 Cavalcade of America sponsored by Dupont, maker of better things for better living through chemistry, presents John Garfield as Bill Forsythe in Continuum Loading with Wally Mayer as Joe Giovanni. Tonight Cavalcade tells about the gallant part played by the United States Coast Guard in the invasion of Sicily, a role later repeated at Salerno. Some 3,000 naval ships took part in this, the greatest invasion force in history, and it took only 72 hours to put men, tanks, munitions, fuel, food, and freedom ashore. Cavalcade star is the popular screen player John Garfield, one of 48 stars soon to be seen in Warner Brothers musical extravaganza, Thank Your Lucky Stars. Our radio play was written by Stanley Young and is based on some of the actual events during the early days of the Sicily invasion. Dupont presents John Garfield in Continuum Loading with Wally Mayer on the Cavalcade of America. As our story opens we are on the deck of an American Coast Guard transport as it approaches the Gulf of Gila on the coast of Sicily, packed with munitions and materiel and tense waiting men. And among those peering out into the blackness are pharmacist mate Joe Giovanni and combat photographer Bill Forsythe. Must be getting close in Giovanni. Yeah? How can you tell? Your knees are knocking louder. Whose knees? I'm excited that's all. My folks come from Sicily. Sicily to Brooklyn. We're stopping. Before you know it, we'll be calling on your relatives. All hands assume condition four. All hands assume condition four. Lower first wave. Lower first wave. Away the boats. Hey, I thought this was a surprise attack. They can hear the captain's voice in Rome. Ah, don't worry. We're five miles offshore yet. That's what worries me. I can swim much more than four and a half miles, breaststroke. Then the combat photographers mate. Yes, sir. What landing wave are you assigned to? Second, sir, engineers, beach platoon communications, hospital unit. Pharmacists mate Giovanni and I are together, sir. Good. When the first wave of rangers hits the beach, they'll send up a red flare. That's when the work starts. As you know, you'll go in off number three now. Aye, aye, sir. But it's black as ink out there, sir. We won't be able to get any pictures tonight. You mean you don't want to go? No, sir. I only thought I might help unload, sir. Pictures don't seem so important all of a sudden. Your job's photography. Yes, sir. Don't worry. You'll get pictures. The moon went in about all 100 when the paratrooper's hit, but wait till the shore batteries open up. You'll get pictures. Anyway, good luck. Thanks, sir. Lower first wave to rail. Lower first wave to rail. Continue unloading. Continue unloading. All right, men. Down those nets. Make it snappy now. So long, rangers. Bring them back alive. See you in a row. Bring them back alive, men. All right, those rangers. They got everything. Brass, nuts, jackknives, blackjack, spike clubs. What do you got, Forsythe? A 45-pop gun and a camera. What have I got? A hypodermic and a bundle of bandages. Listen, we've got the rangers in front of us, the coast guard behind us. What are you beefing about? Nones frutani fiori de la finesse. Not de la carouse. And don't swear at me in Italian. I'm not. I'm not. I'm just practicing, Forsythe. I said, don't spit out of the carriage window. That's all the Italian I remember. Oh, a linguist, huh? Ah, no. Hey, look. There goes the red flare. That means the first wave's in. Uh-oh. The popcorn started, too. Well, we're next, kid. Hey, Forsythe, look at those searchlights. Lower the second wave. They're trying to pick us up. Lower the second wave. All right, you men. Down those ropes into the boats. Hurry it up now. Hurry it up. Here we go. If I can get down this rope net, I'll last a whole war. Come on. Come on. We haven't got all night. Come on. Still with us, Joe? I think so. Second wave aboard, sir. Right. Away the boats. Away the boats. Well, break out the soft anilomite, Joe. In five minutes, you'll be a sore bones in Sicily. Yeah. And my thought for tonight is, be their rangers. Don't worry about those babies, because... And I think when I joined the Coast Guard, they were supposed to rescue capsized sailboats off Long Island. Look. Look. Look at that searchlight. You think it'll pick us up, Lieutenant? If it does, keep down. You know what I wish right now, Giovanni? Well, I could guess. I wish when I was a kid, my mother was giving me an air rifle instead of a brownie camera. Searchlight. Down by, everybody. Down by. I wonder how we look in the limelight. But the way we're packed in, they'll think we're a shipload of tuna. Hey, there was right over my head. They ain't kidding, are they? You know what I think? I think somebody's shooting at us. Hey, foresight. Could I trouble you to take that pike pole you used for an elbow out of my stomach? Is that your stomach? Well, of course. Don't be so sensitive. You know, Giovanni, it'd be a kind of nice night out here if there was a moon and you didn't have a beard. All right, man. Coming in. All hands ready to lend. Let the ramp down. Turn on a bar. Full speed ahead. Full speed ahead. You can't disembark tanks at this depth. Gotta dislodge it. The searchlight's swinging back this way, sir. Okay. All ground fighting, you understand? By the way, then, that'll lighten the draft. Now, foresight. Yes, sir. You and Giovanni bail out, too. Yes, sir. I just loved to wait with my clothes on. What was that, foresight? I said, aye, aye, sir. When you get on the beach, man, remember to watch out for crossfire. Watch out for our own tanks coming in from other landing points. Watch out for snipers. In other words, watch out. How about booby traps, sir? Don't worry, the rangers have seen to them. Shove off, men, and good luck all around. Continue unloading. Watch out for the searchlight. Let's go. Watch. Continue unloading. Foresight, where are you? Plan on my belly, on the sand. Where are you? I'm about six feet under the sand and trying to go deeper. That surf knocked me around like an old shell. The camera's okay, though. Well, we're in Sicily. What do we do now? Put the flag down. Right now you put your head down and pray, brother. Me with my band-aids and you with your camera. Can't they see we're non-competent? Well, go on, make a complaint. Stand up and yell at them. Uh-oh. Did you see that? See what? I've seen a lot of things. No, no, a shack or something. About a hundred yards down to your right. Wait for the next gunflash. There. There, you see it now? Yeah, I see it. Between the water and the barbed wire. Let's run for it. You got your wind? I never had any. I'm a doctor. I got bad health. Come on. Wait a minute. Wait a minute. Wait a minute. Poor sight. Wait until that search light goes by. They're pitching at us right now. Come on. I want to get a shot of this in my scrapbook. No use waiting, kid. If your number's on the shallots, I'll... Giovanni. Giovanni. Hey, Joe. Giovanni. Joe. You hit? Poor sight. Poor sight. Where'd they get you, boy? Gosh, I... I'm shot. I never thought... Where'd they get you? Right here. In the gut. Who would hurt? Poor sight. Don't talk, Joe. Here, let me get some morphine in my kit. Get me three grains. Sure. Easy, Joe. Easy. I'm getting it. It's in a little round box. I had it all ready for anybody who got wounded. Here it is, kid. Yeah, give me a hand. That's all. Can you get it down? Good boy. That'll take the stinger out. Don't eat me, poor sight. Don't eat me. Who's leaving you? Didn't we plan this picnic together? Keep quiet. While I look around for a place to toast the marshmallows. Poor sight. Yeah, Joe? Field. There's a big hole in my side. Get and put your fist in it. I'll leave it alone, Joe. Lie still a minute. We'll get while I get my bearings. There. There's the shack. Joe, we're not far. Yeah, grab a hole in my neck. Who am I? Put me down. It hurts too much. Okay, Joe. Wait, wait. I'll try to lift you another way. The old pliamins carry. Come on. It's awful dark, poor sight. I ain't dying, am I? You die on me and I'll never forgive you. I got to get those pictures of the Coast Guard in action, and you got to help me. Somebody's coming. Hey there. Hello, home. Got a wounded man here. Come over. Who are you? Poor sight and Giovanni. Coast Guard. Who? Hey, what do you want me to do? Introduce yourself socially? I got a wounded guy here. Grab a hold of his legs and follow me. Okay. Got a leg wound myself. Take it easy. I thought you were just a conversational type. I'll try. Joe. Joe, you all right, Joe? Yeah, come on, soldier. He's out of cold. Give me a hand with him. Okay. Hey, maybe we're carrying a dead man. Dead or alive, this guy goes with me. There comes that searchlight again. Keep down. When it passes, we'll head straight for that shack up there. Shall we see if that sniper is still outside there? Yeah. Stick your tin hat outside the shack. That Nazi... He can really shoot, can't he? He's got us plenty spotted, too. This daylight isn't helping any. The boats are still coming in, though. They'll get us out of here pretty soon. I hope so. Your pal needs a doctor and quick. Last night, you could hear the wind whistling in and out of that hole in his stomach every time he breathed. How's your leg? I'll be okay. Well, let's get him on that stretcher we made anyway. The next boat that lands, we'll run for it, okay? What about that sniper out there? Try him again. Why, he never misses. Joe, Joe, you awake? Continue unloading. Continue unloading. He's been saying that all night, poor guy. Continue unloading. Listen, Joe, they're unloading. The coast guard's out there working like crazy. You ought to see that beach. Looks like a tidal wave struck it. Looks like no erectus arc out there. Where am I? You're in Sicily, Joe. We're not a relative in sight. Sicily? Sure, you stopped the little tracer last night, remember? I feel sick. For sure you do. My stomach hurts. What's the matter? What's the matter with me? You're wounded, Joe. We're going to get you back to the transport. The dock'll fix you up. I was running along the beach, wasn't I? That's right. You were going to take pictures of the coast guard in action. That's right. Don't worry. I got the pictures. Night shots, swelled pictures. Where are they? Let me see them. But, Joe, we're still on the beach. Why? We're losing the invasion? No, but there's a sniper outside the shack. Pops at us every time we stick our necks out. Who's that fellow with you? Oh, that's Harry Tracy, a soldier from Indiana. He'll drag you in. He's wounded, too. We've been here all night. What's this? A hospital. Yeah, and I'm the doctor, see? So you keep quiet. Save your strength. Hey, hey, Harry. Listen. Planes. Hours. See, now's the time to run for it. The planes come over that sniper or claw the earth. Okay, let's go. Help me get them on stretcher. Okay. Steady, Joe. Yeah, come on. Hang on to the stretcher. Where are we going? Home? Yeah, Joe. Back to the transport. Back to Brooklyn? Yeah. Back to Brooklyn, kid. Home. All right, soldier. Here we go. All right. Hit the sand foresight. It's not our planes. It's theirs. Okay. Let's go down. Easy now. Messerschmitts, stay under your tin hat. Those babies cut grass. Take it easy, Joe. We're going home. Jones Beach. Sand. White sand. Never mind, Joe. Noise. All the time noise. My old man don't like noise. Shut up, kids. Don't talk, Joe. Continue unloading. Look at those guys. They go right on lugging that stuff on the beach like it was gold. Like they were in a desert island. Yeah, and we're lying here digging in like a couple of scared sand fleas. What do you say we turn, too? I was just thinking the same thing. How's your leg? Oh, I'm okay. We've got to get Joe back to the boat first. Let's go. Hang on, Joe. Come on. Here, look. That's what you want unloading? Wounded man, Lieutenant. Put him in the back of the barge. Watch that, sailor. That's live ammunition. You're juggling there. Shut him in. Okay, Joe. Sleep it out, boy. He's got plenty of company. Look, here's a guy without a leg. And this one. Okay, okay. I've seen him. Everybody sees him. Lieutenant Williams, sir. Yeah, what do you want? We want to go to work, sir. Unloading those boats. How many times have I got to tell you you're a photographer, not a long showman? Yes, sir, but I just put my pal in the barge there. He's hurt pretty bad. As soon as we get unloaded, as soon as we get back to the ship, I don't feel much like taking pictures right now, sir. All right. I guess you've earned it. Thank you, sir. As soon as the barge is unloaded, I'll take your pal back to the ship. What do they say about Joe? Well, they upright on him right away, and they say he's doing okay. Oh, that's swell. Yeah. Hey, you guys, hold it. I want to get a picture. We're rolling barrels, and he wants to click cameras. What is this? Don't give me that. I've been doing plenty. I got to get some pictures, don't I? Okay, okay. Keep your shirt on. Now, look unpleasant, you guys. I want this picture to be natural. Enemy planes approaching. Enemy planes approaching. Man guns. Man guns. Continue unloading. Continue unloading. Nuts. Easter eggs again. Why does guy stay home? Can't they see we want to be alone? Oh, look alive, sir. Here comes the boss. Forsythe. Yes, sir? You want it below? But the planes, sir. I got to get some action shots. Giovanni wants you. Can't he wait, sir? No. No, he can't wait. Oh. Well, uh, then I'll... You'll find him right in there. Yes, sir. Welcome to the Cavalcade of America sponsored by Dupont, presenting John Garfield as Bill Forsythe, Coast Guard photographer's mate, in the play, Continue Unloading. Wally Mayer plays his friend, Giovanni. As the play goes on, the men of the Coast Guard have been working more than 48 hours without food or sleep and in the face of murderous enemy air raids to unload their transports at Sicily. Abort one of these ships where he has taken his badly wounded friend, Giovanni, is Bill Forsythe, combat photographer. As our play continues, Forsythe has been sent to Joe's bedside. Joe, don't you want to get here? Why not, Joe? You all right? Oh, sure. I'm fine. I had something to eat today, hot food, dry clothes. Yeah, yeah. You look better. Oh, you look better, too. Forsythe, you're a good guy. I want you to do something. Sure thing, Joe. Can I make you more comfortable? You want some water? Listen, Forsythe, I won't be getting back to Brooklyn. I'll cut it out, Joe. Sure you will. No. Come closer, Forsythe. You've got to hear this. OK. I want... I want you to take this ring back to my old man. What do you mean? Take it back yourself. No. Give it to him and say thanks. All right, Joe. Listen, Joe... You're talking Forsythe. Anthony Giovanni. He's a good guy, Forsythe. He got ten of us on our feet without rickets. And that ain't bad on 30 bucks a week. Yeah, Joe. It's a nice ring. Yeah. The old man made it for me himself. He learned how to make rings off of silver smith. We used to take a bar of aluminum on a picnic. You're talking too much, kid. I've got to say this. OK, Joe. When we'd finished the picnic, we'd all sit around on the grass, smoking, talking and laughing. But what would my old man be doing? Go ahead, kid. I'm listening. Maybe... maybe you'd better get on deck and shoot some pictures. No, no. I've got plenty. Tell me about your old man. Well, there's not so much to tell after all. He made this ring, didn't he? Yeah. Yeah, that's what I wanted to tell you. He'd sit out there on the grass making rings. He taught me to. I can make a ring as good as that. You see, Forsythe, it's got my initials. They're pretty, huh? You never saw a guy like my old man for making something pretty. You like it? Yeah. It's... it's well. You know, my old man comes from right around here somewhere. From Sicily. Yeah. I know. Yeah. He's proud I was sent here, though. Tell him you saw me, Forsythe. And I'd done the best I could. Sure. And tell him, thanks. Thanks for everything. But mostly for making pretty things for me when I... when I was a kid. I... I will. Joe, I will. What... what's the matter with you? Nothing. Look, you... you go up a bun-deck now. You got work to do. I want to sleep. I'll stay here with you, Joe. Listen to that guy. Listen. They'll never lick a country with guys like that. Will they, Forsythe? No. They won't, Joe. So long, fella. So long. Joe. Keep... keep your camera dry. I will, Joe. Joe. So long, kid. I won't forget. The war, the camera. Load that gun. Come on, Chum, go roll your film. Listen to that guy. Pass the ammunition. Load the gun. Here they come. Fire! One for Joe. Stop quacking and load this gun. Okay, load. The guy's a sharpshooter. Joe, snap her out of the towel. Here comes one port side. All right, Joe, this one's on me. Load. Hey, Forsythe. He's still out like a light. My head's wringing like the bells of St. Mary. Well, that last plane crashed on deck. It must have knocked us all out. Where's Forsythe? That was great work, man. The shooting I ever saw. Thank you, sir. You know you got three stookers? We got them. Oh, that was Forsythe. Forsythe? The photographer? Yes, sir. That guy simply couldn't miss. What a photographer. Last thing I remember, that plane was... Hey, where is that guy? I want to pin a cross on him that'll cover his whole chest. He's right behind you. He's passed out. Yes. Yeah. Hey, wake up Forsythe. Don't shake him. Hey, you should have hurt him, sir. He was aiming that gun and yelling, one foot, Joe, two foot, Joe. Who is this guy, Joe? Joe was his friend. He came from Brooklyn. He's dead. Oh. Did you listen to that? He's still fighting the war. Where? Where am I? By the grace of God, you're in the middle of the Mediterranean. Hey. Hey, we're moving. The ship's moving. We're unloaded, Forsythe. You've been underway for nearly half an hour. Where have I been? In the darkroom, photographer. But you're not three planes out of the sky before you close the door. Did I? You certainly did. One of them exploded on deck. That's why you've got a headache. Or have you? Yeah. Yeah, I have. You all right everywhere else? I guess so. Hey! There's something missing. What's the matter? What are you looking for? For... Oh. Here it is. How can you tie that? These guys that carry cameras are nuts. He almost gets his head blown off and he's worried about a little old silver ring. That's right. A little old silver ring. A little old silver ring that was made by a swell guy named Anthony Giovanni. That had a swell son named Joe. Ladies and gentlemen, Mr. Garfield will have a microphone again in a few moments. Meanwhile, here is Gain Whitman with a message from Cablecade Sponsor, the DuPont Company. President Roosevelt in proclaiming this fire prevention week points out that since Pearl Harbor, the destruction caused by fire in the United States has been comparable to the damage caused by all enemy bombing over England during the first two years of the war. There was a time when man's only protection against fire was sand and water. Today, chemistry and chemicals are potent aids in fighting fires and what is more important in preventing them. DuPont acids and aluminum sulfate are used in making fire extinguishing compounds which protect homes, factories, military installations, and ships at sea. 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Speedyzy covers dingy wallpaper, soiled walls, in one easy coat, and dries in an hour. Use Speedyzy. Made by DuPont. Now, here's the star of tonight's cavalcade, John Garfield. Thank you, ladies and gentlemen. I'm sure I speak for Wally Mayer and the rest of the cast when I say tonight's play gave us all a clear understanding of what an invasion means. More power to those men of the sea and to those thousands of spas. Members of the women's reserve of the Coast Guard who are doing men's jobs are sure. Becoming photographers, mates, yeoman, gunners, mates, drivers, truck drivers, working in pay and supply, and performing dozens of other important Coast Guard duties. Adding Mayer's share toward the ultimate aim of bringing our men home again to victory and peace. Next week, Bob Hope will be our star. Cavalcade will present a first-hand account of his 20,000-mile mission to entertain our fighting men in Great Britain, North Africa, Sicily, and Iceland. Our program, Bob Hope Reports, will bring you for the first time the drama of Bob Hope's numerous performances at the battle fronts and in hospitals to bring laughter and music to lighten the burden of our men at the fighting front. Dupont invites you to be its guest at this same time again next week when the Cavalcade of America will present one of the outstanding radio events of the year, the dramatized account of Bob Hope's 20,000-mile odyssey to our advance posts in Great Britain, North Africa, Sicily, and Iceland with Bob Hope in person as our star. Tonight's musical score was composed and conducted by Robert Armister. Cavalcade is pleased to remind its listeners that John Garfield is one of the 48 stars soon to be seen in Warner Brothers' musical comedy, Extravaganza. Thank you, Lucky Stars. This is James Bannon sending best wishes from Cavalcade's sponsor, the Dupont Company of Wilmington, Delaware. For Hollywood, this is the National Broadcasting Company.