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I Love an Actress

Camel Caravan

Program No. 4 - I Love an Actress

Jul 21 1936


ANNOUNCER, Bill Goodwin


plus musicians and vocalists

Dramatis Personae:

EVA, an actress

GEORGE, an engineer

STRAUSS, a bank president





GOODWIN: (OVER MUSIC) The CAMEL CARAVAN! An hour of entertainment presented each week by R. J. Reynolds Tobacco Company, Winston-Salem, North Carolina, makers of CAMEL Cigarettes. Tonight -- the Paul Taylor Chorus, Frank Forest, Paramount singing star...Walter Abel, one of Hollywood's most popular leading men...and the famous and glamorous star, Anna Sten. And every Tuesday night, two great orchestras; led by Nathaniel Shilkret and Benny Goodman -- with Rupert Hughes as master of ceremonies. Rupert Hughes!


HUGHES: Here it is Tuesday again. The Caravan's arrived. I feel like saying it with a bugle. What a difference the time of day makes in that instrument. How I used to curse the one that brought in the hot, red dawn across the Mexican border. In the World War millions echoed Irving Berlin's desire to "kill the dirty pup who wakes the bugler up". But that was at five thirty A. M. Now it's five thirty P. M. -- out here. Just the right time to let loose the bugles in something like the "Bugle Call Rag". Oh, Benny Goodman, is there a bugler in the house?



HUGHES: Tin Pan Alley was the corner where New York hid its song-makers, but out here in Hollywood we keep our song makers in gilded cages and feed them on golden birdseed. No wonder they sing so well! None of the song-teams can put more contagion into a tune than my friends Kalmar and Ruby. Harry Ruby would really rather play baseball than write all the melodies in the world. But while he waits for someone to pop up a fly he twiddles his fingers, and while Bert Kalmar waits for Harry Ruby, he twiddles his fingers. The result is such delicious songs as they've put in their forthcoming R.K.O. picture, "Walking On Air". I've asked Nathaniel Shilkret to put three of the tunes into a medley for us. Mr. Shilkret, if you will --



HUGHES: Now -- here's Bill Goodwin...dear old Bill.

ANNOUNCER: Ladies and gentlemen, I want to take you for a moment to the Winter Palace Tavern in Boston...a famous old tavern whose carved mahogany and gleaming silver radiate its sixty-year-old tradition of fine dining. Here such illustrious men as Henry Cabot Lodge, Thomas Bailey Aldrich and Enrico Caruso, to name just a few, have enjoyed the superb food and the distinguished atmosphere. It's also a favorite with the college crowd -- a really fine old place. You can actually feel its tradition. And, as in most fine restaurants around the country, the discriminating patrons appreciate costlier tobaccos as the natural accompaniment for such fine foods. CAMELS are the popular cigarette in the Winter Place Tavern. Nick, the maitre d'hotel, has noticed it. And this is what he says, in his own words: "I see so many of our patrons here smoking CAMELS with dinner and afterwards. They are by far the most popular cigarette at the Winter Place Tavern." So it is with fine restaurants in nearly every city you may visit. Waiters, headwaiters, managers -- all will tell you of the popularity of CAMELS. Fine foods and choice tobaccos naturally go together. To dine well -- to enjoy the luxury of a CAMEL -- that's living!


HUGHES: The Caravan wants the best in dramatic art, so we naturally sought out Anna Sten, as soon as she got back from London where she has just made a picture called "A Woman Alone" and before she could start her next American picture, "Fascination", I invaded her Santa Monica home, with its swimming pool, its gardens, its view of the vast Pacific. "Not much like Russia," said I. "Not much," said she. Then I said, "By the way, Miss Sten, to settle a bet, would you answer me one question. Are you a Russian as some say, or, as some say, are you not?" She answered, "Yes and no." As a bet-settler that was pretty maddening, but she explained. "You see, I was born in Ukrainia. That is a part of Russia now, but before there ever was a Russia, there was a Ukrainia, so I'm a Russian and not a Russian." "Oh, I see," I lied, and changed the subject to what she would like to do for the Caravan. She told me of a delicious Hungarian comedy -- Lazlo Fodor's, "I Love An Actress". She said, "I'd love to do that." Well, I remembered that the play had been done in New York and that a great success had been scored in the role of the engineer by the brilliant actor, Walter Abel. Learning that he was in Hollywood, we were lucky enough to get him for the part.


The story in short is this: The heroine is the actress, Eva Sandor, who has risen from poverty to fame and wealth. The riches other men offer her do not tempt her. She wants love, but is afraid of lovers. One night she gives a big party to all the big people in Budapest to celebrate the end of another successful season. A young engineer, George Varadi, with no money yet and no fame, crashes the gate in desperate love of her. He hides in a little salon.


Come in, Walter Abel.


And now, Miss Anna Sten, please --


So now -- Miss Sten, as Eva Sandor, has discovered in her apartment this perfect stranger -- this quite perfect stranger.

EVA: You have been following me around for weeks and weeks.

GEORGE: I love you.

EVA: In the theatre, restaurants, halls, at the races, everywhere

GEORGE: I love you.

EVA: Wherever I go, I see you.

GEORGE: I love you.

EVA: You stare at me always. Steadily and boldly.

GEORGE: I love you.

EVA: And now you've broken into my apartment.

GEORGE: I love you.

EVA: I'll have you put out.

GEORGE: I love you.

EVA: Who are you?

GEORGE: A Tuxedo...

EVA: What's that?

GEORGE: I am a Tuxedo from the audience in your theatre - a Tuxedo that cannot become reconciled to the curtain falling at half past ten and robbing me of you. I have seen you in all the variations of life and death from 8:00 o'clock to 10:30 every night -- and I can't help it! I love you! I am in love with an actress!

EVA: You love me so much?


EVA: Then get out of here.

GEORGE: That is quite impossible.

EVA: Don't you hear? You will take your coat now and get out of here immediately.

GEORGE: I can't do it.

EVA: And why not?

GEORGE: Because I came without a coat........

EVA: You're impossible! I give you sixty seconds to leave.

GEORGE: Out I go -- but I'll probably come back. Farewell!

EVA: Astounding! Astounding! Where do you get this terrible determination?

GEORGE: This is not determination. This is just the starting speed.

EVA: What are you saying?

GEORGE: Starting speed! The secret of life and motion!

EVA: What are you....an engineer?

GEORGE: You've guessed it. I know all about the effect of forces and the resisting qualities of matter. Listen to me, because no matter what happens, you are going to love me.

EVA: And now, engineering or no engineering, you will give me the pleasure of getting out of here. Immediately! Do you understand?

GEORGE: Gladly! Because now I have said what I wanted. God be with you, darling!

EVA: Well - why don't you go ---

GEORGE: Oh, how exceedingly beautiful you are when you are angry!

EVA: Oh! But this is too much! I'll give you three seconds to leave. One! Two! Three! Now, go!

GEORGE: I've already gone. (DOOR OPENS) How wonderful you are! Au revoir. I love you. (FADING) I love you. (DOOR SHUT)

EVA: (SOFTLY) But he is amazing! Never have I seen such an infuriating...


EVA: Come in!


MAID: His Excellency, Hervani Strauss.

EVA: Tell him to come in, Elsa.

STRAUSS: (FADE IN) Eva! Forgive me for being late to your party! (DOOR CLOSE) I kiss your hand.

EVA: It doesn't matter, Hervani. Won't you smoke?

STRAUSS: Please. (PAUSE) As usual, I have no matches!

EVA: Here.

STRAUSS: Thank you. (PAUSE, MATCH STRUCK) And yet...

EVA: Yes, I know. And yet you have the three largest match factories in Hungary.

STRAUSS: True. And the electric current that lights your house...

EVA: Is yours.


EVA: And the wood of the floors I walk on were bought from your companies!

STRAUSS: And the petrol in your car!

EVA: On all those things you make money?

STRAUSS: Of course. It is my business to be successful!

EVA: You are right, Hervani. Well, I must go in to my other guests.

STRAUSS: Just a moment. I'd like to ask only one thing.......

EVA: Yes?

STRAUSS: Eva....do you want to be my wife?

EVA: Enchanting! You're amazing, Hervani....even in a situation like this you can be calm, cool and careful....

STRAUSS: That's my style. Alas, I am not a sentimentalist.

EVA: Hervani, Hervani! In other words, you are not even in love with me?

STRAUSS: Now, here is a definite proposal. Tonight at midnight I must go to Florence. Tomorrow there is another train...at five thirty in the afternoon. You take it. When you arrive, we shall be married.

EVA: How systematic! A perfect schedule! I am sorry, Hervani. For five years I have known nothing but work, discipline. But tonight I no longer had to act. I did not have to play the life and love of an alien woman. For a little while now, Hervani, I want -- freedom.

STRAUSS: But, Eva......

EVA: Remember, please...I am only twenty-two years old. Do you know how wonderful that is?

STRAUSS: I knew. I knew once. But I've forgotten.

EVA: That's too bad. One ought to remember such things. Do as I do.

STRAUSS: What do you do?

EVA: When something wonderful has happened to me, I write myself a postcard. It's lovely to read it afterwards. "To Eva Sandor, actress, Buda-Pesth: On the occasion of your first success, warmest greetings from your best friend, Eva Sandor." And I am very punctual about this, Hervani. I always congratulate myself.

STRAUSS: Eva -- be serious for a moment.

EVA: I am serious.

STRAUSS: I must go now to catch my train. I shall expect you in Florence day after tomorrow.

EVA: Hervani! You may be very surprised!

STRAUSS: In what way?

EVA: That I cannot tell you -- yet. Goodbye, Hervani.

STRAUSS: Goodbye, Eva.


EVA: What! You are here again! How did you get in?

GEORGE: I never left.

EVA: But I told you...I ordered you to leave.

GEORGE: I know...and I tried. But there are so many doors in these modern apartments -- I just couldn't find the one to leave by.

EVA: But you were able to find the one to this room again!

GEORGE: True. But listen, my darling...

EVA: Your darling!

GEORGE: Of course! Who was that man who left you just now?

EVA: He? Hervani Strauss. He is president of the Anglo-Hungarian Bank, among other things.

GEORGE: Yes...but to you...tell me...is he your fiance?

EVA: You're impertinent!

GEORGE: I beg of you! This one thing...I must know...Don't you feel it? I must know!

EVA: Well, no, he isn't.

GEORGE: Then you have nothing to do with each other?

EVA: Nothing!

GEORGE: Good. Now that man is going to be thrown out of here!

EVA: Oh! (LAUGHS) That's funny! Just a few minutes ago you were being thrown out.

GEORGE: What do you know about it? This is progress! We have passed the starting speed! I adore you!

EVA: You are impetuous! You are a determined, reckless, stubborn, unbending man. But still, there is an undeniable amount of charm.

GEORGE: Thank you for admitting at least that much.

EVA: In fact, I no longer have a sufficient amount of firmness and resentment in me to have you put out.

GEORGE: So I may stay?

EVA: I don't want to be harsher with you than you deserve.


EVA: So many people come and go in an actress's home. One more or less...really doesn't mean anything...You see, this clearly, I hope.

GEORGE: (COMING UP) Oh, darling! Thank you! Thank you!


HUGHES: (OVER MUSIC) The party is over and the guests nearly all gone, Eva Sandor tries again to get rid of her stubborn worshipper.


EVA: Now, George...let this foolishness be ended. Almost everyone has gone...You may kiss my hand...and we are going to say "good night".

GEORGE: Now? When everything has become so simple?

EVA: How simple it seems...And yet how impossible. I am going away tomorrow, anyway...

GEORGE: Where?

EVA: To Italy!

GEORGE: What's that?

EVA: The Fiume Express leaves at...five thirty. And I shall be on it.

GEORGE: This is terrible...I didn't expect this...

EVA: Well, George..

GEORGE: You are going away...And you are going to a place where I cannot go after you.

EVA: Not necessarily...there are plenty of trains.

GEORGE: Darling, I hardly know how to explain it...I blush for having to speak to you about such things, and still I say it with a little pride -- I say it a bit haughtily, in fact...Eva! I have no money!

EVA: You have no money? Actually? You're poor?

GEORGE: I am poor...Not because I have no money, but because I have a Tuxedo...

EVA: But I don't understand...All these weeks...wherever I've been..theatre, restaurants, cabaret....

GEORGE: That's easy to explain...I am that well-dressed man who nonchalantly enters the most expensive places, watches the brightness, the dancing, but orders only a demi tasse...I have enough money to pursue you in a taxi, but not enough to go after you to Italy...

EVA: How charming you are...And how honest...

GEORGE: And now, perhaps you'll despise me a little...

EVA: Despise you? Because you're poor...Oh, George! How little you know!


EVA: Wait a minute! (FADING) I'd like to show you something. (COMING IN) I always keep in my desk here. Do you see these slippers?


EVA: Five years ago I came to Buda-Pesth in these shoes!

GEORGE: Were you also poor?

EVA: Very poor. Poorer than you. There I stood at the railroad terminal. Eva Sandor had arrived. With an only dress, without baggage.

GEORGE: Darling...How beautiful this is!...Two poor people...

EVA: And now, sometimes when I am walking through the town, scattering money, buying everything which is glittering and dear, a sudden scared voice speaks deep within me: "Look out, you are only a girl who is coming in a pair of worn slippers from the railroad terminal..."

GEORGE: Coming to me...

EVA: Do you ever roam the streets?

GEORGE: Oh, often.

EVA: At night?


EVA: Have you stood under windows?

GEORGE: Through long hours...

EVA: Did you gaze at the homes of the rich?

GEORGE: With tear-filled eyes...

EVA: The store windows...

GEORGE: I gaze at them...

EVA: Dresses...

GEORGE: Silks...

EVA: Hats...

GEORGE: Shoes...

EVA: Lace...

GEORGE: Neckties...

EVA: Furniture...

GEORGE: Pictures...

EVA: Chandeliers...

GEORGE: Hangings...

EVA: Oh, yes - pianos...

GEORGE: Yes, and phonographs...

EVA: Violins...

GEORGE: Radios...

EVA: Silver...

GEORGE: Gold...

EVA: Platinum...

GEORGE: Rubies...

EVA: Pearls...

GEORGE: Almonds...

EVA: Sauerkraut...

[GEORGE: Cheese...]

EVA: Everything...

GEORGE: Everything...

EVA: And have you kept your heart?

GEORGE: I have kept it.

EVA: You poor boy!

GEORGE: You poor girl!

EVA: It's good to be poor, isn't it?

GEORGE: It's wonderful. How I pity the millionaires!

EVA: Are you sorry for them?

GEORGE: Very! And now let us draw together...There are no more obstacles...We are going to belong to each other...

EVA: Quite true, that would be next...Oh that would be the great scene..But...

GEORGE: But what?

EVA: (SADLY) How lovely it would have been, George, to have met then, when I arrived...a poor little girl...at the Eastern Terminal...

GEORGE: Don't think of it...Why, it could hardly be any more beautiful than it is now.

EVA: But it is different. That night...five years ago..the greatest night of my life...

GEORGE: How sweet you are!

EVA: (HALF TO HERSELF) Oh! If only it could have happened then!

GEORGE: It would be just the same now!

EVA: (HESITANTLY) I don't know, George. I am not the little poor girl now, perhaps.

GEORGE: Of course you are.

EVA: No! No! I'm afraid not. I am a success.

GEORGE: Don't talk that way!

EVA: (WITH SUDDEN DECISIVENESS) George, will you do something for me?

GEORGE: Of course.

EVA: You won't think I'm silly?

GEORGE: Of course not.

EVA: I want you to call me up on the telephone from outside.

GEORGE: But I don't understand.

EVA: Will you do it anyway? There is something I want to tell you and I'd rather tell you that way.

GEORGE: I won't ask any questions. I'm off.

EVA: The nearest call box is on the next street, three blocks down, toward the river.

GEORGE: Is it something nice you're going to say?

EVA: I hope you'll think so. (SOUND: DOOR OPEN)

GEORGE: I'll run! I'll only be a minute.


EVA: Oh! George! (PAUSE, RINGS BELL) Elsa! Elsa!


MAID: Yes, my lady.

EVA: Elsa, call my car immediately.

MAID: Very well, my lady.

EVA: Then pack my things and follow me to the Hotel Danubia.

MAID: The Danubia...

EVA: And Elsa...a gentleman will call me in a few minutes.

MAID: Yes...

EVA: And tell him...tell him that I have been called away. And..tell him that the message is...is "goodbye".


HUGHES: (OVER MUSIC) The scene is now the crowded railway station, the Eastern Terminal. Eva's train is fairly puffing to be gone, when --


TRAINMAN: Fiume Express is ready! Keleffold, Sarbogard, Dombovar, Zagarb, Fiume. Fiume Express! Leaving in five minutes.


MAID: What is this?

GEORGE: Aren't you Elsa, Miss Sandor's maid?

MAID: What business is that of yours?

GEORGE: What business of mine! It's a matter of life and death!

MAID: Well, I am Miss Sandor's maid.

GEORGE: I must speak to her.

MAID: Impossible! She is already on the train. You can't!

GEORGE: But I must. I tell you it's a matter of life and death!

MAID: I can't help that!

GEORGE: (DESPERATELY) But I must see her! I must! (PLEADINGLY) Weren't you ever young?

MAID: Well...

GEORGE: I knew you had a heart. Here. Take these twenty kronen -- buy yourself something nice when you are in Italy. But tell your mistress I must see her. Only for a minute. I must! I must!

MAID: Well, I'll tell her. But the train is almost...


MAID: (FADING) All right. All right. But I'm sure...

TRAINMAN: Fiume Express is ready! Keleffold, Sarbogard, Dombovar, Zagarb, Fiume. Fiume Express! Leaving in four minutes.

EVA: (FADING IN) What's the matter, George?

GEORGE: You know! .... You ran away from me last night!

EVA: I couldn't escape from you otherwise...

GEORGE: So you tried to escape from me! You think that is possible?

EVA: Maybe it is better.

GEORGE: No! No! Understand, darling, that this is impossible!...I can't lose this battle, because if I did, then one should not be young, one should not fight, one should not love, one should not believe...

EVA: George, please...

GEORGE: Five twenty-seven...My throat begins to choke. Life has but three minutes more and I can say nothing.

EVA: My poor friend! Oh, I wonder...Maybe I was wrong! No! I must not be crazy!

GEORGE: Why not? You can't go! 

EVA: Now it's my turn to ask; why not?

GEORGE: You can't go away, darling...because my love keeps you here...because you have a heart and belong to me...because summer is here and we must watch the clouds together...

EVA: Oh, George, don't!

TRAINMAN: All aboard! All aboard for the Fiume Express! (WHISTLE)

GEORGE: Five twenty-nine! But you still can't go away...because I want to walk with you on sunny mountain slopes...because at night bells ring out above the city, because there are verandahs vine-covered where we must drink light wine and listen to the music.


EVA: Let me go, George, please.

GEORGE: No. You can't go now because -- I love you.

EVA: It's starting. Please!

GEORGE: Never. I'd die if you left me now.

EVA: George!

GEORGE: No. Because I'm holding you in my arms.

EVA: Please stop. You're hurting me, George.


EVA: Oh, George!

GEORGE: (EXULTANTLY) It's too late! See? You have stayed with me.

EVA: I have missed it! Oh!

GEORGE: Don't despair so. There is nothing more beautiful than to miss a train.

EVA: But, George...think what you've done!

GEORGE: What is it?

EVA: All my baggage was on the train. And Elsa with my money. The train's taking my dresses, my silks, my jewels.

GEORGE: Do you regret them?

EVA: (SLOWLY) How queer! It's as though I'd been here once before -- Yes! Five years ago I stood here just so without baggage...with just a dress to my back, here, at the Eastern Terminal!

GEORGE: Darling!

EVA: Eva Sandor has arrived for a second time.

GEORGE: The train has gone.

EVA: And is carrying everything, taking the actress, taking everything that does not belong to me. (PAUSE) Only a poor girl remains here at the Eastern Terminal.

TRAIN BOY: All the latest books, magazines, picture postcards!

EVA: (OFF) Give me a picture postcard.

TRAIN BOY: Here you are, ma'am.

EVA: (TO GEORGE) Please pay for it. I haven't a penny.

GEORGE: At last!

EVA: Thank you. Have you a pencil?

GEORGE: To whom are you sending it?

EVA: Just listen. This is what I'm going to write. "Eva Sandor, actress, Buda-Pesth, July 21, 1936, five thirty P.M. Dear Eva: This summer I am spending in Buda-Pesth, with my fiance. He is a charming boy...an engineer. He is going to complete a bridge. I love him and I am very happy. Love, Eva."




HUGHES: Hark the voice of Benny Goodman. It calls the people young and old together like the pipes of Pan, or the magic pipes of the pied piper of Hamelin. No other bandleader in the country has quite his vogue. And so, to the serious students of musical evolution, I commend the high achievements of Mr. Benjamin Goodman. The rest of the world needs only to be told that Benny will play "These Foolish Things". The words are really mark-worthy and that quite remarkable singer, Miss Helen Ward does them more than justice. The second number will be called: "Down South Camp Meetin'".



HUGHES: So -- from a very Goodman -- to a very Goodwin. Dear old Bill...Bill Goodwin.

ANNOUNCER: One girl who shows what the American girl can do when she goes in for athletics is Miss Jane Fauntz, attractive Chicago girl and former Illinois co-ed. Jane is a popular girl, a member of the Kappa Alpha Theta sorority, and charmingly feminine. And at the same time she's a fine athlete, too. Her superb swimming and diving thrilled thousands as she fought her way to the top in national and international water events, reaching Olympic honors as the climax of her sports career. No sport makes more strenuous demands on nerves and condition than swimming. Nothing tests digestion more severely. Miss Fauntz's training rules are particularly interesting as regards cigarettes. "Mildness is all important to me," she explains. Maybe that gives you a clue to the cigarette of her choice. She carries and smokes CAMELS. Jane says, quote -- "Being both a swimmer and diver, I have to keep in perfect condition. Since I started smoking I have always smoked CAMELS. I think CAMELS are mild and made from naturally fine tobaccos. There is no doubt about CAMEL'S mildness, because no upset nerves result from smoking them. CAMELS do not get the wind. And CAMELS have a most delightful and appealing flavor." Unquote. (PAUSE) And let me add that CAMELS smoked with and after meals promote good digestion, increase alkalinity! They set you right!


ANNOUNCER: (OVER MUSIC) The CAMEL CARAVAN will continue in just a moment. This is the COLUMBIA...BROADCASTING SYSTEM.


ANNOUNCER: This is the CAMEL CARAVAN once again, and here is our master of ceremonies, Rupert Hughes.


HUGHES: Out here in California it's only six o'clock in the afternevening, and the sun is high and hot. In New York it's ten at night and the moon is low and cool, or ought to be. I can't see from here. In between here and there, it's all sorts of hours. According to your latitude and longitude, attitude and promptitude, you're thinking of dinner, sitting down to dinner, getting up from dinner, or whatever you're up to -- or down to. But in New York there -- crowds are rejoicing in a musical comedy by Richard Rodgers and Lorenz Hart. "On Your Toes" it's called and I was lucky enough to see it when I got to New York last month on parole. I loved it so much that I begged the ever-obliging Nathaniel Shilkret to drop everything else he was doing and smuggle some of those "On Your Toes" tunes into our Caravan cargo. The opening chorus is really delightful. Let's have a taste of it, Mr. Shilkret.



HUGHES: (OVER MUSIC) "On Your Toes" has a plot -- a real plot according to which the hero, Ray Bolger, wants to be a dancer but he has to be a teacher of classic music. In a fascinating number he puts his class through an examination in musical history, especially the lives of the three "B's"; Bach, Beethoven and Brahms!



HUGHES: (OVER MUSIC) These students, having passed their examinations, do what other students do -- forget all the classics they have learned and plunge into real life. Their new motto is: "It's Gotta Be Love".



HUGHES: (OVER MUSIC) And just about this very moment in New York, Ray Bolger, as "Junior", is embracing his leading lady, Frankie, as they stand in a little pagoda in Central Park -- that is, not of course in Central Park - but in the theatre -- anyway they're wishing they were somewhere else together, and, as usual, in musical comedy, they sing it both at once together in a [?] and very taking duet.



HUGHES: (OVER MUSIC) Mr. Bolger and his troupe in New York won't reach the finale of the opera for half an hour or so -- let's not wait for them, Mr. Shilkret.



HUGHES: The Toosdays ago -- two Tuesdays -- well, anyway, week before last, the Caravan gave to the American radio world for the first time one of the most glorious tenor voices it has ever heard. It was Frank Forest, of course, the St. Paul singer who won fame in Italy before we ever heard him or heard of him. When I heard him here I was so overwhelmed I cried, "We've got to get him back!" I said it first because I was closest to the microphone, but the voice of the multitudes rolled in over me, clamoring for more Forest. He's in such demand now that he's doing two pictures at once for Paramount -- "The Champagne Waltz" and "The Big Broadcast of 1936". People outside of Hollywood think of the studios as places where handsome loafers of both sexes dawdle through a dreamland of posing before the camera. But the successful ones earn their success. There are thousands who are not overworked -- who can't get any work at all. Even Frank Forest, with that gold mine in his throat, spent months and months in vain waiting for his chance. But when it came -- the life of the nightingale was changed to the life of a truck-horse. After a day that began at 6:00 A.M. he was aroused last night at eleven o'clock so that he might rehearse with Nathaniel Shilkret. Yet for all his toiling like a stoker he manages to sing like an angel. Just listen to him now singing the famous aria from "Martha" -- "M'Appari". Frank Forest!



HUGHES: One of the very first musical pictures ever screened, and one of the best ever screened, was "Lilac Time". Our own Nathaniel Shilkret wrote "Lilac Time" One of the most delightful numbers was called "Jeannine". I've asked Frank Forest to tell us about her in that magnificent voice of his.



ANNOUNCER: Smoking CAMELS is an enjoyable way to add pleasure to your meals, whether you're dining out or eating at home...a pleasure that definitely stimulates good digestion, and adds a cheering, comforting "lift". This experience has been studied and explained by science. It is a well-established fact that the mental strain...the din and rush..of modern life affect digestion by slowing down the natural flow of the digestive fluids. But smoking CAMELS with meals and afterwards helps to keep digestion on its proper course, because CAMELS increase the flow of digestive fluids..alkaline digestive fluids...so necessary to the enjoyment of food...and so necessary to good digestion. Just try CAMELS yourself, for digestion's sake. You'll find that they set you right and you'll prefer CAMEL'S fine, mild flavor. Enjoy CAMELS steadily. They're so mild they never get on your nerves...never tire your taste. So mellow in flavor that they please even the most delicate feminine taste! So for smoking pleasure, as well as for digestion's sake, smoke CAMELS.


HUGHES: (OVER DRUMS) That was a drummer drumming. You probably thought it was a dozen drummers, but it was only one. In the following trio, there will be only that one drummer; one pianist with one piano; and one clarinettist with one clarinet -- to wit, Benny Goodman performing for you one of his master pieces of the Benny Goodman Trio. This number is entitled, "CHINA BOY". It just goes to show you what three desperate musicians can do to a simple little tune.





ANNOUNCER: The CAMEL CARAVAN is presented by R. J. Reynolds Tobacco Company, makers of CAMEL cigarettes and Prince Albert Smoking Tobacco. Just try Prince Albert in your pipe and enjoy the grand, mellow flavor of choice tobaccos -- made even milder and mellower by P. A.'s special "anti-bite" process. Good old P. A. is really a princely smoke, preferred by more men than any other smoking tobacco in the world today. No wonder it's called "The National Joy Smoke." 


HUGHES: (OVER MUSIC) Next week we return and I can promise you one of the world's most precious comedians, Frank Morgan, who imitates nobody and is inima -- immini -- well, nobody can imitate him. For a singer I bring you beautiful Carmel Myers with a special dramatic song presentation in a new manner all her own. And then, of course, and always, Nathaniel Shilkret, admittedly one of the great orchestral leaders of the world; and Benny Goodman chaperoned by his wise madmen. Until next Thursday, then.



ANNOUNCER: Tune in next week's CAMEL CARAVAN and hear Frank Morgan, Carmel Myers, Nathaniel Shilkret and his orchestra, and Benny Goodman and his Swing Band, with Rupert Hughes as master of ceremonies.



ANNOUNCER: Bill Goodwin speaking...This is the COLUMBIA...BROADCASTING SYSTEM.