Packard Hour 36-11-03 Fred Astaire - The Dentist

Summary

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Harold’s Old Time Radio – "Packard Hour 36-11-03: Fred Astaire – The Dentist"

Original Air Date: November 3, 1936
Podcast Release: December 5, 2025
Host: Harolds Old Time Radio
Featured Cast: Fred Astaire, Charlie Butterworth, Frances White, Johnny Green, Eddie Moran

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Episode Overview

This episode brings listeners back to the golden age of radio, featuring a star-studded Packard Hour with Fred Astaire leading a lighthearted variety program. Blending comedy, original music, and playful stage banter, the show presents renowned musical numbers, original dramatic sketches, and sharp-witted exchanges between Astaire and his cast. The episode evokes the community and glamour of pre-television entertainment when families gathered around their radios to be both serenaded and amused.

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Key Segments & Highlights

1. Opening & Musical Number: "Fancy Free"

Fred Astaire opens the show with a spirited rendition of “Fancy Free,” showcasing his trademark smooth vocals and playful lyrics.

• Notable Quote (Fred Astaire, 01:07):
  “No strings, no connections, no ties to my affections. I'm fancy free and free for anything fancy.”

2. Gratitude & Cast Banter

Astaire thanks last week’s stand-in hosts and the show’s contributors with his characteristic humor, poking fun at remembering names and introducing the players.

• Notable Banter:
  • Fred Astaire, 02:53:
    “First of all, I'd like to give special thanks to those who so kindly took over the opening program last week. Ginger Rogers—she was swell… Alan Jones, he… he was swell… And Francia White, she was swell.”
  • Running Gag (03:13–03:32):
    Astaire, Butterworth, and others struggle to remember "Jack Benny" as the prior host, reflecting the show’s gentle, self-referential humor.

3. "The Variety Rebusical Melange": Astaire Defines the Show

Astaire humorously attempts to describe the unique format.

• Fred Astaire, 03:47:
  “I would describe this program as a sort of variety rebusical musical melange of Swing Moments Deluxe… smothered in a symphonic atmosphere of stop and blues and Charlie Butterworth.”

4. Comedy Routine: Charlie Butterworth as Talent Scout

Charlie Butterworth claims credit for discovering Marlene Dietrich with an increasingly absurd story about the Foreign Legion, sunstroke, and missed connections.

• Running Joke (04:44–07:10):
  Butterworth struggles to finish his Dietrich story, gets sidetracked by wordplay, and trades quips with Astaire.

  • Charlie Butterworth, 05:31:
    “…I lay out there in a dead faint. Well, sort of a semi conscious faint. You know that kind. When you know what's going on and you wish you could be there.”

• Name Confusion Gag:
  Continues with Johnny Green, further blurring lines between cast and role.

5. Musical Interludes

A. “Yours Forever” by Johnny Green

• Introduction (09:18):
  “Johnny's next number tonight is one of his own compositions being played for the first time on the air. It's called ‘Yours Forever.’”

B. “A Pretty Girl is Like a Melody” (16:03–20:04):
Ken Carpenter frames the song’s enduring popularity; Francia White and Johnny Green perform a nostalgic, lush version.

6. Comedy Sketch: "Plain Susan Brown"

(20:04–25:30)
A mock-dramatic playlet with Fred Astaire and Frances White. Sound effects are improvised due to the “absent sound man”—delightfully handled by Butterworth honking a taxi horn out of place.

• Memorable Moments:
  • Sound Effect Silliness (20:15–22:15):
    Butterworth offers to "moo like a cow" for Parisian ambiance.
  • Dramatic Climax & Twist (22:48–25:28):
    The “Countess” is revealed to be plain Susan Brown from St. Louis rather than European nobility, and all is forgiven in a mock-romantic resolution.
  • Fred Astaire, 24:45:
    “I like you better as plain Susan Brown.”

7. Mid-Episode Musical Set

• “Stompin’ at the Savoy” by Johnny Green and Orchestra (25:48)

8. Talent Scout Returns: Butterworth and the Movie Review

Comedic back-and-forth as Butterworth claims to have combed the world for a talent—before a zany, confusing movie critique from Eddie Moran (28:10–31:34).

• Eddie Moran’s Absurd Review:
  Delivers a string of non-sequiturs, fractured English, and slapstick plot points about love, airplanes, and an inexplicably tragic ending.
  • Ken Carpenter, 31:36:
    “Well, must have been quite an interesting picture.”
  • Eddie Moran, 31:41:
    “Mr. Beast goes to Town.”

9. More Song Classics: Fred Astaire & Frances White

A. “The Way You Look Tonight” (32:19–34:52):
A highlight duet, smooth and sentimental.

• Notable Lyrics:
  "When I'm awfully low, when the world is cold, I will feel a glow just thinking of you and the way you look tonight."

10. Francia White: “Romeo & Juliet” Scene

(36:01–39:22)
Francia White gives a dramatic and operatic performance as Juliet in Gounod’s “Romeo and Juliet.”

11. “One Kiss” from The New Moon

(39:24–42:22)
A romantic, wistful song, full of operetta charm.

12. Fred Astaire: "Bojangles of Harlem" Tribute

(42:26–47:00)
Astaire discusses the origin and inspiration for “Bojangles of Harlem,” written in tribute to legendary dancer Bill “Bojangles” Robinson, and then leads the cast in a lively, swinging number that conjures the energy and rhythms of Harlem.

• Fred Astaire, 42:51:
  “No matter how it is done, I can't help thinking of Bill, this is not an impersonation of him, but the idea was most certainly inspired by that one and only Bojangles, Bill Robinson.”

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Standout Quotes & Comic Exchanges

• Charlie Butterworth, 08:24:
  “Harold T. Harold. What’s the T for?”
  “Oh, just to break the monotony.”

• Butterworth’s “Cow” Sound Effect (20:36):
  “I can moo like a cow.”
  Fred Astaire retorts dryly, noting the sketch is set in a Paris apartment.

• Comedic Miscommunications:

  • Eddie Moran’s entire movie review segment is full of fractured English and elliptical conversation, typified by:
    “With my sweet hot days I had in front of the post office with you. Two days I was, till I was late till now.” (29:27)

• Name Gags:

  • Charlie Butterworth, 49:32:
    “I’m sorry. Well, good night, Fred. Good night, Mr. You know, that’s a swell orchestra you got.”

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Timestamps for Key Segments

| Timestamp | Segment | Description | |-------------|----------------------------------------|-------------| | 01:07 | "Fancy Free" Opening | Fred Astaire performance | | 03:47 | "What’s This Show About?" | Astaire comically explains the format | | 04:44–07:10 | Talent Scout/Marlene Dietrich Story | Butterworth’s legendary “find” | | 09:18 | “Yours Forever” by Johnny Green | Musical performance debut | | 16:03 | "A Pretty Girl is Like a Melody" | House staple revived | | 20:15–25:30 | "Plain Susan Brown" Comedy Sketch | Paris, love, mistaken identity – and taxi horn sound effects | | 28:10 | Butterworth’s Worldly Search | Talent segment starting | | 29:27–31:41 | Eddie Moran's Movie Review | Stream-of-consciousness gag | | 32:19 | "The Way You Look Tonight" | Astaire and White duet | | 36:01 | Francia White as Juliet | Operatic scene from Romeo & Juliet | | 39:24 | “One Kiss” from The New Moon | Lush duet | | 42:26–47:00 | "Bojangles of Harlem" & Tribute | Astaire credits Bill Robinson and sings |

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Tone & Atmosphere

Warm, witty, and vibrant, the show thrives on easy banter, pun-laden gags, and cheerful camaraderie between the cast. Musical interludes are lush and tuneful, while even the dramatic sketch is gently parodic. The classic radio energy—ad libs, inside jokes, improvisational sound effects—keeps things light throughout.

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For New Listeners

If you haven’t listened, this episode will give you a quintessential taste of 1930s radio at its best: a blend of star talent, memorable music, period humor, and inventive storytelling. It’s a snapshot not just of entertainment history, but also of the playful, collaborative spirit that defined old time radio.

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Transcript

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[Ken Carpenter]

The Packard Motor Car Company and its distributors and dealers everywhere present the Packard.

[Francia White]

Hour.

[Ken Carpenter]

With Charles Butterworth, Johnny Green, his piano and his orchestra.

[Francia White]

And starring.

[Fred Astaire]

Fred astaire.

No strings, no connections no ties to my affections I'm fancy free and free for anything fancy no date a cat's.

[Francia White]

Broken no words a cat's broken Especially.

[Fred Astaire]

When I am feeling romance like robin upon a tree like sailors goes to.

[Francia White]

Sea like an unwritten melody I'm free See, that's me Suffering on the big.

[Fred Astaire]

Attraction My decks are cleared for action.

[Francia White]

I'm fancy free and free for anything fancy.

[Fred Astaire]

Like trailer go to sea like an.

[Francia White]

Unwritten melody I'm free that's me so.

[Fred Astaire]

Bring on the biggest action I get a bit for action I'm fancy free.

[Francia White]

Fancy free and free for anything fancy.

[Ken Carpenter]

Thank you.

[Eddie Moran]

Thank you very much.

[Fred Astaire]

I'm very happy to be starting my series on the Packet Hour. And first of all, I'd like to give special thanks to those who so kindly took over the opening program last week. Ginger Rogers, she was swell. And Mary Livingston, she was swell. Alan Jones, he. He was swell. And Francia White, she was swell.

[Francia White]

And.

[Fred Astaire]

And I want particularly to thank. Oh, Johnny. Well, what was. What's the name of that fellow who kept trying to get a car? You mean Benny Rubin?

[Francia White]

No, no. Let me see.

[Fred Astaire]

Was that John. John Bunny? No, no, no. What's the matter?

[Charlie Butterworth]

Jack Benny?

[Francia White]

Yeah, that's right.

[Eddie Moran]

Jack Benny.

[Francia White]

Oh, God.

[Johnny Green]

You know, he. He was good.

[Ken Carpenter]

Oh, very.

[Fred Astaire]

Wow.

Did you hear those open breaks? Did I? They were the openest things I ever heard.

[Charlie Butterworth]

But.

[Fred Astaire]

But he was good.

[Francia White]

Oh, yes, he was.

[Ken Carpenter]

I'll say he was.

[Fred Astaire]

He was too doggone good. How do you think I felt knowing I was gonna have to follow him this week? Anyway, thank you again, Jack. Thank you ever so much. Now, getting back to business. Our sponsors, I believe, would like to have me at this point give you some brief outline of just what our show is going to be like on this series. Well, from my own deductions and that to what the boys told me before I left for Europe and since then by wire, telephone, telegraph, radio, mental telepathy and so forth, I would describe this program as a sort of variety rebusical musical melange of Swing Moments Deluxe. With embellishments presented against. Against a background of humor, we hope written. Written by the scintillating intelligentsia and smothered in a symphonic atmosphere of stop and blues and Charlie Butterworth.

[Charlie Butterworth]

Hello, Fred.

[Fred Astaire]

Hello, Charlie. What are you planning to do on this program?

[Charlie Butterworth]

Well, Fred, I want to be a big help. I thought you might be able to use me as a talent scout.

You know, every big variety program has a talent scout.

[Fred Astaire]

Yes, Charlie. And you're just a fellow who can do it too.

[Charlie Butterworth]

Oh, sure, Fred. I've been responsible for some of the biggest town discoveries of recent years. Did I ever tell you how I discovered Marlene Dietrich?

[Fred Astaire]

No, not that I remember.

[Charlie Butterworth]

I didn't tell you how I discovered Marlene Dietrich. That's a good one on me. I don't understand. Why, she's one of the biggest discoveries I've ever made. You surely heard of Marlene Dietrich?

[Fred Astaire]

Why, of course, Charlie.

[Johnny Green]

Yes, of course.

[Charlie Butterworth]

Well, I was in the Foreign Legion. We were traipsing over the hot sands of Algeria.

We were sniping lifts.

But to get back to Marlene Dietrich and how. I'd love to, Wouldn't you?

Well, I. I hardly blame you. Say, you do know Marlene Dietrich?

[Fred Astaire]

I said. Yes, Charlie.

[Johnny Green]

Yes.

[Charlie Butterworth]

You've never been in the Foreign Legion?

[Fred Astaire]

No.

[Charlie Butterworth]

So that'll help my story considerably.

I'll never forget it. We'd been fighting for days and days, weeks, see? I might even say months. Well, why not? Who's there to stop me? You don't know Marlene Dietrich?

[Francia White]

Yes.

[Fred Astaire]

Yes, Charlie, I know.

[Charlie Butterworth]

Oh, the heat was intense.

I could hardly stand it any longer. The sun got me. When the sun gets in Algeria, it's sleepy time down south. I lay out there in a dead faint. Well, sort of a semi conscious faint. You know that kind. When you know what's going on and you wish you could be there.

Well, that's just the way I felt about Molly and Dietrich. I'd just about given up hope when one night a very strange thing happened. A pistol shot rang out in the night. Well, it pissed the silence like. Well, like a pistol shot that rings out in the night. I guess we all jumped up just as one man. I guess that was just because there was only one man there. And when it. When it came to jumping up, he was excited. In fact, they tell me of a time that he'd been lying flat on his back in the hot sun for two hours. Well, a pistol shot rang out.

[Ken Carpenter]

There he was.

[Charlie Butterworth]

He never moved. Sunstroke.

[Ken Carpenter]

Well, we missed that fellow because you.

[Charlie Butterworth]

Meet very few people on the desert. Unless you go to Vienna or Rome. You must try it sometime. Just you and the family. I'm sure you'll love it.

[Fred Astaire]

Yes, but, Charlie, just a moment. What about Marlene and Dietrich?

[Charlie Butterworth]

Oh, I wouldn't advise that. Just take the family first.

[Fred Astaire]

That's all right. Don't go on, Charlie. You're hired. You know Mr. Ken Carpenter?

[Charlie Butterworth]

No, I don't.

[Fred Astaire]

Oh, Ken, I'd like you to meet our official talent scout on this program.

[Ken Carpenter]

Welcome to the Packard Show.

[Charlie Butterworth]

Thank you. You know, I've been looking forward to appearing on this program with Fred Astaire. I'm a Fred Astaire fan. Or as my friends Quently put it, fred Astaire fan.

[Ken Carpenter]

Charlie, I couldn't help but overhear that last remark.

[Charlie Butterworth]

Well, I shouldn't wonder. You're practically standing on my feet.

[Ken Carpenter]

You're not as numb as I thought you were.

[Charlie Butterworth]

Thanks, Ken. That's very kind of you.

[Ken Carpenter]

Oh, not at all.

[Charlie Butterworth]

Well, why not?

[Ken Carpenter]

Nothing. Just not at all.

[Charlie Butterworth]

Say, I think you're taking the wrong attitude.

[Ken Carpenter]

Now, let's get this thing straight. We'd better start all over again. You're Charlie Butterworth and I'm Ken Carpenter.

[Charlie Butterworth]

Ken Carpenters.

[Ken Carpenter]

Oh, yes.

[Charlie Butterworth]

Glad to know you.

[Ken Carpenter]

But we just met.

[Charlie Butterworth]

Oh, I'm never too busy to say hello to an old friend.

[Ken Carpenter]

Charlie, I know you must be a little nervous, but this can't go on forever. Won't you tell us something about yourself? Is Charles Butterworth your real name?

[Charlie Butterworth]

Well, the boys at school did call me Harold T. Harold.

[Ken Carpenter]

Harold T. Harold. What's the T for?

[Charlie Butterworth]

Oh, just to break the monotony.

By the way, Fred, when do I start, you know, hunting for talent for tonight's program?

[Fred Astaire]

Sooner the better, Charlie. And by the way, have you uncovered any talent for tonight's program yet?

[Charlie Butterworth]

No, not yet, Fred, but I will. I work fast. Who's that fellow over there?

[Johnny Green]

Oh, that?

[Fred Astaire]

That's Johnny Green.

[Charlie Butterworth]

That's rather an odd name, isn't it? I mustn't forget it. How do you do?

[Fred Astaire]

Greetings, Charlie.

[Charlie Butterworth]

I've always enjoyed your music, Mr. Green.

[Fred Astaire]

Green, what do you think of in the Springtime?

[Charlie Butterworth]

Oh, my options.

Well, ladies and gentlemen, I take great pleasure in presenting a little town discovery of mine, Johnny Green.

[Johnny Green]

That's.

[Fred Astaire]

That's fine, Charlie. Except he's already on the program.

[Charlie Butterworth]

Oh, don't mention it, Fred. There's no trouble at all. I'm glad to be of some help.

[Fred Astaire]

Thank you, Charlie. Thanks, Charlie, for discovering Johnny Green. I must admit I'm crazy about Johnny's music. We've had a lot of fun making records together the past several years, and I'm certainly glad we're together on this program. Johnny's next number tonight is one of his own compositions being played for the first time on the air. It's called Yours Forever.

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[Johnny Green]

I knew forever till all of the stars grow.

This may be twas a time run train to humanity but all life soon.

[Francia White]

I'll prove untruly.

Forever.

As long as.

[Fred Astaire]

The song will be.

[Francia White]

Forever.

Whatever the youth may bring.

Do I only know that.

[Johnny Green]

Never I'm your.

Sam.

I only know that was a world.

In you forever and ever. I'm your.

[Ken Carpenter]

Every once in a while a song refuses to die. It is born again in the whistling of errand boys and the light humming of housewives going about their daily work and in the cheerful, self appreciative arias of men taking their morning showers.

Such a song is the one Johnny Green has revived for us tonight in a new arrangement you'll all remember from the Ziegfeld Follies. A pretty girl is like a melody.

[Francia White]

Just like the frame of a honking refrain. You can fall a marathon and run around your brain.

[Johnny Green]

You can escape.

[Francia White]

Keep in your men glory.

By morning.

[Johnny Green]

Night and no.

[Francia White]

She will leave you.

[Johnny Green]

And then.

Come back again.

[Francia White]

A pretty girl is just like a pretty dew.

[Johnny Green]

She will leave you.

[Francia White]

A pretty girl is just like a pretty.

[Ken Carpenter]

Girl Predecessor has in store for you something of a dramatic treat. A strikingly effective piece from the pen of a hitherto unknown playwright, John R. Stratter, entitled Plain Susan Brown.

[Charlie Butterworth]

Just a minute, Ken.

[Ken Carpenter]

What's the trouble, Charlie?

[Charlie Butterworth]

Well, I hate to interrupt. Well, I guess I am interrupting, but the sound effects man hasn't shown up.

[Johnny Green]

Hmm.

[Fred Astaire]

That's a big help.

[Charlie Butterworth]

I don't think it will be.

There isn't a sound effect in the studio.

[Fred Astaire]

No sound effects?

[Ken Carpenter]

No sound effects?

[Charlie Butterworth]

No sound effects.

[Fred Astaire]

Well, what are we going to do?

[Charlie Butterworth]

I can move like a cow.

[Fred Astaire]

That's good, Johnny. But unfortunately, the scene takes place in the Paris apartment.

[Charlie Butterworth]

Couldn't the cow have been passing by?

I guess it couldn't.

[Ken Carpenter]

Say, Fred, here's an old taxi horn left over from some other program.

[Fred Astaire]

Well, let's try that.

[Francia White]

All right.

[Fred Astaire]

Doesn't sound much like Paris. Well, I guess we'll have to do.

[Charlie Butterworth]

The best we can.

[Ken Carpenter]

Charlie, will you help?

[Charlie Butterworth]

Certainly.

[Fred Astaire]

Will you take care of the sound effect as well as you can with that horn? Yes. I mean, put it in wherever it seems fit. You know, use your imagination. And now, Ken, will you please set the scene?

[Ken Carpenter]

The scene is spring in Paris. In the elegant apartment of the charming Costa Brienza. Her fiance, played by Mr. Astaire, is the lovely countess. His eyes and bearings show his devotion. It is the eve of their wedding. Sound effects by Charles Butterworth.

[Fred Astaire]

Tomorrow, 24 hours. It hardly seems possible.

[Plain Susan Brown]

Darling, I've dreamt of it for months. The chapel Sans Clou, then away to the mountains. Just you and I. I hope the.

[Fred Astaire]

Family arrive in time for the wedding. They promise the moment the ship docked.

[Francia White]

Isn't. Isn't that the phone ringing?

Yeah.

[Fred Astaire]

It seems to have caught a little cold.

[Francia White]

Hello? Hello?

[Fred Astaire]

Ah, welcome to France.

[Francia White]

How are you?

[Fred Astaire]

Well, it's Mother. It's great to hear your voice.

Charlie.

[Charlie Butterworth]

We.

[Fred Astaire]

We didn't need that last honk.

[Charlie Butterworth]

Oh, I can spare it.

[Francia White]

Yes, Mother.

[Fred Astaire]

Oh, the wedding's tomorrow. Dinner tonight. We'd love it.

[Johnny Green]

Who?

[Fred Astaire]

Oh, certainly, certainly. Isn't that fine? By all means, bring him along. We'll meet you at the ridge. Goodbye and au revoir. I'll hang up now. I say, I'll hang up now. Charlie. I'm hanging up.

[Charlie Butterworth]

I'm sorry. I was just trying to think of Johnny Green's last name.

[Francia White]

Green, of course.

[Charlie Butterworth]

Yes, that's it. See, it comes so close to the. Johnny, it just sort of confused me for a minute.

[Fred Astaire]

Well, please, please stay away. Darling. Mother says she couldn't wait to meet the charming Countess de Brienza.

[Plain Susan Brown]

I hope she'll like me.

[Fred Astaire]

Don't worry, darling. Oh, by the way, Mother says she met one of your father's best friends on the ship. He's coming along, too. He's very anxious to see you.

[Johnny Green]

Oh. Oh.

[Fred Astaire]

What's the matter, dear?

[Plain Susan Brown]

Oh, nothing.

[Fred Astaire]

Oh, but something is the matter.

[Charlie Butterworth]

You went white.

[Plain Susan Brown]

Oh, no, not a thing. Just a slight buzzing in my head.

I. I feel a little faint.

[Fred Astaire]

I don't wonder with that going on on your head.

[Plain Susan Brown]

Darling, do you mind if I don't go out tonight?

[Fred Astaire]

Well, I'd be disappointed. The family's been looking forward so much to me. Tell you what. I'll run out and get dressed. Then if you still feel jittery, we'll call it off.

[Plain Susan Brown]

All right, dear.

[Fred Astaire]

Goodbye, darling. What's the matter with this door anyway?

[Francia White]

So long, dear.

[Fred Astaire]

Be back in a jiffy. I'm going out the door, Charlie. The bottom of the page.

[Charlie Butterworth]

Oh, it's a trap door.

[Plain Susan Brown]

I knew it would happen. I couldn't keep up this pretense. Oh, what a fool I've been. I know what I'll do. Why should I ruin his life? Where'd I put that revolver? Here. Here it is. This is the only way out. I'll pull on the trigger.

[Francia White]

What's that?

[Eddie Moran]

What's that? I thought I heard a shot.

[Charlie Butterworth]

Mary.

[Fred Astaire]

Mary, darling, are you hurt?

[Johnny Green]

No.

[Fred Astaire]

Well, what happened?

[Charlie Butterworth]

I missed.

[Fred Astaire]

But why, darling?

[Charlie Butterworth]

I like a happy ending.

[Fred Astaire]

Charlie. I'm reading the script, not talking to you. But why, Mary? On the eve of our wedding?

[Plain Susan Brown]

Well, dear, you might as well know it now. I tried to kill myself. I'm not Countess de Brienza. I'm just plain Susan Brown of St. Louis, Missouri.

[Eddie Moran]

Why, that's marvelous.

[Francia White]

That's wonderful news.

[Johnny Green]

You don't care?

[Francia White]

Care?

[Fred Astaire]

Not a hoot.

I like you better as plain Susan Brown.

[Johnny Green]

Oh, darling.

[Plain Susan Brown]

Darling, thank you. Oh, you make it so wonderful to be alive with the sun streaming through.

[Johnny Green]

The windows, the bees buzzing.

The birds singing their heart songs.

[Fred Astaire]

What, in all this traffic?

[Plain Susan Brown]

Oh, darling, I'm so ashamed.

[Fred Astaire]

Oh, stop it, Billy. Kiss me.

[Plain Susan Brown]

All right, dear. For this time I'll kiss you for the first time. Not as a celebrated conice of Brienza, but as plain Susan Brown of St. Louis, Mo.

[Charlie Butterworth]

How did you say you're going to kiss him, Charlie?

[Fred Astaire]

As plain Susan Brown of St. Louis, Mo.

[Charlie Butterworth]

Okay, go ahead.

[Francia White]

Darling Susan.

[Ken Carpenter]

Johnny Green opens the second half of the Packadar starring Fred Astaire with stomping at the Savoy.

In these days, when you get three feature pictures, a major preview, a newsreel bank night and a small tube of suntan oil with every ticket, it's pretty hard to dig up something new in the entertainment world. But from the gleam on his face, I think our distinguished talent scout, Mr. Butterworth has already unearthed something pretty startling.

[Charlie Butterworth]

Yes, Ken. Fortunately, I've just come back from abroad. Where I combed the seven continents. England, France, Albany, Albania, Russia. I brought back just the right man.

[Ken Carpenter]

Well, that's a real round the world search, Charlie. Where did you finally find him?

[Charlie Butterworth]

Find who?

[Ken Carpenter]

The man we're talking about.

[Charlie Butterworth]

Oh, him. Where did you find him, Charlie?

[Ken Carpenter]

I didn't find him.

[Charlie Butterworth]

Oh, he's still lost.

Have you tried to search him for this?

[Ken Carpenter]

Now look, you said you went around the world searching for a man to fill this spot on the program. Where did you find him?

[Charlie Butterworth]

Over there among the sound effects.

[Ken Carpenter]

Some scout.

[Charlie Butterworth]

Oh, yes, he's a great scout. He'll lend dignity to this program.

[Ken Carpenter]

What is he?

[Charlie Butterworth]

Surely you've heard of that distinguished critic of the cinema, Eddie Moran. He's going to preview movie for us.

[Ken Carpenter]

Well, but where is he now?

[Charlie Butterworth]

I don't know. I only discovered him.

[Johnny Green]

I see.

[Ken Carpenter]

Well, I suppose he'll turn up pretty soon. While we're waiting, suppose you tell me a little about what he's like.

[Charlie Butterworth]

Who?

[Ken Carpenter]

This movie critic or whoever he is. The one you went to the ends of the earth to find. England, France, Russia.

[Charlie Butterworth]

That's very interesting. Did you have a nice trip?

I give up. You're a great help.

[Ken Carpenter]

What am I supposed to do? Johnny? Have you got any music you can fill in with or something? Well, wait a minute.

[Francia White]

Here comes something.

[Ken Carpenter]

I mean, someone.

[Eddie Moran]

Oh, Ken. Excuse me. You should, you'll see.

[Francia White]

You won't.

[Eddie Moran]

I'm here till I came already. See me? With my sweet hot days I had in front of the post office with you. Two days I was, till I was late till now.

[Johnny Green]

I'm here.

[Francia White]

I came already. See me.

What is this?

[Ken Carpenter]

Are you Eddie Moran?

[Johnny Green]

Hello.

[Eddie Moran]

What's with my sweetheart? I'm here, so I came already.

[Fred Astaire]

See me.

[Eddie Moran]

Had to have dates with you. I was late, so nine here I came already.

[Francia White]

See me.

[Charlie Butterworth]

I know you had a date with your sweetheart.

[Ken Carpenter]

Well, you also had a date on this program and you're late and now.

[Fred Astaire]

You'Re here, so I came already.

[Francia White]

Timmy.

[Charlie Butterworth]

Yes, I, I.

[Ken Carpenter]

But why weren't you here on time?

[Eddie Moran]

That's what I'm trying to tell you. What's with my sweetheart?

[Ken Carpenter]

Wait a minute, wait a minute. Don't start that.

[Charlie Butterworth]

What are you talking about?

[Francia White]

English?

[Fred Astaire]

I'm talking about.

[Ken Carpenter]

Well, I don't understand.

[Eddie Moran]

Then said you should listen. Dumb like you are, I shouldn't be to me. Oh, dumb I am. You'll see.

[Francia White]

I will.

[Ken Carpenter]

You mean they collided?

[Johnny Green]

Huh?

[Ken Carpenter]

They collided.

[Eddie Moran]

Nobody saw you?

Well, pretty soon was punching, scratching, fighting.

[Ken Carpenter]

They were punching, scratching and fighting.

[Eddie Moran]

My sweetheart and the other lady.

[Francia White]

She will.

[Ken Carpenter]

They did.

[Eddie Moran]

Was all kinds of things.

[Ken Carpenter]

You mean that your sweetheart and this other lady were actually engaged in fisticuffs?

[Johnny Green]

And now no fighting.

[Eddie Moran]

They were.

[Ken Carpenter]

I'm ashamed of you.

[Francia White]

Me too.

[Ken Carpenter]

It's graceful, you allowing yourself to become a spectator to this unladylike demeanor.

[Eddie Moran]

What did you say?

[Ken Carpenter]

It doesn't matter. What have you planned for us this evening?

[Eddie Moran]

Oh, tonight. Well, tonight was with my sweetheart.

[Francia White]

Dates I should have. Hold on, hold on.

[Ken Carpenter]

I mean, as our Hollywood columnist, what have you in store for.

[Eddie Moran]

Oh, oh, movies I saw. You should say I saw it.

[Ken Carpenter]

Well, you're going to review a movie.

[Charlie Butterworth]

That's what I will be. Quite interesting.

[Ken Carpenter]

Tell us about it.

[Eddie Moran]

Well, was the picture should open up? It did. And the boy and the girl, they were there because she should be in love.

[Ken Carpenter]

They were.

[Eddie Moran]

So he kissed him and she kissed her.

[Francia White]

So what?

[Eddie Moran]

So he went away because he was so happy.

[Francia White]

He was.

[Eddie Moran]

Which made her cry. So afterwards another man came. Was like a father. He should be.

[Ken Carpenter]

Oh, you mean paternal.

[Eddie Moran]

It's okay. And with a lot of talk. Anybody should feel sad because they were so happy. And pretty soon came an airplane with all kinds of girls dancing.

[Francia White]

They had. They will. They did.

[Eddie Moran]

Because the girl went away then because she liked them so much. It shows. So pretty soon. Pretty soon they both got killed. And that was the finish.

[Johnny Green]

So.

[Eddie Moran]

And here's how I came.

[Fred Astaire]

Already see me?

[Ken Carpenter]

Well, must have been. Must have been quite an interesting picture.

[Fred Astaire]

I think so.

[Ken Carpenter]

What was the name of that epic?

[Francia White]

Mr.

[Eddie Moran]

Beast goes to Town.

[Ken Carpenter]

One of the advantages of radio is that we don't have to wait while the scenery is shifted. The product principals change costumes and the stage is flooded with appropriately romantic lighting. All we need is a little imagination, a Jerome Kern score and Fred Astaire singing. The way you look tonight.

[Francia White]

When I'm awfully low when the world is cold I will feel a glow Just thinking of you and the way you look tonight.

Oh, but you're lovely with your smile so warm and your cheeks so soft There is nothing for me but to love you Just the way you look tonight.

With each word your tenderness grow Tearing my fear apart.

I'm that laughing that wrinkled your nose Touches my foolish heart.

Lovely.

Never, never change Keep that resolute charm oh, won't you please arrange it? Cause I love you.

Just the Way you look tonight.

[Johnny Green]

Sam, you.

[Francia White]

Just the way you look tonight.

Just the way you look. To my.

[Ken Carpenter]

Great new picture. Swing Time may now be playing in your neighborhood. When you see it, you will not only enjoy it thoroughly, but you may also find out how you may win a brand new Packard 6 in an easy and exciting contest. If you're unable to get get the contest blanks at your local theater. Your nearest Packard dealer or distributor has them. For you there is no obligation.

And now we have a pleasant surprise for you. Those of you who heard last week's program remember one of our most charming guests, Ms. Francia White. She made such a hit with the audience, we've asked her to come back for a return engagement. Ms. Francia White.

As her first number, Ms. White has chosen a role that suits her very perfectly. That of the youthful and vivacious Juliet in Gouno's version of the ballroom scene in Romeo and Juliet.

[Plain Susan Brown]

And now I'd like to sing for you one of my favorites.

[Johnny Green]

One Kiss.

[Plain Susan Brown]

On Sigmund Romberg's the New Moon.

[Johnny Green]

Of old fashioned girls you'll find very few our ideal Seems we're so obscure and I know I'm out of date when I see one maybe one shape girl over a clue. To be really in the fashion today you must have a dead hope in your place. But somehow I don't believe in the mother's life I want to wait for joy.

One Achilles, one man to credit for.

One love for him alone.

One word, one vow and nothing more to tell him I'm his own.

One magic night within his own.

With a bright and a blood.

And a will.

But I will cry to love only one of my.

[Ken Carpenter]

I am no more.

[Johnny Green]

Could you but know how I am wanting you.

I was wondering if all my dreams come true.

What is the name I belong? Tell him. By your way.

One magic night within your mind.

I know One woman in the world.

[Ken Carpenter]

Now once again, Fred Astaire.

[Fred Astaire]

I'm sure a great many people know what Bojangles. But for those who do not. But for those who what Bojangles means. But for those who do not. It is the nickname for that certain colored gentleman. Dynamite dancer.

Personalities. Colored gentleman Dynamite dancer and personality. Personality Bill Robinson.

Named for that certain colored gentleman Dynamite dancer and personality Bill Robinson. This Jerome Kern number is also from our picture Swing Time. And once again, I'm afraid it would be impossible for me to give you the same conception here on the air that I use in the pictures. But no matter how it is done, I can't help thinking of Bill, this is not an impersonation of him, but the idea was most certainly inspired by that one and only Bojangles, Bill Robinson.

[Ken Carpenter]

Through the noisy side streets of New York Harlem, Born of the torpid breezes that swirl through its crowded back alleys and fire escapes comes a rumor that starts every heart beating faster in rhythm.

[Francia White]

Time is back in town.

[Johnny Green]

That old single truck coming right down Lennox Avenue.

Come on St get hot for papa Wham hold those eyesangles is here. Hey Charlie on down the avenue.

Bojangles is just around the corner.

[Francia White]

What's that? Bojangles.

[Charlie Butterworth]

Friends, the meeting is postponed.

[Johnny Green]

There he comes. Look at that man Trust. Stop your TR there. Let my little George and see a real hot man that flag who owns Mojangles, Mama, shame on you. Don't you know Mojangles? He's that Joe Lud dancing and that ball rock chucking all wrapped up in one.

[Francia White]

I vote yeah.

[Johnny Green]

Yeah.

[Francia White]

Ask anyone of Harlem way who that guy Bojango is. They may not not know who's president but just ask him who Bojangles is. He's in the most entrancing business.

[Fred Astaire]

It's what they call the dancing business. When there's a beat up on the.

[Francia White]

Street, brother, you go and b all your dough Sister, you know that ain't no one but Bo.

[Ken Carpenter]

Bo can har.

[Francia White]

Run you dance D.

Young oh loved you in Harlem they say you got the tough guys from out of Peru and ship not trucking out of tongals of Harlem Stack your heels leaping their flat, missing their meals, running like rams throwing her a trace Throw those long legs away.

Oh, oh, Dangles of Harlem your dancers are young folks love you in Harlem.

[Johnny Green]

They save you Gam.

It's sam.

[Ken Carpenter]

Packard dealers everywhere invite you in a most cordial and friendly manner to see the four sensational new Packards at your nearest showroom. Without the slightest obligation on your part, you'll enjoy your visit. Because if your Packard dealer isn't already one of your friends, we're certain he will be. After you've met him, you'll find him courteous, helpful and eager to answer all your questions. Let him explain how easy it is to buy a Packard. How easy it is to own a Packard. Say yes when he asks you to drive a Packard. And after you put it through a thorough and thoughtful test, see if you'll ever be satisfied until you get the plus of a Packard.

As the Packard R whirls away its last few seconds, Johnny Green's music gives you a preview of Fred Astaire's featured musical number in next week's Packard Hour. Top Hat, White Tie and Tails. And with Fred Astaire. Next week, more Charlie Butterworth, more Johnny Green music. And a dramatic treat postponed from this week. The world famous Abbey Players Entertainment gathered together for your pleasure by packers, makers of America's finest motor cars. Until then, ask the man who owns one.

[Fred Astaire]

Ladies and gentlemen, I've had a lot of fun on this program this evening, and I hope you have, too.

[Charlie Butterworth]

That goes double. Fred, I want to tell you how much I enjoy being on this program with you. And, you know, the fellow with the orchestra.

[Francia White]

Look.

[Fred Astaire]

Look, Charlie, that's me. Johnny Green.

[Francia White]

G, R, E, E, N. Oh, two E's.

[Charlie Butterworth]

That's what threw me off.

I'm sorry. Well, good night, fred. Good night, Mr. You know, that's a swell orchestra you got. Good night, Fred. Good night, boys.

[Fred Astaire]

Good night, Charlie. See you next Tuesday.

[Ken Carpenter]

This program originated in the NBC studios in Hollywood. This is the Red Network of the National Broadcasting Company.