chewed a cleat for good old Peoria.

[Molly]

I know I've often heard that you were one of the finest players in the Middle West.

[Bing Crosby]

You have? Where'd you hear that?

[Molly]

From you.

[Bing Crosby]

Oh.

[Fibber McGee]

Kidden is on the level too. I was the best defensive player Peoria ever developed.

[Molly]

You know, they used to say you were great other ways too.

[Fibber McGee]

Yeah?

[Molly]

Yes. I used to hear people say you were one of the most offensive football players in the game.

[Bing Crosby]

Really?

[Fibber McGee]

You ain't just saying that because you admire me?

[Molly]

Not at all. Anybody who spent as much time as you did cavorting around on the gridiron. Now, listen, if that's the head coach from Notre Dame with a contract for you, what'll I tell him?

[Fibber McGee]

Don't commit me to anything till I read it. I know those guys with the bottom paragraphs and fine print.

[Molly]

Maybe you better let them in.

[Bing Crosby]

Yeah.

[Molly]

With this junk all over the floor, I'm ashamed to answer the door. I'll be upstairs, dear, if they want me for anything.

[Fibber McGee]

Come in. I'm sorry, gentlemen. I couldn't possibly accept anything less than 25.

[Molly]

Hi, mister.

[Bing Crosby]

Oh, hi, little girl.

[Fibber McGee]

State your business briefly. This is my busy day.

[Molly]

Oh, what you doing, Mr. H? Are you moving?

[Fibber McGee]

What do you mean? Oh, you're referring to this stuff on the floor here? No, I was working out some football Tic Tac, sis. I says I'm working out some football Tic Tacs.

[Molly]

I bet you mean tactics.

[Fibber McGee]

I bet you I know what I mean. I mean Tic Tacs. Those are reverse tactics. I worked out one Tic Tac where they tickle the tackle.

[Molly]

Hey. Hey, mister, Can I have some water, please? Can I? Please, mister, Can I?

[Fibber McGee]

You thirsty?

[Molly]

No.

[Fibber McGee]

Well, what do you want the water for? Not that your chubby little cheeks couldn't stand a slight slug of soap suds.

[Molly]

I Want it for my gun?

[Fibber McGee]

Gun? What kind of a gun?

[Molly]

You know, squirt.

[Fibber McGee]

Now none of your impudence sis. One more crack like that.

[Molly]

No, no, no, no, no. It's a squirt gun mister. Looka, you see it.

[Bing Crosby]

Oh yeah.

[Fibber McGee]

What good is a squirt gun? You gonna get the drop on some drip?

[Molly]

No, I use it for getting even, I betcha.

[Bing Crosby]

Even with what?

[Molly]

Grapefruit. Grapefruit? Every time it squirts me, I squirt right back.

[Fibber McGee]

I'll make a note of that sis, and add it to my collection of uninteresting facts. Now run along will you? I'm busy.

[Molly]

Okay mister. I bet you the shoemaker will give me some water anyway. I betcha.

[Fibber McGee]

Oh, you going to the shoemaker?

[Molly]

Sure. Mama asked me to stop and pick up her Nazi slippers.

[Fibber McGee]

Nazi slippers? What are they?

[Molly]

Wedgies?

[Fibber McGee]

But why? Nazi slippers?

[Molly]

No soles, all heels. So hungry.

[Fibber McGee]

Is she gone? Nazi slippers. One of these days I'm gonna take a fly swatter and roll a Jean Krupa oblogata right across her little rompers.

[Molly]

Did I hear you talking to somebody, McGee?

[Fibber McGee]

Yeah, a little girl from across the street.

[Molly]

Ah, I suppose you were bragging to her about your football prowess too.

[Fibber McGee]

I was never no such a thing. What does she know about football? Closest she ever comes to active sports is trying to find a fourth for London Bridge. And anyway, if anybody's got a right to brag, I have.

[Molly]

About what?

[Fibber McGee]

If I may be so bold about my football prowess? Remember the time they sent me in the last five minutes against the Blue Island Reform School?

[Bing Crosby]

11.

[Molly]

Well I don't exactly.

[Fibber McGee]

Boy did I give them action.

[Bing Crosby]

Zip, zip, zip.

[Fibber McGee]

Up the field, down the field, across the field, tackling like a tornado, blocking like a tank, running like a six legged tower.

[Molly]

No wonder you were so cold and thirsty.

[Fibber McGee]

Tearing across the line like. What do you mean cold and thirsty?

[Molly]

Well, I just found a picture of you with the Peoria team.

[Bing Crosby]

Oh you did?

[Molly]

Yes. And you were the only one with a big bucket of water and 10 blankets.

[Fibber McGee]

Good night.

[Molly]

Good night all.

[Bing Crosby]

I'm here on a job site with Tim who owns his own electrical contracting business.

[Ken Carpenter]

Three employees and two work trucks.

[Bing Crosby]

Tim traded up to Geico Commercial Auto Insurance. We're positively here where he needs us most. They sure are. With step by step help on all his insurance needs. All for shockingly low rates. Shockingly low, huh? Just a little bit of electrician humor. Do you get it?

[Grainger Announcer]

I got it.

[Bing Crosby]

You know, it feels like we have a real connection. Alright, I'll stop.

[Grainger Announcer]

Get a commercial auto insurance quote [e-mail].

[Bing Crosby]

And see how much you could save. It feels good. To Geico. Back in 1918, where we were once before, busy defending the rights of free men, a little soldier wrote a big song. You may have heard it once or twice. Oh, how I hate to get up in the morning. Well, since that time, this quiet, mild mannered man has written Blue Skies Always, How Deep Is the Ocean, and a hundred more hit songs. He writes solo and he writes from the heart, deserving Belen. Latest evidence of the Berlin brand of song magic lies in the score for a paramount opus called Holiday Inn. And along about this point in this meandering missive, with the able assistance of my good friends Betty Rhodes and Fred Astaire, we'll make with the somewhat abbreviated version of said Holiday Inn. Now, in this here picture, I'm a guy called Jim Hardy. It's a character role. I sing, I capture her heart singing. And a lot of stuff like that. I'm a nice guy in the picture, but where do you meet Fred Astaire? He plays Ted Hanover, a first class heel, you know, in a nice kind of way. And here's a new angle. He dances, which means that the heel is on his toes. Capture her heart. Dancing. Wind there breaks a leg, this boy all through. Leave you alone. You'd break both ankles all through. Real one. I think I'm in love with a dish named Dorothy, that's Ted's dancing partner. And the three of us do an act together in the New York nightclub. And just when I'm coming on like gangbusters heading for the altar, Hanover wolfs the gal away from me. And, brother, I'm plenty burned. So don't anybody go away now, because I'll step up there on the screen with Fred and burn. So you're burned up because I stole your girl? Oh, now, Jim, let me explain. Now, look, look here, twinkle toes. This ain't the first time you grab my girl. Oh, but Dorothy and I belong together. She loves me. We're going to dedicate our lives to making people happy with our feet. I see. Well, that kick in the pants you gave me sure is a swell start. Sorry, Jimmy boy, awfully sorry. Go ahead, go ahead. You and Dorothy can go dance your toenails to the bone. I'm about to rejoin the human race. You're gonna quit the act? Why not? I'm through with women. Or vice versa. And what's more, I'm certainly through with you. Oh, now, don't be like that. Jim, how are you gonna live? Well, I tell you. I got my eye on a farmhouse up in Connecticut and I'm gonna make it into a nightclub. Are you kidding? No, I'm not. Here's the switch, though. It's just gonna be open 15 days a year. Holidays only. The rest of the year I loaf. Is that delicious? You would think of a thing like that. But it'll never work. You're crazy. Okay, I'm crazy. But I bet you two bits you beat me to the asylum.

[Molly]

Hey, up there. Merry Christmas.

[Bing Crosby]

Same to you.

[Molly]

Hey, what you doing?

[Bing Crosby]

Oh, I'm just putting out my shingle. Can you read it from there?

[Molly]

Sure. Holiday Inn. Can you tell me where I can find the manager? Jim Hardy?

[Bing Crosby]

Well, let me see. Last time I see him, he was. He was out in the snow, up on a step ladder, nailing up his sign.

[Molly]

Are you Jim Hardy?

[Bing Crosby]

I'm the old man himself. We like it down off this thing. How are you?

[Molly]

Hello. I'm Linda Mason. I came up here to ask you, well, if maybe you could use me here at Holiday Inn.

[Bing Crosby]

What do you do?

[Molly]

Oh, I sing a little and dance.

[Bing Crosby]

Yeah? Well, let's give a listen. Come on in.

[Molly]

Oh, what a darling place.

[Bing Crosby]

You like it?

[Molly]

Love it.

[Bing Crosby]

Here, have a seat on the piano bench here. Now, what do you sing? Bounce or Temple de Ballade or what?

[Molly]

Oh, a little of each.

[Bing Crosby]

Well, let's see what you can do to this.

[Molly]

Oh, but I don't know it.

[Bing Crosby]

Well, neither does anybody else. I just wrote it. Wrote it specially for Christmas at Holiday Inn. This is a chance to keep a promise that I made to myself. I said I was going to sing this song at the. At the inn tonight.

[Molly]

Maybe we can sing it for customers next Christmas.

[Bing Crosby]

Could be. I dreaming of a wild Christmas Just like the ones I used to know where the treetops listen and children listen to hear sleigh bells in the snow I'm dreaming of a white Christmas with every Christmas card I write May your days be merry and. And may all your Christmas divine okay, now you take over. Let's hear it.

[Molly]

But I don't know the words.

[Bing Crosby]

I'll prompt you. I'm dreaming of a white Christmas I.

[Molly]

Dreaming of a white Christmas Just like.

[Bing Crosby]

The ones I used to know Just.

[Molly]

Like the one time Used to know.

[Bing Crosby]

Where the treetops glisten where the treetops glisten Children listen and children listen to hear sleigh bells in the snow.

[Molly]

I'm dreaming of a white.

[Bing Crosby]

Christmas.

[Molly]

With every Christmas card I write.

[Bing Crosby]

May your days.

[Molly]

Be merry and bright.

[Bing Crosby]

And may all your Christmases be fly. Hey, lady, lady, you're. You're packing a pair of pipes there, aren't you?

[Molly]

Did you really like it?

[Bing Crosby]

Like it? You're in. Holiday Inn is going to open New Year's Eve, and when we introduce the star of the show, you are it. Well, New Year's Eve, the old farmhouse is packed for the rafters, and Linda really steals the show. But along about five minutes to 1942, in comes trouble. Old Ted Hanover pulls into the inn before I can stop him. Friend Fleet Feet is dancing with Linda. He's given her that come hither look. I must say, she's hithering. What can I do but just stand there with my jaw at half mast? I could dance nightly just holding you tightly, my sweet. I could keep right on because you're so light on my feet. You're easy to dance with. There is no doubt in the way we stand out in the crowd. Though it's called dancing to us it's romancing out loud. You're easy to dance with. Loving you the way I do makes you easy to dance with. That is why I'm always right on the beat. All those charms in one man's arms. Makes you easy to dance with. I can hardly keep my mind on my feet. Let's dance forever. Come on. Say, we'll never be through. It's so easy to dance with you. Hey, Jim, Jim, Jim, that. That girl's got to be my new dancing partner. Oh, now, wait, wait, wait a minute. What happened to Dorothy?

[Fibber McGee]

Dorothy?

[Bing Crosby]

Oh, well, she ran off with some dollar and a half a year man. But, but, but who cares? This girl is twice as good. She's terrific. Why, she's. She's my new partner. Now, look, Butch, whip off the blitz there with you. Linden's staying right here at Holiday Inn. Aha. And so am I. I couldn't miss that. Linda and I are going to dedicate our lives to making people happy with our feet. Uhoh, here we go again. Of course, having Ted Hammond over move into Holiday Inn makes everything just dandy. There I am again. There I am in the lonesome corner of the eternal triangle. This is one time I'm not giving up without a fight. This boy Hanover may be turning on the heat with his feet, but I'm figuring to tie up plenty of temperature with my tonsils. Comes Lincoln's birthday, I whip out a special number for Linda and me that I figure ought to leave Hanover just standing around there with his arches sagging. On a February morn. A tiny baby boy was born Abraham Abraham.

[Molly]

When he grew up this tiny babe the folks all called him on a stave Abraham oh, Abraham was. When someone once told him General Grant was drinking every night he answered, go.

[Bing Crosby]

See if you can get all my generals tied. That's why we celebrate his blessed February day Abraham Abraham. With only one day between Lincoln's birthday and Valentine's Day, I figure that that's really the time to pull out the stops and pour on the romance. Be careful, it's my heart. It's not my watch you're holding it's my heart it's not the note I sent you that you quickly burn it's not the book I lent you but you never return Remember, it's my heart the heart with which so willingly I part. It's yours to take, to keep or break but please, before you start Be careful, it's my heart. Well, I'm sort of hoping that that number ought to set me somewhere near third base with the hit and run play on. But with old Bad News Hanover still on the job, I'm just a blowed up tomato. By the time Easter rolls around, I'm caught with my offensive down. So I figure it's time to dust off an oldie and really give it the full pitch. In your Easter bonnets with all the frills upon it. You'll be the grandest lady in the Easter parade. I'll be all in clover. And when they look you over, I'll be the proudest fellow in the Easter forever. Happy Easter, Linda.

[Molly]

Same to you, Jim.

[Bing Crosby]

You know, there's something that I've been wanting to ask you, Linda.

[Molly]

Yes?

[Bing Crosby]

Been sort of waiting, though, until the ledger had a transfusion of black ink, and now I kind of thought that perhaps it was a good time to bust the. Hey, hey, kids. Get away from me.

[Molly]

Now.

[Bing Crosby]

Here, here. Go away. You bother me. Listen, I've got good news. We're going to Hollywood.

[Molly]

Hollywood?

[Bing Crosby]

Yeah, they want all of us and the music and the whole idea of Holiday Inn. I've got the contract right here. All we got to do is sign it. Anybody got some ink? Not me. I had the same offer three weeks ago and I turned it down fast.

[Molly]

Without even asking us?

[Bing Crosby]

Well, the inn is making a little money. We're having some fun. Didn't think you'd be interested.

[Molly]

Oh, so you decided we shouldn't have the chance? Not even the chance to refuse.

[Bing Crosby]

Oh, now, Jim, what makes you think we'd want to stay up here in the backwoods when we've got a chance to really get someplace to the top. Oh, I don't know. I guess it was just too good to last. Had a simple little layout here where we could do our best doing the work we know without having any illusions of glory. Okay, take the idea. Take the music. Take Linda. Take the whole darn thing. Aren't you coming to Hollywood with us? You couldn't drag me out to that town with a string of racehorses. No, sir. I'm staying right here at Holiday Inn. Boy, you go ahead. You two have fun. I'll be seeing yous at the Baiju. Well, so Linda goes on out to Hollywood and Holiday Inn begins to fold up like a wet awning. Months go by, I haven't heard from Ted and Linda. And all I know is what I read in Variety. Of course, I can't tell whether Linda is happy or not. But there's one thing certain. I am not a very happy Joe. Come December, I decide there's only one thing to do. Hop a train for the coast. I like it. Into Los Angeles on Christmas Eve. I go right to the movie studio where they're shooting Ted and Linda's picture. Well, Jim Hardy. Say, what the deuce are you doing out here? Merry Christmas, Ted. Merry Christmas. Is Linda around? Well, I don't think she can see you now, kid. She's on the stage shooting. Well, maybe I could, you know, sort of sneak in and watch, huh? Oh, no, no. You wouldn't like it. It's dull, technical stuff now. Well, I'm a very technical guy in here. That's right. Okay, get some stuff on those floods. Places, everybody. Say, look at there.

[Molly]

They're wonderful.

[Bing Crosby]

That set looks exactly like the end, doesn't it? If I wasn't 3,000 miles away, I'd think I was home. It's a pretty good reproduction, all right. Quiet. Quiet, everybody. There's a take. Listen, we'll have to be quiet, Jim. This is Linda's big number. Yeah. Boy, she sure looks beautiful, doesn't she? Okay, roll.

[Molly]

I Dreaming of a white Christmas.

[Fibber McGee]

With.

[Molly]

Every Christmas card Hey, Jim, don't go out there.

[Bing Crosby]

You'll get in the picture. May your day, Jim, be merry, merry.

[Molly]

And bright.

[Bing Crosby]

And may all your Christmas be wise.

[Molly]

Jim.

[Bing Crosby]

Linda.

[Molly]

What are you doing here?

[Bing Crosby]

I'm looking for a job.

[Molly]

What do you do?

[Bing Crosby]

Oh, I sing a little. I make some girling off a good husband.

[Molly]

Mister, you're hired.

[Bing Crosby]

You know, I think I'll take it. Just one condition.

[Molly]

What's that?

[Bing Crosby]

This job is for 365 days a year. No holidays. Well, that's it, men. That's Holiday Inn. I gotta get back to the stable and feed the horses. Last Tuesday, Bob Hope delivered the corn. It's been a real pleasure for all of us to send this note your way. And if by some chance your name wasn't announced at the last mail call in your particular outfit, then we hope that this letter of ours will sort of stand you in good stead until your next envelope from home arrives. So long for now. Sincerely yours, Bing Crosby. Oh, the kibitzer's hanging over my shoulder. When I had a couple of postscripts and post postscripts, and here they are, Bibba McGee and Molly. Every time I start to warble, someone always rings my doorbell with a firm demand that I shut up or move. So I'll get right in my stomach right now and I'll let you boys decide now if McGee is solid when he's in a groove. My w.

[Molly]

Hey, McGee, you're not in the groove, you're in a rut.

[Fibber McGee]

Oh.

[Molly]

Here'S a tear from Wistful Vista and from every Ms. And Mr. And from every city, county, state and town they are all red, white and blue guys and there's nothing they won't do Guys, till we haul those ugly Axis colors down.

[Bing Crosby]

I will say one thing for certain just before we pull the curtain. It's the sentiment of everyone I think we're a solid sending nation and we won't take our vacation till those Axis bums are safely in the clink. And he's a 40 knighted infantry behind us. He'll have to eat cavalry dust to find us. Let every son of a gallop and yank Jump in a sand or tank Lift the leather and ride all the way the sun we're mascognized to recognize the outfit we're riding Hell bent, we're leathered today.

[Ken Carpenter]

This is Ken Carpenter saying so long for Bing Crosby, Fred Astaire, Betty Rhodes, Barrett McGee and Molly and Meredith Wilson. Another letter from home will be coming your way next time you hear the mail call. Mail Call is produced in cooperation with the leading motion picture studios of the Hollywood Victory Committee. Especially for the men of the Armed Forces of the United nations. By the Special Service Division of the War Department of the United States of America.