Packard Hour 36-09-22 The Abby Players, Fred Astaire

Summary

Podcast Summary: Harold's Old Time Radio – "The Packard Hour 36-09-22: The Abbey Players, Fred Astaire"

Introduction

In the January 21, 2025 release of Harold's Old Time Radio, the episode titled "Packard Hour 36-09-22: The Abbey Players, Fred Astaire" transports listeners back to the enchanting Golden Age of Radio. Hosted by Ken Carpenter, the episode is sponsored by the Packard Motor Car Company, reflecting the era's prevalent blend of entertainment and commercial sponsorship. This episode features a captivating mix of musical performances, celebrity appearances, and a one-act Irish farce performed by the renowned Abbey Players.

Sponsor Introduction

The episode opens with Ken Carpenter introducing the Packard Motor Car Company as the proud sponsor. He highlights Packard's commitment to excellence and luxury, seamlessly integrating the sponsor's message with the show's content.

Musical Highlights

Johnny Green takes center stage with his virtuosic piano and organ performances. His energetic rendition of "Sing Me a Swing Song and Let Me Dance" sets a lively tone for the evening. At [01:27], Fred Astaire joins in, adding his signature charm:

"I can't tell you how mighty, mighty proud I am to see such a group of beaming faces out there in the audience tonight." ([08:32])

Notable Quote: Fred Astaire emphasizes the importance of joy and happiness, stating:

"More happiness, more joy. Smile, smile, smile. That's the ticket." ([08:32])

Green's performance is not just musical but also physically engaging, demonstrating his prowess as a conductor and performer. For instance, at [03:20], he humorously narrates his transition from conducting to playing the piano:

"Starts out conducting his orchestra from a platform, then does a double nip up to the piano for a few bars and a swan dive to the stress and a sprint back to the platform to finish the number."

Dialogue and Interaction

The interplay between Johnny Green, Fred Astaire, and Pepper C. Butterworth adds a layer of humor and camaraderie to the show. Their banter during the musical pieces, particularly during rehearsals and performances, provides a behind-the-scenes glimpse into the collaborative spirit of live radio entertainment.

Notable Quote: During a playful disagreement over song lyrics, Fred Astaire quips:

"I don't like the old folks at home. It might interest you to know that I don't like red sails in the sunset." ([11:20])

One-Act Irish Farce: "The End of the Beginning"

A significant portion of the episode is dedicated to a one-act Irish farce titled "The End of the Beginning," performed by members of the Abbey Players—Barry Fitzgerald, PJ Kelly, and Ms. Yuna O'Connor. This play, penned by Sean O'Casey, unfolds in the kitchen of Lizzie and Barry Beryl’s home in a small Irish farming community.

Plot Overview

The story begins at [16:18], with Lizzie Beryl (played by Yuna O'Connor) managing household chores while her husband, Pepper C. Butterworth (Barry Fitzgerald), enters frustrated by the never-ending housework. The tension escalates as Pepper attempts to take over Lizzie's duties, leading to comedic chaos.

Key Scenes:

1. Household Tensions and Physical Comedy:

   • Pepper tries to exercise, resulting in slapstick moments where he disrupts the household:

     "Lie flat on your back. Lay hands down in front of you." ([18:12])

2. Sibling Rivalry and Operational Mishaps:

   • Seamus Olancy (PJ Kelly) attempts to assist, leading to humorous mishaps:

     "I can't reach him." ([25:15])

3. Climactic Chaos:

   • The situation spirals out of control with Pepper attempting to fix the chaos, culminating in his feigned (and actual) injury:

     "I'm dying." ([25:33])

4. Resolution and Reflections:

   • The play concludes with a humorous yet poignant resolution, highlighting the strains and bonds within familial relationships.

Notable Quotes:

• Lizzie Beryl expresses exasperation:

  "How was I to know you were up on the chimney? You big, you loose." ([25:56])

• Pepper C. Butterworth laments his predicament:

  "I don't like the old folks at home. It might interest you to know that I don't like red sails in the sunset." ([25:41])

Musical Interludes and Performances

Interspersed with the play are additional musical performances, including a rendition of "A Fine Romance," showcasing the seamless integration of drama and music typical of the Golden Age of Radio. Johnny Green and Fred Astaire perform this Jerome Kern and Dorothy Fields classic, adding emotional depth and nostalgia:

"Never gonna die, only gonna love." ([26:18])

Conclusion and Farewells

As the episode draws to a close, Ken Carpenter provides a nostalgic reminiscence of the evening's performances and previews upcoming shows:

"Four butterflies." ([31:38])

He bids farewell until the next episode, reminding listeners of the enduring appeal of classic radio entertainment.

Production Credits

The episode is produced in Hollywood studios and broadcasted over the Red Network of the National Broadcasting Company (NBC), emphasizing the high-quality production values and widespread reach of the program.

Final Thoughts

"The Packard Hour 36-09-22: The Abbey Players, Fred Astaire" offers a delightful blend of music, humor, and drama, encapsulating the essence of old-time radio. Through engaging performances and memorable dialogues, the episode not only entertains but also serves as a nostalgic tribute to a bygone era of family gatherings around the radio set.

Notable Quotes Recap:

• Fred Astaire on happiness: "More happiness, more joy. Smile, smile, smile. That's the ticket." ([08:32])
• Pepper C. Butterworth on household work: "I could do all that has to be done here three times over..." ([16:57])
• Fred Astaire on disagreements: "I don't like the old folks at home..." ([11:20])

This episode is a must-listen for enthusiasts of classic radio shows, offering a rich tapestry of performances and storytelling that evoke the charm and warmth of the Golden Age of Radio.

Transcript

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[Ken Carpenter]

The Packard Motor car company and its distributors and dealers everywhere present the Packard Hour with Johnny Green. His piano and his organ is good. That super talent scout Charles Butterworth. The world famous Abbey Players, that sensational song group the Foursome Quartet and starring.

[Fred Astaire]

Fred Astaire.

[Johnny Green]

Thank you. Good evening. Thank you. Thank you very, very much. Thank you, Johnny. Thank you. Oh baby, I don't want you to croon soft and mellow let me warn you in advance. Sing me a swing song and let me dance. Oh baby, I don't want any moon bright and yellow you can have your sweet romance. Sing me a swing song and let me dance. Mr. Trombone, play some corn I ain't caring what notes. Mr. Trumpet, grab a horn brother, give me hot notes. Oh baby, I've don't want any tune on a cello Give the rhythm and a chance. Sing me a swing song and let me dance.

[Ken Carpenter]

Oh.

[Johnny Green]

Mr. Tomon, play some corn, I ain't tearing. What note, Mr. Truman? Grab a horn brother, give me hot notes. Oh baby, I don't want anything Mama shallow give the R man a chance.

[Pepper C. Butterworth]

Thank you. Thank you.

[Johnny Green]

Thank you very much. Well, here we go again. A few years ago, all an orchestra leader had to do was stand in front of a music stand, wave a baton, smile and bow the day he has to be an all around athlete. Johnny Green, for instance, even in a fairly quiet number, starts out conducting his orchestra from a platform, then does a double nip up to the piano for a few bars and a swan dive to the stress and a sprint back to the platform to finish the number. Here's a chance for Johnny to get a slight workout as the orchestra plays as a small hotel from that grand show. On your toes.

[Fred Astaire]

R.A.

[Johnny Green]

Thank you. Thank you very much. This is Johnny Green, ladies and gentlemen, bringing together two important voices.

[Ken Carpenter]

First, the voice of Packard announcing four great new Packards at four new low prices.

[Johnny Green]

And second, the voice of automobile owners everywhere asking why is the new 1937 Packard 12 the finest motor car that money can buy.

[Ken Carpenter]

Because this luxurious new Packard steps so far ahead mechanically. Yesterday it was the amateurs that Swept the country today. It is the community singing idea. Now ever on the alert to bring you the newest in the finest manner, we present as your leader a great inspiring commander of song, Pepper C. Butterworth.

[Fred Astaire]

Thank you, Mr. Carpenter. Thank you, ladies and gentlemen. I can't tell you how mighty, mighty proud I am to see such a group of beaming faces out there in the audience tonight. That's what the country needs. More happiness, more joy. Smile, smile, smile. That's the ticket. He who smiles, he who laughs. He who I lackadays. This get together song fest is for one. And for all you listeners out there sitting by your fireplaces, as well as your friends in our vast audience are inspired to sing. If you don't know the words, then hum. You know, be happy, be gay. Or that famous poet whatchamacallit says, oh, it takes a heap of living in a house to make it home. A heap of sun and chatter and you sometimes have to roam. Oh, it takes a heap of living, etc. In other words, let's go along, sing a song and let a smile be your umbrella. As the fellow says now plenty of pep and zip. Let's all be boys again. Except the girls, of course. Pardon my little jokes. My first song I've chosen Everybody's Sweetheart. Everybody's favorite. Rather the old folks at home. Now plenty of ginger. Come on. Don't forget the pep. Are you ready, mister? The fellow of Yorkshire there. Red tails in the sunset. Just. Just a moment, folks. I don't think our little family was quite ready. Once more now is one big happy family. And don't forget the old pep.

[Pepper C. Butterworth]

And a little.

[Fred Astaire]

The old zip. Already everybody's favorite.

[Ken Carpenter]

Old folks at home.

[Fred Astaire]

Red tail in the sun. Hold on, folks. Hold on, hold there. Seems to be a little geographical air here. A member of our little family, the one sitting in the first row there, seems to have forgotten the words. In fact, I believe you're singing the wrong tune. Weren't you, laddie boy? I'm singing.

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[Fred Astaire]

Sails in the Sunset. You heard it. But see, oddly enough, we happen to be singing everybody's favorite old folks at home. I like red sails in the Sunset. Then would you mind singing it at home. I wouldn't mind, only my wife doesn't like red sails in the sunset. Yes, I can see your point there, but it just doesn't fit in with our plans. You see, there are hundreds of people here besides you and they all like old folks at home. They can be wrong.

[Johnny Green]

Young man.

[Fred Astaire]

We don't seem to be getting anywhere. That's okay. I got nothing else to do. Hey, aren't you getting a trifle impertinent? Those big squirts don't scare me. We're still not getting anywhere. Now, please join with the rest of our little family as we sing everybody's favorite, the Old Folks at Home. I don't like the old folks at home. It might interest you to know that I don't like red sails in the sunset. That just shows how stubborn you can be. Why, excuse me. Don't go away now or. Or if you do go away, don't come back. Fred?

[Johnny Green]

Yes, Charlie?

[Fred Astaire]

I wonder if you could help me a little. I'm having a little trouble getting my little get together society together.

[Johnny Green]

I'm sorry, Charlie, but this is your idea, you know.

[Fred Astaire]

I know, but that fella down here, he wasn't my idea.

[Johnny Green]

You're doing fine. Keep up the good work. Just tell him to follow the bouncing ball.

[Fred Astaire]

Yes, I know, but this bum down here, I find me. I mean, this fella, he won't sing.

[Johnny Green]

I'm sorry, Charlie.

[Fred Astaire]

That's your problem. Well, Fred, never let it be said that Pepper C. Butterworth wasn't master of the situation. So in order to keep our happy little family together, we won't sing Old Folks at Home. Instead, we'll all join and sing everybody's favorite, Red Sails in the Sunset. Already plenty of pep. Don't forget the old zip. Red Sails in the sunset. Here we go as well. One way down upon the. My good man, this has gone far enough. What's the trouble?

[Pepper C. Butterworth]

No trouble.

[Fred Astaire]

Let's keep going far, far away. Here, here, here. Let's be one big happy family. Come on now. Let's all sing Red Sails in the Sunset. No, I want to sing Old Folk Folks at Home. Hey, would you come over here with me for just a moment, sonny boy?

[Pepper C. Butterworth]

Yes. Pardon me.

[Fred Astaire]

Pardon me, ladies and gentlemen. Just a moment. Ladies and gentlemen, in memory of our late colleague, we will now sing Goodbye Forever. I think we got him that time.

[Ken Carpenter]

Fred, I'm curious to know which of all the Jerome Kern songs from Swing Time is your favorite.

[Johnny Green]

Well, Ken, it's difficult for me to pick a favorite after being so closely associated with the numbers. But I think I like the one called Never Going to Dance as well as any. Perhaps on account of its particular dramatic significance in the picture. The lyrics by Dorothy Fields are really swell and will explain what I mean. Johnny, will you please play it? I'm left without a penny the wolf was his sweet he left me my feet and oh, I put them down on anything but that's well, romance Never gonna die Never gonna die Only gonna love Never gonna die Am I a heart that acts like a heart or is it a crazy drum? Some weeks ago on the RKO lot, I became acquainted with that very famous, famous group of actors, the Abbey Players of Dublin. They had come from Ireland to make the screen version of that Irish craft classic, the Plow and the Stars. Naturally, they were the first people I thought of when the question of unusual guests for the packet hour came up. Their name on the stage has been synonymous with the best in drama for a generation. Yates, Duffy Dunsany and a score of the island's greatest playwrights have seen their works performed for the first time are these players. Tonight we are happy to present for the first time on the Air two of the Abbey Players, Barry Fitzgerald and PJ Kelly and a former member of that group, Ms. Yuna O'Connor. They will do a one act Irish farce by Sean O'Casey called the End of the Beginning.

[Ken Carpenter]

This scene opens in the kitchen of the home of Lizzie and Barry Beryl in a small Irish farming community. As the curtain rises, it is just 7:00 in the evening. Lizzie Barrel is busy among her kitchen pots and pans as her bald middle aged husband comes in from the adjoining bedroom, busily covering his cheeks with the lather of shaving soap.

[Pepper C. Butterworth]

Hey, Lizzy. This shaving water's dead cold, woman. Do you hear me? The shaving water's dead cold.

[Lizzy Beryl]

Well, come on in and heat it then.

[Pepper C. Butterworth]

You've too much to do, I suppose. Say, listen, I could do all that has to be done here three times over and when all is finished I'd be sighing for something more to do.

[Lizzy Beryl]

Ah, go. One hour that Daddy Beryl. If you have half of what I have to do here at the end of the evening, you'd be picked up. Up dead out of the debris.

[Pepper C. Butterworth]

I would? You would?

[Lizzy Beryl]

Sure, certain.

[Pepper C. Butterworth]

If I'd only have to do or left, I'd be picked out of the.

[Lizzy Beryl]

Debris, right out of the middle of it.

[Ken Carpenter]

Dead.

[Lizzy Beryl]

Dead as a mackerel.

[Pepper C. Butterworth]

Well, I'm always challenging you to change places for a few hours, but you Won't do it for two pins.

[Lizzy Beryl]

I clear out this minute and go down to the meadow myself and mow it and leave you to make what you can of the house.

[Pepper C. Butterworth]

Well, buzz off then. Buzz off.

[Lizzy Beryl]

I will then.

[Pepper C. Butterworth]

Go on then. I'll show you and all your how the work of a house should be done. Quietly, speedily, without a whisper of sustenance. Doing.

[Lizzy Beryl]

Oh, surely.

[Pepper C. Butterworth]

Yes. And mind you, this will only be the beginning of things.

[Lizzy Beryl]

God grant that it won't be the end. And that when I do come back, I'll at least find the four wall stand and goodbye and I'll back on my hand to ye.

[Pepper C. Butterworth]

Hail and farewell to you. More than that. You indeed. Well, let us see her folly out. Oh, these women, these women. Well, now that she's safely gone, why shouldn't I take this occasion to do my calisthenic exercises? I've got to keep myself fit. Ashray, do the housework later. And here sits the gramophone begging to be played.

[Fred Astaire]

Lie flat on your back. Lay hands down in front of you.

[Pepper C. Butterworth]

Flat on my back, is it?

[Fred Astaire]

Palms down?

[Pepper C. Butterworth]

Right.

[Fred Astaire]

At the count of one, raise the legs up straight, even with the waistline. Okay. At the count of two, lower leg to starting position.

[Pepper C. Butterworth]

Right. That's what we have.

[Fred Astaire]

At the count of one, exhale. At the count of two, lie flat on your back.

[Pepper C. Butterworth]

You said that before. You said that before. Yes, right. Yes, right.

[Lizzy Beryl]

Hey, hey, you're going too quick.

[Pepper C. Butterworth]

Wait now, wait now. You're going too quick. All together, man. I was doing the exercises well enough if you let me alone. All right then. Open your mandolin and see if you can remember. How was a walk at the concert?

[Seamus Olancy]

Well, what about the housework?

[Pepper C. Butterworth]

There's plenty of time for that later. This is more important. Ready?

[Seamus Olancy]

Come on, Kate, Keep off me toes. We don't go down the step way, do we?

[Pepper C. Butterworth]

Of course not. Try to watch where you're going. Now you go to the left.

[Seamus Olancy]

I remember distinctly I said it was going to the right.

[Pepper C. Butterworth]

Don't be such an ego test. You go to the left.

[Seamus Olancy]

No, I go to the right.

[Pepper C. Butterworth]

I don't think you know.

[Seamus Olancy]

I go to the right.

[Ken Carpenter]

So Derry Beryl and his nearsighted friend Seamus Olancy rehearsed for the village concert, heedless of the fact that time is swiftly passing.

[Seamus Olancy]

Shall we try our duet over again?

[Pepper C. Butterworth]

Once more, the village shock is striking. Seven, eight, nine. What's nine o'clock? I have to get home. If the housework isn't done when Lizzy comes back, then sweet goodbye to my status in this house. Out of me way.

[Seamus Olancy]

Now, you're not going to expedite matters.

[Pepper C. Butterworth]

By running around in a hurry. I suppose listening to you trying to pluck questionable sound out of a mandolin was a way of expediting matters.

[Seamus Olancy]

So you pioneered me into doing it yourself.

[Pepper C. Butterworth]

You know I can't carry the conversation into a debate. Either lend me a hand in a quiet, orderly way or go home.

[Seamus Olancy]

Of course I lend your hand. First off, I'll save an hour by turning the clock back then to the Dustin.

[Pepper C. Butterworth]

Now, I'll give the key a few.

[Seamus Olancy]

Turns and set the hands while you get out of dishes.

[Pepper C. Butterworth]

All right, then. All right. Hurry up. Oh, look at that.

[Seamus Olancy]

You broken it. I didn't touch it.

[Pepper C. Butterworth]

Didn't touch it? Andre, after looking at you twisting and tearing its bones, who plague a drunken mechanic.

[Seamus Olancy]

I'm doing my best.

[Pepper C. Butterworth]

Here, come over. Come over here and wipe all I wash. Now look, look. Careful with that teapot.

[Seamus Olancy]

Now, don't be afraid, Daddy. I won't do let anything drop.

[Pepper C. Butterworth]

Now look what you're after, June.

[Seamus Olancy]

Why, it's only a tiny teapot.

[Pepper C. Butterworth]

Yeah. Come here. Come here, Seamus. Sit down there in the corner. Do nothing. Say nothing. If I could, I'd put a safety curtain around you. And for heaven's sake, touch nothing while I run out and give the spot to the pieces.

[Seamus Olancy]

Find the door there.

[Johnny Green]

Oh.

[Pepper C. Butterworth]

Oh, my nose. Oh, I. I bang my nose. Hey, get me something cold, man. To shove down the back of my.

[Seamus Olancy]

Neck and stop the bleed. Well, a little block of ice would come in handy.

[Pepper C. Butterworth]

You expect me to keep lying here till the winter comes? Listen, Seamus, I'm losing a lot of blood. Wait. There's a big key above the mantelpiece in the bedroom. Run in and get a quick man.

[Seamus Olancy]

All right, I'm going. It's as dark as pitch in here. There's no light switch. Maybe I can find way in the dark.

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[Pepper C. Butterworth]

Oh, my nose. Oh, I. I bang my nose. Hey, hey, get me something cold, man. To shove down the back of my.

[Seamus Olancy]

Neck and stop the bleed. Well, a little block of ice would come in handy.

[Pepper C. Butterworth]

You expect me to keep lying here till the winter come? Listen, Sheamus, I'm losing a Lot of blood. Wait. There's a big key above the mantelpiece in the bedroom. Run in and get a quick man.

[Seamus Olancy]

All right, I'm going, I'm going. It's as dark as pitch in here. There's no light switch. Maybe I can find my way in the dark.

[Pepper C. Butterworth]

No, no. What have you done?

[Seamus Olancy]

Oh, nothing much.

[Pepper C. Butterworth]

The wash stand fell over Here, come out. Come out of that. Come out of that.

[Seamus Olancy]

All right, I'm coming, I'm coming.

[Pepper C. Butterworth]

Oh, Holy Moses. A cow. I forgot the cow. Here, go outside and leave the cows all right behind beside the house.

[Seamus Olancy]

All right, I'm going. But it's I who am doing the brunt of the work.

[Pepper C. Butterworth]

Stop muttering and tie up that cow.

[Seamus Olancy]

Oh, here she is cropping the grass. Can't we tie up up to something?

[Pepper C. Butterworth]

Ay, there's nothing to tie her to, man.

[Seamus Olancy]

Well, what about putting the rope down the chimney and tying her to something in the room?

[Pepper C. Butterworth]

Now you're beginning to use your brains. At last came as me boy. There's a rope out there.

[Seamus Olancy]

Yes, I see it.

[Pepper C. Butterworth]

Well, sling them on rent around her neck and let other down to the chimney. I'll go to the fireplace and catch the rope when it comes down.

[Seamus Olancy]

Right. J, I want you a second.

[Pepper C. Butterworth]

Hey, careful climbing up there on that roof.

[Seamus Olancy]

Careful. Hello, Hello. Are you there below there, Daddy.

[Fred Astaire]

Righto.

[Seamus Olancy]

Well, here comes the rope.

[Pepper C. Butterworth]

Okay, I've got it.

[Fred Astaire]

All right.

[Pepper C. Butterworth]

I get out right now. Well, now, now we can tie this end of the rope to the big chair and put it over here at the far end of the room. Then if a cow moves, we'll see the chair move.

[Seamus Olancy]

Ah, there's a clever arrangement, Daddy.

[Pepper C. Butterworth]

Now, now we can get going on.

[Seamus Olancy]

The housework and have everything in ship shape before the Mrs. Todd is back.

[Pepper C. Butterworth]

Turn on the light so that we can see what we're about.

[Johnny Green]

Come back.

[Lizzy Beryl]

Have me.

[Seamus Olancy]

Have me eyes gone blind entirely. No light come till I turn the switch.

[Pepper C. Butterworth]

It must be the blasted bulb. Here, get a new one.

[Seamus Olancy]

The chair's moving. The cow's bullets grab it.

[Pepper C. Butterworth]

Quick. Catch hold of it before it disappears off the kidney.

[Seamus Olancy]

Mind.

[Fred Astaire]

Look out.

[Pepper C. Butterworth]

Mind, mind those pots. Mind those pots. Here. Hey, hey, come here. Come here. Here, I'll sit in the chair and hold.

[Fred Astaire]

Good, good.

[Seamus Olancy]

She stop moving now.

[Pepper C. Butterworth]

Oh, there'll be a nice panorama brewing here when Lizzy comes back.

[Seamus Olancy]

I. I can't see a blessed thing now. I've dropped me spectacles again.

[Pepper C. Butterworth]

Well, do a match and find them. Oh, a nice predicament of me. Now there goes the chair again. The cow's dragging me, poor man.

[Seamus Olancy]

Poor pull already up the chimney.

[Pepper C. Butterworth]

I pulling shows of the strength of 20, and that's how. Here, I'm going right up the chimney.

[Ken Carpenter]

Hold on.

[Pepper C. Butterworth]

Hold on, man.

[Fred Astaire]

I.

[Pepper C. Butterworth]

The chimney.

[Seamus Olancy]

I can't. She's too strong for me. I'll be on the roof in a minute. I can't do me housework up there.

[Fred Astaire]

Hey, grab me leg.

[Seamus Olancy]

I can't reach him.

[Johnny Green]

Oh, Danny.

[Pepper C. Butterworth]

Danny.

[Fred Astaire]

Help.

[Seamus Olancy]

Murder.

[Lizzy Beryl]

What's happening here? To all the cow. Oh, look how Daddy. It's half took. An attempt to death.

[Seamus Olancy]

Lizzy, be careful with that rope. Lizzy, don't touch the rope. Daddy's halfway up the chimney.

[Pepper C. Butterworth]

Ah.

[Fred Astaire]

I'm.

[Pepper C. Butterworth]

I'm dying.

[Ken Carpenter]

I'm.

[Pepper C. Butterworth]

I'm dead.

[Lizzy Beryl]

Oh, for the love of Mike, what's happened to you?

[Seamus Olancy]

Paul, are you all right?

[Pepper C. Butterworth]

Man, I've broken all my ball.

[Lizzy Beryl]

What in the name of heaven has been going on here?

[Pepper C. Butterworth]

Well, now. Now you see the result of having your own way. Lizzie, why didn't you hold on to the rope when you took it off the cab so that I wouldn't come down with a bump?

[Lizzy Beryl]

How was I to know you were up on the chimney? You big. You loose.

[Pepper C. Butterworth]

How were you to know. Good heavens, woman, can you do nothing? Roy.

[Johnny Green]

Next time, have Jerome Kern's and Dorothy Field's sarcastic love song. A fine romance. Also from my picture, swing Time. One might. One might call this the swan song of a young man who is getting nowhere fast. Thank you, John. A fine romance with no kisses. Fine romance. My friend, this is. We should be like a couple of hot tomatoes. But you're as cold as yesterday's mashed potato. A fine romance. You won't mess. Holy of fine, fine romance. You won't wrestle. You're just as hard to land as the e. Fr. I haven't got a chance. This is a fine romance.

[Ken Carpenter]

Sa.

[Johnny Green]

A fine romance. My good woman. My strong aged in the wood. Woman, you're calmer than the seas in the Arctic ocean. At least they flap their fins to express emotion. A fine romance with no clinches. But fine romance with no tensions. You never give the orchids eyes and a glance.

[Pepper C. Butterworth]

No.

[Johnny Green]

You like cactus plants. This is a fine romance. Oh, boy, what a romance.

[Ken Carpenter]

Packard, maker of America's finest motor cars, is to each one of us some piece of popular music of the past carries its own particular memories. We remember a romance. A canoe on a lake. A happy summer. A thrilling dance. An evening in the moonlight. I venture to say that not one person in our radio audience will fail to remember tenderly the song of a bygone era that Johnny Green plays for us tonight. Four butterflies.

[Johnny Green]

Sa.

[Ken Carpenter]

And now we'll do a little eavesdropping on a scene that brings us on ground familiar to all average young men at the one time in their lives.

[Fred Astaire]

Doesn't that music make you feel sentimental?

[Johnny Green]

No, just a little romantic. What do you mean romance?

[Fred Astaire]

Oh, you know, A moonlit terrace, the stranger, soft music in the background and a couple of lovely.

[Johnny Green]

A couple of lovely what?

[Fred Astaire]

Couple of girls. You know, two. One for you and one for me. Or did I mention me before?

[Johnny Green]

What girl, for instance?

[Fred Astaire]

Well, I didn't think you'd pin me down. I've got a cousin named Agatha, though. She's an awfully nice girl.

[Johnny Green]

I don't care if she were the most beautiful girl in the world.

[Fred Astaire]

Oh, but she isn't.

[Johnny Green]

I don't doubt that. But even if she were, if she had lovely chestnut hair, if she had laughing hazel eyes that made you want to dance. No, not even if she were the most attractive thing you ever seen a.

[Fred Astaire]

If you had some money.

[Johnny Green]

No, no, not interested. You go out and be romantic by yourself. I'm off women for life. From now on, no more dates, no more dances, no more women for me.

[Fred Astaire]

Pardon me, sir.

[Pepper C. Butterworth]

What is it?

[Fred Astaire]

A special delivery letter for you, sir. I thought it might be important.

[Johnny Green]

Well, I'll take it. Thank you, thank you, thank you. No, sir, you. You take my advice, my boy, and keep away from girls.

[Fred Astaire]

I don't have much trouble.

[Johnny Green]

You don't know how lucky you are. I've never met a girl yet who wouldn't chuck you for those big blonde six foot athletes. I, I. Charlie, Charlie.

[Fred Astaire]

Take it easy, old man. What's the trouble?

[Johnny Green]

I've got a letter from her.

[Seamus Olancy]

It's all right again. It's, it's all fixed up.

[Fred Astaire]

Well, would you mind letting go of.

[Johnny Green]

My neck guy for a minute and.

[Fred Astaire]

Tell me what it's all about? I'll say I won't.

[Johnny Green]

I'll show it to the housetop. I have a letter from the most wonderful girl in the world. I just got an invitation through the mail. Your pleasant the gusting caramel. The top hat, white time tails. Nothing now could take the wind out of my tail because I'm excited to step out. Steaming top hat, white tie and tails. Oh, I'm putting on my top hat, tying up my white tie, brushing off my tail. I'm duding up my shirt, fronting in the shirts and d. Polishing my nails. I'm scattering out my dear to breathe an atmosphere that simply reeks with clash and I trust that you excuse my dust When I step on the gas For I'll be there Putting down my top hat Muscling up my white Dancing in my tail my.

[Pepper C. Butterworth]

Putting on my.

[Johnny Green]

Top hat Eyeing up my white tie Brushing on my tail Suiting up my shirt Putting in those shirt stuff Polishing my nails I'm stepping out, my dear to breathe an atmosphere that simply reeks with cloud and I trust that you'll accuse my dust When I step on the gas yeah Putting down my top hat Muscling up my white eyes Dancing in my hail Sa that Putting down my top hat Muscing up my white tie Dancing in my tail Putting down my top hat Muscing up my black tie Dancing in my tails Putting down the top hat.

[Ken Carpenter]

As we ring down the curtain on another placard hour, Johnny Green is giving you a preview of one of the featured musical numbers of next week's show. We saw the Sea from Follow the Fleet. And besides, Fred Astaire, still undaunted in his search for talent. Charlie Butterworth, the Gleason family. Jimmy, Lucille and Russell, the Pixelated Sisters. And one of the most thrilling singing groups you've ever heard. The selection Top Hat, is from a picture of the same name. The poem used on this program was by Edgar Guest. This is Ken Carpenter saying goodbye until next Tuesday. Till then, ask the man who owns one. This program was originated in the Hollywood studios and was broadcast over the Red Network of the National Broadcasting Company.

[Fred Astaire]

Kfi Los Angeles.

[Ken Carpenter]

Swing Time premiere Hollywood Fantas tonight, see.

[Fred Astaire]

Swing Time win a Packers contest. Details.

[Ken Carpenter]

Hollywood Fantas, rko, Hill Street Theater or any pack or dealer.

[Fred Astaire]

Listen for the old observer sports broadcast tomorrow night, 9:30.