 K-Francis, Martha Ray and Mitzi Mayfair in Soldiers in Greece State. Good evening, ladies and gentlemen. This is the Cavalcade of America, sponsored by the New France Company. Tonight's Cavalcade presents Soldiers in Greece State, starring K-Francis, Martha Ray and Mitzi Mayfair. These stars together with Carol Anderson recently returned from the tour of the battlefronts of Europe and Africa under the auspices of the USO camp shows. They were the first to bring live entertainment into an actual theatre of war. Our program tonight is not a play. It is a radio dramatization by George Corey, depicting some of the highlights of one of the most unusual theatrical tours in the history of show business. Ladies and gentlemen, the narrator of tonight's Cavalcade, the popular screen actress and captain of our Soldiers in Greece paint, K-Francis. Good evening, ladies and gentlemen. Tonight we're going to tell a story that you made possible. It began here in America about a year ago when you began dropping nickels, dimes and quarters into the USO collection boxes. That money made our tour of the warfronts possible. And tonight, Martha Ray, Mitzi Mayfair and I want to bring you, through this Dupont program, a first-hand report of what your contributions brought to our fighters in Great Britain and Africa. To make the story complete, we should have Carol Lambeth with us. Unfortunately, she cannot see with us, as she was when we made one of the most unusual tours ever made by any group of actors. We crossed Atlantic by plane. I can't tell you just how we went, but we were in that plane for five days and five nights. When we got there, we had to come down through one of those famous London fogs, the worst they had in 50 years. Somehow, we found our way from the blackout to the hotel, and Bob, our unit manager, got us up to our room. Right this way, sir. Thanks. Well, kids, here we are, end of the line. Oh, at last. Look, I'm numb. Tell me. How about you, Mitzi? I'm hungry, Kate. Yeah, me too. See, a hunk of bread and that dull boy's arm would make a swell sandwich. The bag's in your room. Is there anything else now? But I got an hot sauce cup with that song if you don't mind, Chuckie. Tid's a bit misty to not miss. Misty? You could stop a mattress with that fog. Oh, me for a good hot bath. Sorry, miss. It's not the 10th. We're time restrictions, you know. Okay. Skip it. Thanks anyway. Oh, boy. A real bed. Hey, look, kids. It worked. Now, look, I know your kids were awful tired, but... Oh, tired. Just give me 48 hours sleeping. I'll be as special as a daisy. Now, listen, Martha. I know that... Good night, Bob. Call me day after tomorrow. But, kids, you've got to rehearse tonight. Rehear? I'll kill you! Wait a minute. Wait a minute. Look, look. I know it's tough, but they may call us any day. Tomorrow even. We've got to set the routine in there. Okay, Bob. Okay. There's a piano in the next room. But at least get us some food. Come on, girls. Let's go. Uh, go over that wolf number, Martha. Will you? Okay, Bob. But I may have to see my first number if I'm under an oxygen tent. Well, hello, Charlie. Bob, it's not true. Is it? If it is, you've got to be responsible. Sit down and talk sense, Charlie. What's wrong? There's people in New York sending Francis, Ray, and Mayfair over here as an act. No, wait a minute. Take it easy, Charlie. You don't understand, Bob. They're going to be working in front of soldiers. Guys that are lonely, homesick, hungry for entertainment. And what do you send them? A dramatic star or Heidman or Hoffman? No, wait a minute. Wait a minute. Don't worry, Charlie. You have entertainment. Entertainment. Can they sing? Can they dance? Why, I have... Is the material any good? Well, it's... You've got an act. Yeah, sure, sure, Charlie. I think it's... Oh, you think? Fine. Fine. That's just Danny. Charlie was right. The next afternoon, half frozen from a long glide, we shuffled into the little makeshift theater with a tin-missin' hut, a long sausage-like affair that had once been a mess hall. A curtain was drawn across one end, and we could hear the excited voices of the fliers on the other side of it. We ran over our lines and put on our make-up. You're almost ready, Kay. That's about Bob. I sure hope those kids don't sit on their hands. Tonight, I'm going to need encouragement. I look, girls. I might as well tell you. You've got a sort of tough situation tonight. Tough situation? What's wrong, Bob? Well, the squadron was out over St. Nizet today. Two crews didn't come back. Oh, gee, Bob. Don't worry, Bob. We'll catch up. Okay, girls. Okay. Now, remember the routine. Kay, open, sit, Margaret. They yearn for you, kids. Get going. You all set for the music? I'll sit here. Oh, Miss Ray. Yeah, me. The telegram just came through from London for you. Oh, thanks, Carple. Better not open it now, darling. We've got to get started. I'll be a second, Kay. All right, girls. Come on, let's go. Oh, Kay. Oh, Margaret. Bob, honey, what's wrong? Some honking. My sister just died. Oh, darling. Got a waist. Let's see. Tell Bob to hold her curtain. No, don't, Kay. Please forget about this show. I can go out there and tell him something or other. I thought I could go on. Didn't I? They do, don't they? Yes. Yes, well, honey. I'll see you soon. Well, let's go. Thank you, boys. Now, before we start our little show, I have something to tell you. I've got something to tell you. I've got something to tell you. I've got something to tell you. I've got something to tell you. I've got something to tell you. No, I have an apology to make. As you know, we're traveling under war conditions. So if we're not quite as neat and thick and span and well-pressed as we'd like to be, please forgive us. Oh, thanks, boys. But, you see, we both came over here by plane. Oh, a great big bomber. The trip itself wasn't very exciting, except for the pilot. He was the best-looking thing I've ever seen in my life. What a hunter-man. Hey. Hey, I just saw. Did I save the flyer bomber with one hand? No. No, but seriously. The army's been marvelous to us. You know, I like soldiers. Yeah, really, I do. There isn't anybody else left to like. You know, the only ones I'm really afraid of are those nest sergeants. The other day when we were eating, one of them came up to me and asked me how I liked the food. I told him it was delicious. So I took the banner away from my throat. Now, look, I can't sing. Martha Ray is going to do that. I can't dance. Missy Mayfield handles that department. What's her to do here at our first act? That little measurement of song, the screen star, Martha Ray. That's a cover. Oh, the boys like you, Martha. That is those that care for your type. Oh, I get discouraged with boys. I had a boy from once came. What did you do with him? He was grand. I'll never forget him. He had everything. Bill, looks, money, everything except teeth. No teeth? A detail. I took him around to my dentist and had him all fixed up. And then, you know what? He left me. Yeah, that steel character left me trapped. Surrounded by beautiful girls. You know what he did? Okay, he laughed at me. He laughed at me with my own teeth. Oh, that's awful, Martha. Never mind, though, honey. You can still sing. Well, boys, I'd like to hear a beautiful cuss. For the boys of the Army Air Corps, with the greatest thrill any of us has ever had. Well, I hope that there are lots more to come. Night and day for the next five weeks. Every husband is filled with jealousy. When they see you are with me, I don't blame them for their souls. Oh, honey, it's a go-go. Go, go, go! The show today at Army Post, Navy Station, Air Basin, Hospital, back to London. There was a great hush-hush about our next show. It was a military secret. In the next thing we knew, we were going through our acts again, but at this time, in the Grenadier Guard's barracks, is Windsor Castle. Her Majesty the Queen had summoned us for command and performance. Your Excellency, I'm so nervous. My mother's going great. She shouldn't have any trouble. Bob says the Queen has her two little girls with her. You mean the princesses Elizabeth and Margaret? Yes. Hey, which foot? What do you curtsy with? Mother Lovefoot, of course. Oh, yes. Hey, Lord. Here comes one of those guys with a muck on his head. That's why they came, guys. Hey, thank you, pardon. I'm Tolford. Sergeant of these Majesty's Guards. How do you do? You're Miss Kay Fonces, the cinema star, I believe. That's right. You will pardon my politeness, but I have a little... That is, you see, I was wondering if you would think it was too presumptuous. An autograph? If you please. Of course. That's my huge honor. See you later. Oh, boy. Where do I tell them I played part of a stupid Windsor Castle? Gee, hey, Mickey better start warming up. Hey, Mickey, how do you... how do you make up that curtsy business? Master. Oh, let me see now. I think this is Elizabeth. You're Martha Ray and Miss D. Mayfair, aren't you? Oh, my blood is healed. What's wrong, Miss Ray? Did you hurt your ankle? My... Oh, no, I was... I was making with the... She's trying to curtsy. Please, Mickey, break it off. Oh, but that's not the way. It's very simple. Just bend your left knee. See? It's like this. Oh, I sure. It's easy, isn't it? Like this. I look at them! I hope you won't think me bold, Miss Mayfair, but I wanted to ask a favor of you. Surely, what is it, your Royal Highness? We have been reading about America, and we were wondering if it would be possible for you to teach us the fundamentals of jitterbug. Um, um, um. We're listening to Kay Francis, Martha Ray, and Missy Mayfair in Soldiers in Grief Saint on the Cavalcade of America sponsored by Dupont. Tonight, these Soldiers in Grief Saint are reporting their first-hand experiences to you, the American people, whose generous contributions the USO made possible their now-famous trip to the fighting front. As our story continues, Kay Francis and Missy Mayfair are seriously ill from overwork and exposure. Martha Ray comes to visit them in the hospital. Well, how do you feel, kids? Well, I'm fine, but... it is not too good. Well, Kay, I... I got some pretty terrible news for you. Are we supposed to be leaving? Mm-hmm. That's it. The plane's leaving for absolute good night. Kay, I... I hate to think of going without you, kids. I don't, you worry, baby. You're not. Where do I end with a nurse? But you're too sick. You can't do that, Kay. Did you ring, Miss Francis? Yes. Look, we've got the doctor in here right away. Yes, Miss Francis. Now, listen, Kay... We are going to Africa. But, Kay, you can't. You might get pneumonia. Now, look, Martha, Missy and I are going with you tonight. Right, Missy? You bet we are, Kay. Kay, at least wait until I tell you. Morning, Miss Francis. How are you, Miss Mayfair? Hello, Colonel. You, uh, sent for me? Colonel. Missy and I have to leave here this afternoon. Oh, that's impossible, Miss Francis. It's imperative that you two girls remain in bed at least another week. But the troops leaving tonight. Oh, I can't help that. You're in the hands of the army now. We say you stay. We're not staying. Miss Francis, Miss Mayfair is a very sick girl. She's running a fever. But, Doctor, I feel fine. Now, look, Doctor, we've learned a lot about what an army's license we've been over here. We're not the only ones with other than six. We've seen boys who are sick in lots of ways. Homesick and miserable with it. And yet they're only thought was to get into action. Why, we've seen kids come back from a dog fight where they just watched their best friend killed. Take off again an hour later without a murmur. We've seen boys in this very hospital so weak they could hardly stand up and begging to be allowed to get back to their outfits at the front. Well, maybe you think of us just as a bunch of glamour girls. But we like to think that we're troopers, too, with a job to do. Right now, our job's in Africa. I think I see what you mean, Miss Francis. I guess we can arrange it. Good luck, and God bless you all. Well, we went. The plane put down very quietly in a little Algerian town that was packed from one end to the other with American soldiers, including our hotels. We were counting on a couple of days' rest and doing our best to keep out of sight. But that very first morning, Martha and I were buying some stamps in the hotel lobby. Hurry, Martha. I am hurrying. How do you see Ilmiel in Algeria? Martha, please, if these lads spot us. Oh, but this will be shy, huh? What would your agency say? But I'm tired. Too late. Pardon me, Miss, but are you, uh... I mean, you're Martha Ray, aren't you? Yeah, ma'am. Hey, fellas, look, Martha Ray. Hey, Francis, it's Martha. And Missy Mayfield. Wait a second. We just got in. I'll be a good sport. Just one number. Charlie will play for it. Really, well... What do you say, Martha? OK. Where's the piano? Where do you show the back to here? Oh, a little back to back, back, back. Mr. Fie, 55 feet tall in his 55. We're in the little hotel lobby, into the street to hear them all the same. In the meantime, Missy had just gotten some mail. She was standing alongside of me reading a letter. And as she looked up, there was a big power trooper staring down at her. I, uh, see, got a letter. Yes. A letter from home. Home, huh? Mm-hmm. That's swell. Letter can mean a lot out here. I mean, uh, one year that's far from home, can it? Boy, him, Hal. You know, uh, sometimes some of the fellas don't get a letter from months. If a ship gets sunk or something. I know. Miss Mayfield, this may sound kind of funny to you, but... But what? Well, um, is there anything private in that letter he has? Why, no, I don't think so. Well, then, would you let me read it when you're through? Sure you can, soldier. And then another day, another little guy in a dirty leather jacket. A flyer. Stepped up to Martha Ray. Could I, uh, could I talk to you a minute, Miss Ray? Sure. What's your name? Benton, Joe Benton. I'm from Traverse City. You ever been there? No. I guess that's when I met. My dad's got a little farm right outside the city. It's a nice place. Mm-hmm. You're a pilot, aren't you? Yes, ma'am. A fighter squadron. I, uh... I was wondering if you'd do me a favor, please. Would you mind accepting these wings of mine? Well, we'll really enjoy it, as well as you, but... Well, don't you think you ought to give them to your girl? I haven't got a girl. Oh. And, uh, well, it should be nice when I'm up there all alone, to kind of think I had one, you see? Sure. Of course I do. Thanks a lot, Joe. And now, well, I thought I'd want to give you something, too. Me? Do you kiss me? Spider pilot Joe was one of the pilots that escorted our bomber to the battle lines a couple of days later, who are wearing field uniforms now, with helmets and gas masks. Our plane was put down on the a few-mile fax in the Nazi line. And our first show was out of dusk, and the soldiers streamed into the little clearing that served as a theater. Their faces were dirty, streaks with sweat and mud. Many of them had been in battle that very day. And we could see men with bandages on their heads and on around. That doesn't seem to make any difference. Tomorrow they'll open the show with a song, and... Mama, don't want to make rhythm, Just want to make music, I want, help, aerate... That's it. Jerry coming over again. All right, ma'am. Proceed quietly. Go to your proper stations. Sergeant, take the ladies to number one dugout. Yes, sir. You'll just follow me. Well, it's the first time I've had them throw bombs at me for my singing. Lie down these steps, please. Watch that flashlight, Bill. Oh, sorry, Sergeant. Now, just make yourselves as comfortable as you can. Are they after your headquarters here? That's about it. This is their fifth try today. You all right, Missy? Sure, I'm fine. A little scared. You know, we took this show away from the Nazis only three days ago. What's that? That's our fighter going after them. Probably gone, sir. Our fighter? Hitch to the other one? Oh, we're throwing everything we've got at them. Why? Oh, I'm sorry. I didn't notice the wing. What's his name? Joe. You know them long? No, not very long. Ouch! That hole is closed. Well, I hope your Joe has a quite a sector than this. You think it'll last much longer? Well, you never can tell. There goes the old clear now. What about the show? Do you feel up to it? Well, why not? Open the door there, bud. That much down here, we've got three of their hankles. What about us? Two of our fighters. Oh, dear. Do you know who they were? Not yet. Do you think they'll attack again? Not for a while, anyway. What's the matter, Martha? You look like you've seen a girl. Let's go all over. Oh, hi, my friend. Hello, Miss Ray. Glad to see you. Well, each of our stars has a personal word to say to you. Miss Mayfair? Honestly, our trip was the greatest experience of my life. I know you want to know just how the boys look. Well, gosh, they look simply grand. The only thing they want more of is mail. So grab your pen, typewriter, pencil, or even lipstick and write them. Do it tonight. Martha Ray, what about you? You were able to stay after the others came back. Is there anything special you'd like to say? Well, Mr. Bannon, no one asked to read my mail. Of course it could be me. But seriously, they do want to hear from you more than you imagine. I know what sports can serve. They must save everything. But whatever you do, don't try to save on stationery. What about you, Miss Francis? Well, I'd like to add this. When you write to the boys over there, don't just go through the motions. Tell them the baby gained two pounds last month. That the baseball team just won another game and that the fish are biting in the pond again. Oh, I know it sounds humdrum to you, but it won't to him over there. Until you've been there, you don't know what a female letter means. And when you write, be cheerful. And they've got their own troubles. Don't let them worry about you. So write. Write girls, write. And here is Gain Whitman with the story of one of the most important chemicals being used in the war, methanol. What is methanol? Well, the zero-on antifreeze you drained out of the radiator of your car this spring and carefully put away for use next fall is based on methanol. But methanol in wartime, there's a lot more than keep the water in your car or in a jeep's radiator from rusting and freezing. For instance, it's of great importance in the manufacture of plastics. The United States was just getting into its stride in the use of plastics when the war started. Now, in war, plastics research has been intensified. Hundreds of vital new jobs for plastics have been found and the Army and Navy are using them by the carload. Several kinds of plastic are made with formaldehyde, of both the urea and phenyl types. And formaldehyde is made from methanol. Without the chemical industry's development of synthetic methanol in large quantities during the past 10 years, we just wouldn't have these formaldehyde plastics today in the enormous quantities so vitally needed. Gears and bearings for machinery, certain types of soldiers' helmets. Mechanical and electrical parts for planes, tanks, trucks, and ships. All of these and many more things besides are made of tough formaldehyde plastics. And that's only the beginning of the story. Methanol is a chemical intermediate in the manufacture of many dyes. In the last war, America had to import dyes with soldiers and sailors' uniforms. Now we make them ourselves. In part, we can thank methanol for that. Methanol is a raw material in the manufacture of certain military explosives. Methanol is a raw material again in the manufacture of blue sites. Methanol methacrylate resin. The crystal clear plastic demanded for noses and transparent enclosures of thousands of bombing planes. Methanol is used in making both urea and phenol formaldehyde adhesives for plywood. Plywoods that relieve critical metal shortages and are splendid structural materials in their own right. Stronger pound-for-pound than many steels. Methanol is used in connection with the manufacture of photographic film for aerial photography and in the making of lacquers, leather cloths, and insecticides. Because of some quirk of the human mind, it's difficult for anyone to think of a liquid as a weapon. But here is a case in which a colorless, undramatic liquid pouring out of plants operated by the American chemical industry is a weapon in every sense of the word. Every bit as much a weapon as the newest fighting plane. The latest model tank in North Africa. As a weapon, methanol is now serving the nation. This is the wartime task assigned to one of Dupont's peacetime better things for better living through chemistry. Before we tell you about next week's Cavalcade, we want you to hear an important announcement from our government an announcement that Miss Kay Francis will give. In order to provide our men overseas with proper nursing service, we must have 65,000 more student nurses in this country to release overseas nurses. Any other woman over 17 or 18 to 35 in good health and with a high school education is qualified. The need is urgent. Tremendously urgent. If you are qualified, act once by writing to student nurses box 8-8, New York City, or to your local nurses organization. Marvel is what the Navy men call her. The bulky ungainly ship whose only glory is the supply fuel to the fleet destroyers and the battle wagons of the line. Next week, Cavalcade will bring a dramatization of the Saturday Evening Post Story by Charles Rawlings and Isabel Layton. A saga of one fast girls, a fuel supply shift that escapes from blazing Pearl Harbor to stand by our fleet. Our star will be the popular screen player Edward Arnold. Join Cavalcade next week when Edward Arnold stars in a dramatization of the Saturday Evening Post Story Fast Girls. The orchestra and musical score tonight run to the direction of Robert Ambruster. This is James Bannon sending best wishes from Cavalcade sponsor, the DuPont Company of Wilmington, Delaware.