 And Gene Barry in Somebody Loves Me. Ladies and gentlemen, your producer, Mr. Irving Cummings. Greetings in Hollywood, ladies and gentlemen. From the famous Boardville circuits throughout the country, Broadway and Hollywood have welcomed some of the greatest talent in show business. And in tonight's place, Somebody Loves Me, we will dramatize the life of one of the most popular couples ever to grace a stage. Blossom Sealy and Benny Fields. And as our stars have this delightful love story from Paramount Pictures, we have Betty Hutton in her original role, co-starring with Gene Barry in his first appearance on our stage. Now, Somebody Loves Me starring Betty Hutton as Blossom Sealy and Gene Barry as Benny Fields. Somebody Loves Me. In 1906, the earth-beautiful city of San Francisco was struck by an earthquake. Our name was Blossom Sealy. Oh, oh, that's even right. Oh, oh, that's right, that's right. It feels like dancing all the time. And when you hear that band playing that music grand, it makes you feel, it makes you feel like falling, falling. Blossom had looks, a voice and a personality. Plenty of each. She started in the San Francisco honky-tonk, but she wasn't there for long. The cabarets in Vaudeville came next. Big, dixie move. Beaman from above to see if your lover made you. That's a pretty tune because they love, they love for you. The earthquake headed east, Chicago, New York, then across the Atlantic to Paris. Go, babe. Oh, she stole my heart away on a dreamy summer. And watched all the seals at play on the golden strand. I won her hand. Blossom returned from Paris with nine trunks and new clothes and a very tempting offer to return to Chicago. But that night in her New York hotel. So, what do you say, Sam? It's a deal, huh? Be careful, Mike. I've got the sharpest agent in the world. Oh, Blossom, please. Say something to him. Oh, Sam. Hello, Blossom. Sam, listen to me. Who gave Blossom her first break in Chicago? Me, Mike Fritzel. I've seen her go from 100 a week to 3,000. And from now on, it's 4,000. Sam, you're joking. Tell me you're joking. I won't pay it. I love Blossom, but I ain't going bankrupt just because you're going to... You're wasting your time, boys. I told you before I'm going back to Vaudeville. Blossom, please. Now, don't you worry, Mike. I'll pay the shape read just as soon as my new act is set. Hey, Elsa, you find my gloves? I'm bringing them. Mine's bringing. Hey, what's all this about a new act? Well, I've got an angle for a big new act with other people in it. You see, they could fill in while I make changes, and that way I could hit them with four or five different gowns. Sounds terrific, huh? I don't know, Bloss. You're doing great now. That's what I say, too. You remember Pop Gromen back in San Francisco? Well, Pop gave me some pretty good advice. He said every performance has to be better, and every season has to be bigger. Blossom, look, I like you. I like working for you, but no big act. I'm a nervous wreck now. Oh, relax, Sissy. What, Sam, you ready? Yeah. We're going over to Hoboken, Mike, a place called the Willow Cafe. Sam has taken you to a dump like that. She thinks she's got to listen to a trio. Well, they may be just what I've been looking for. You listened to me, Blossom. I was a star in Burlesque when you were just a... Well, anyway, you're sticking to a single. I know this business. Sure, honey, sure you do. Mike, did you know that Sissy was once a big star? Only the best in Burlesque. Why, there was once... I saw her work, Mike. Why, when she started to take it off, the audience allered, put it on! Put it on! Bye, Sissy! So, we went across the river and we listened to the trio. Forest, lake and fields. They danced. They told jokes. They sang. They belonged in Hoboken. For Hoboken, they were fine. Let me tell you, Mr. I never knew I'd be so blue until she went away. Well, Blossom, had enough? I don't know. I'll take it easy, fam. I don't know. I kind of like them. Whang, whang, whang, whang, whang, whang, whang, blues. I'm only asking about the sweet, sweetie. We'll come back and chase away those whang, whang, blues. Ladies and gentlemen, in honor of our honorable guest, Ms. Blossom Sealy, my partner, Harry Lake, and I will now... I'm on now, remember? Well, like I was saying, my partner and I will now wait while our other partner sings. Folks, his Benny Fields. He cried for you. Now it's your turn. You cry over me. Well, then... You're welcome. I cry for you. He's got me. That's one thing. You're like... I cry. What a fool are you? Now I've found, found two eyes, just a little bit bluer. And I've found a heart just to cry for your turn to cry. Now that's it, Blossom. Now let's get out of here. Oh, no, no. It's fun, Sam. I like them. You see, I like to encourage new talents. Talents, yes. Sam, wait here a minute. Where are you going? Oh, just back to congratulate them. I think it would be nice. Yeah, yeah, that's very, very... Hey, hey, Benny, look. Almost six bucks in tips. Oh, we killed them tonight. Did we? Well, I'm fed up working in joints like this. Hey, Harry, book us in Carnegie Hall starting tomorrow. Mr. Carosa here don't like this type of work. Oh, take it easy. Benny, once we figure out a new routine... Well, Miss Sealy, well, sure, this is quite anonymous, Sealy. Thank you. Hey, we saw you out there, but we never dreamed that you'd come. I just wanted to say I thought you were very good. Very good. Thanks. What happened to your agent? That was Sam Doyle. Oh, yes, he's still at the table. Hey, Miss Sealy, how'd you like that Vododeo dough routine? Oh, yes, that was great, Mr. Force. Would you mind telling Mr. Doyle to please not wait for me? Just tell him I'll be tied up on business. We got business? Sure thing, Miss Sealy. My pleasure. Say, we got a great new idea. Oh, and will you tell Mr. Doyle I'll call him tomorrow at his office? Your wish is my command, Miss Sealy. Do you mind if I ask what this is all about? Well, I've been thinking of building a new act, and I thought maybe I could use you three. Oh, well, we've got quite a few commitments. We're only here in this joint to rehearse, you might say. Well, don't you think it might be an opportunity working with me? I'd like to think it over for a while. Oh, of course. After all, there are three of you. My partners let me make all the decisions. Oh, fine, I'm sure of it. Mr. Doyle says, quote, good night, unquote. Say, I've just been talking to Mr. Fields about putting you all in my act. Three hundred a week for the team. Wow. I told her we'd think it over. It's a deal. It looks like you've been outvoted, Mr. Field. When do we start, Miss Sealy? We close here on Sunday. Then we'll start rehearsals Monday. Three of the toughest weeks you've ever put in. Oh, we'll love it. Now, would one of you gentlemen mind seeing me home? Oh, sure. This is a pleasure. Why, thank you, Mr. Field. Huh? Oh, uh, just give me a couple of minutes, huh? I'll, uh, wait for you at the table. Three hundred a week. Hey, that's terrific, buddy. If you hadn't jumped so fast, I'd have gotten us five. Oh, excuse me. We'll meet in the morning. Ten o'clock at the Keith's office. We'll work out the contract there. Oh, better make it noon. I've got an appointment at ten. Well, can't you break it? Oh, sure, sure, sure he can. Sorry, it's too important. Yes, Mr. Field. We'll meet at noon, then. What are you trying to do? We ain't even got a contract yet, and you're coming up the wall. We don't need one. I've been watching her ever since she walked in. So? She never stopped looking at me. Oh, sure, sure. Blossom Sealy, only the biggest star in Waterville, and she's gonna fall for it. I still say we don't need a contract. This is gonna be more of a personal relationship. Well, Blossom had what she wanted now, a new act. Blossom was smart. She gave the trio plenty to do, but not too much. She knew the public was still paying to hear Blossom's things. We don't yonder down in New Orleans. New Orleans. Down in the land of those dreamy dreams. Oh, what do they got? They got a garden of easy. Yeah, yeah, yeah. You know what I mean? They've got those three old banks with flashing eyes. Softly whispering, tender sighs. Stop. Come on and give you all lady fair, a little smile. Let's come on. You're gonna linger there just a little while. Oh, hope we got ladies here on earth. A lot of beautiful queens. We don't yonder down in New Orleans. Oh, oh, it's Louisiana. Yeah, it's Louisiana. Come on, Louisiana. Oh, oh, we're down, down in New Orleans. Think of it. Oh, it's been sad for a bacon. There, say what theater were you in. It was great. Now, host, you're gonna get you out of this costume. Can I come in? Sam. Now, look here, Blossom. Are you letting those guys close your act? What do you mean close the act? I just closed the act. You said no encores. Maybe they didn't hear you. What's going on out there? They're doing an encore. They're doing more than that. They're committing professional suicide. I trust them. Why, those cheap two-bit hams. I ought to toss them out in their ear. Uh, Trey Adam, give somebody a break, and this is what they do to you. They probably planned it all along. Whoa, will I get hold of them of all that pig-headed conceit? Hey, Benny, Benny. We just stole an encore. Me and Harry. Yeah, I know. Hey, we went great, Benny. Now, she'll have to give us our own spot. How'd you arrange it? A cinch. 20 bucks to the orchestra leader. Pretty cheap trick, wasn't it? Since when it wasn't a cheap trick when you witched yourself into doing a solo. Solo? I do, eight bars. Anyway, it was all her idea. Yeah, she's got lots of ideas about you. Yeah, we can see what's going on. Blossoms stuck on you. Had all the time picking on us. I ain't got no culture, she says. And I'm too short. What should I do, growing out of head? No, you've already got to. And if this ever happens again, you're finished. Look, it was just a gag. Well, the gag's out. Out! They ate it up! Why fight about it? You can't close a flash act with a comedy routine. You ought to listen to him. He's got a little class. So you got class. We haven't. Well, I didn't say it. She did. Well, if that's your attitude, maybe we should split up. Yeah, you held us back long enough. Look, you're all excited. Now calm down. No, we're excited. Go ahead. Get yourself a couple of other stooges. We're through. And we'll do all right, Harry and me. See? We'll do all right, too, Benny. Hey, fellas, wait. Can't we discuss this? We've discussed. If you got silly, we got each other. Come on, pal, let's get out of here. I'm sorry, Benny. Yeah, sure. Well, I guess if they're through, we'll have to make quite a few changes in the act. Whatever you say, boss. Maybe we can work out something tonight before you go home. Looks like we'll have to. Thanks, Benny. See you later. Well, that should take care of the first two numbers. Yeah. What about the routine for New Orleans? Well, uh, I could accompany you alone. Alone? Well, sure. Why not? Let's see now. Isn't the number for New Orleans? No, this is something else. George Gershwin. New? Uh-huh. Somebody loves me. I wonder who. I wonder who she could be. Somebody loves me. I wish I knew. Who could she be? Worries me. For every girl who passes by, I shall say maybe you were meant to be my loving babe. But it loves me. I wish I knew. Come here. The kissing bit's too hokey. We'll leave it out. Whatever you say. It's all for tonight. Look, Blossom, relax. I just called his hotel. The operator said the line is busy. But how can it be busy? Oh, well, at least I know where he is. Maybe he's trying to reach me. What's the matter with you? Oh, I don't know. I don't know. I wish I knew. Well, sit down. I'll read you the review and variety. Blossom Sealy's new act is a typical smash for the number one chantouille in the biz. Chantouille. That's French for singer. Weren't they say so? Sealy bells for 18 minutes with soccer peel. For the lady Sealy throws in good looking Benny Fields whose fair pipe still endured costume changes. Class houses will fight for this act. Hi, you keep walking back and forth. You wear a hole in that rug. Well, I paid for it. Hello? Yes? Oh, thank you, operator. Hello? I tried to get you last night. I tried to get you last night. Oh, sorry I was out. I had a date. I thought since we're laying off till Friday we might rehearse. Could you be here by 3, Benny? Afraid not, boss. I'm driving down to the shore with a friend. Oh, well, could you make it tomorrow morning, say 11? Better make it 2. All right. That'll be fine, Benny. Thanks. Why don't you get down on your knees and beg him? Well, he has his own life. I don't own him, you know. He's for sale, sister. He's for sale. Oh, why don't you drop dead? Sure, as soon as I finish the ironing. It went on like that for weeks. Benny had a hundred different ways to torment Blossom, but he always seemed to know just how far he dared to go and always soft-spoken, always with a smile. Then one night at the theater after the show. Do something, Sam. And soon Mr. Fields was laid again the fourth time this week. Well, why doesn't she fire him? You ask her. Go on, I dare you. You know if she isn't careful, are you going to connive her into giving him equal billing? No, he's after a different kind of billing on her doorbell. No, no, no. Blossom's too smart to marry him. Smart? Strawberries give her a rash. So what does she want? Strawberries. And tomorrow, see that you're here 30 minutes sooner. Careful. That's it. Late every show. I had living words in my song. Don't tell him. I'm trying to help me. I'm running this act. Bloss, listen to me, please. No, I know what you're thinking, but you're wrong. He doesn't mean a thing to me. He's just part of the act. Now, let's tell him. All right. I will. I'll tell him right now. It's all right, boss. Just walk right in. We're staying at the theater. We're staying after the house closes. I've decided we need to rehearse. Sorry, I'm afraid I can't. How about the morning? I've got fittings tomorrow. It'll have to be tonight. Well, that's impossible. I've got a date. This is important, Mr. Field. So call the guy up and break your date. It's not a guy. Oh. Oh, I see. Maybe that's why you're always too busy to rehearse. Oh, not always. Just now and then. I do have a private life, you know. That doesn't interest me. But this is my act, and I'll run it my way. Now look, let's get one thing straight. I know that working with you is a great opportunity, but I don't like the whip crack. If you want to quit, I can't stop you. I don't want to quit. And I'm not selling myself respect. Not even to the great Miss Sealy. Nobody talks to me that way. Now go on. Get out. Your girl's waiting for you. She loves to wait for me. Well, go on. Go to her. Only one thing. If you get married, our deal is off. I'll give you notice. When I get married, I'll even invite you to the wedding. I don't think I can make it. You'll have to make it. You're the one I married. Oh, yeah. Oh, yeah. Didn't you know? No. No, I... I didn't know. All I know is that I... that I... This isn't in our contract, is it? Hmm. You just didn't read that fine print. Go down in there. Sam, can you hear what they're saying? I can hear. Well? She got her strawberries. In just a moment, we will continue with Act II of the Hollywood Radio Theater. Here's a story that has sort of a special tug at the heart when you hear it. An American soldier with a camera spotted a cute little Japanese boy playing outside the family home in northern Japan. He asked him to pose, and the boy did. The soldier went his way. One month later, tragedy struck at the household. The little seven-year-old boy was dead of influenza. His father, realizing that there was not even a recent snapshot to remember his son by, remembered the passing service man, and he asked the United States Army for a copy of the picture. Ordinarily, that would seem like a pretty hopeless task to find among all the Army's picture-taking soldiers the one guy who'd taken that picture. But one man set out to do just that. PFC Stephen Tool of the 19th Infantry Public Information Office. He wrote letters. He broadcast over the radio, searched Army records. Eventually, halfway around the world, he traced Sergeant Leroy McElvane in a little Kansas town. Yes, the sergeant had been in Japan during that time. Yes, his hobby was photography. Yes, he had pictures of little Japanese boys, some 4,500 of them. Painstakingly, he searched through them, and he found the right one, the one that could make a grieving family just a little bit happier. This is a story that that community in northern Japan will not soon forget. Such acts by you and your friends today are shaping our world of tomorrow. Now our producer, Mr. Cummings. Act two of Somebody Loves Me, starring Betty Hutton as Blossom Sealy and Jean Barry as Benny Fields. I should have known it. Blossom had fallen for Benny that very first time she'd seen him in Holboken. And now they were married. A few weeks later, Blossom was sick. Laryngitis. Well, Doc, how is she? Oh, I'm fine, Benny, fine. It's not a cold, Mr. Fields, just laryngitis. I've told you time and again, Blossom, you'll always get laryngitis when you sing too much. Any suggestions? Yes. Either she goes down to White Sulphur Springs, blend her sleep and the mineral bath. She'll be over in a couple of weeks. Thanks, Doc. She'll leave tomorrow. Good. Goodbye, Blossom. Goodbye. Oh, Benny, you better phone Sam and tell him to cancel us in Philadelphia. I'll call him right away. Benny, wait. You'll come with me, won't you, to White Sulphur? I wish I couldn't, Blossom, but I'm so busy with the Friars annual show, you know. Otherwise, I wouldn't let you out of my sight for a minute. You know that, honey? Two weeks alone down there. God, sooner have to laryngitis. So Blossom went to West Virginia. Not long after, I ran into Benny at the Friars Club. Oh, yeah. You'll excuse me, won't you, Sam? I'm in sort of a hurry. Yeah, yeah, overheard. Train reservations, huh? I'm going down to see Blossom. She's not any worse. She's much better. I got a telegram today. Should have gone with her in the first place. Look, I wanted to go, but what can I do? I promised I'd help with the Friars benefits. Oh, sure. You can't let the Friars down now, can you? But I can let my wife down. Is that what you mean? Does it matter what I mean? How come you're taking the train? What's wrong with a new car? Nothing's wrong with it. So you had to get a Rolls Royce. 16,000 bucks. Quite a wedding present. I guess I'm more used to a Pullman, Sam. Yeah, yeah. Blossom misses you, huh? I hope so. Half as much as I miss her. Oh, that's touching. Of course you miss her. What's the matter with her? Can't she just mail you the money? I guess I deserve that remark. All Mr. Fields about your reservations, they're all set. Thanks. They claim the train was all sold out. But as soon as I told them you were Blossom's silly husband, well, that got it all right. Yeah, that can get you anything. No, but almost anything. So long, Sam. Benny, what a wonderful surprise. Hello, Blossom. Oh, I'm never going to go away alone again. Well, haven't you got something for me? Like a kiss maybe? Hey, you're kind of rusty. Something wrong? Wrong? Come on, let's have it. You got trouble? There's something I've got to tell you, Blossom. Don't look so serious. You didn't rob a bank, did you? I wish it were that simple. I, uh, I'm leaving you. Leaving? You're kidding me. I wish I were. But I, I don't understand. You come down here and lift me up to the sky and then tell me you're walking out? Why? Because it's about time I was fair to you. Fair? You call that being fair? Oh, I can just hear them. Seedy Mary's a guy from left field that nobody ever heard of. Dresses him up, puts him in fast company. Then he falls for some dame and drops her flat. Thank you. Everything you said is true except that last one. No, don't kid me. You're falling for some dame. That's it, isn't it? Yes, that's it. I, I've fallen for you. That's something I never figured on. I wasn't in love with you when we got married. But you were. You were, I could tell that you were. I was promoting you for what I could get out of it. They all knew it. Sam, Essie, everybody but you. Blossom, Seedy. Prize sucker of all time. Then you, you went away and it hit me. I can't use you for a meal ticket now. Because I, I do love you. Look, I don't blame you for not believing me. I just. Oh, but I do. I do believe you, Benny. That's, that's why I want you to stay. I can't. But what good is running away? I'm going to get some place on my own. The free ride's over. Oh, all right, Benny. Leave the act. Do a single. I'll talk to Mr. Hobby. Blossom, don't you see? I've got to do it myself. I'm through being Mr. Seedy. Oh, Benny, look, please. We'll stay here a few days. We'll have time to think about it, to talk it over and. No, no. I've made up my mind. There's only one way for me. And it's through that door. Benny. And so Benny disappeared. And the weeks went by. He'd headed west in one day in St. Louis. I hate to even mention his fields. But I got just one spot open. Mesa's Majestic in East St. Louis. Two days. Oh, do I? Yeah, sure. Don't you want to hear about the money? Anything you say, Mr. Lipscott. D-nuts. Twenty dollars. When do I open? Saturday. The guy who runs the house never heard of you. But I told him I caught you with Seedy. Well, nobody can look very good up against her. But, uh, well, I won't let you down. Here's the address. Good luck, kid. His first two days worked since he'd left New York. But when Benny reached the theater, he found a poster in the lobby. Oh, sure, it mentioned his name. But in letters twice as large, it read formally with Blossom Seedy. Benny never even went into the theater. And then he just disappeared again. Never a phone call, never a letter. Blossom finally went back to work. Roosevelt was opening a new show, The Midnight Prolux. Dixie Dree on my pillow And many songs and stories I recall Dixie C. And I live My childhood at sea Of each day man I'll pray Bring me back My Dixie Dixie Dree I wanna go again Back to my home again In Dixie where I was born Dixie Dree I wanna see again D-I-X-I-E again I'll be not Was a rover Looking for clover Now my road The days are all over I wanna stay Snugging my hideaway Free from any trouble Worry or care Dixie C. I wanna settle down Down in a little town Where folks are friendly to see D-I-X-I-E again I wanna rest my head Up on a tiny bed Do some dreamin' for me Bring me back My Dixie Does Excel to replace me? Replace? Boy, you're just open. EDVZ's got a fortune tied up in this show. You'll be crackless. I won't be here tomorrow. You'd better tell him. Why not? Just let it go with that. I won't be here. Is that the mail? Let me see it. Nothing but ads and bills. Now why don't you fake? Oh no, don't start again. But three months you've been doing this mail. I had worse trouble when I was married. My husband wouldn't run away. Merry Christmas. Hello, Sam. Never leave your door unlocked or your agent'll sneak in. Well, you can't collect a dime. She's still layin' off. Are you, madam? Flowers, I believe. Right, Sam. What's happened to your memory? Memory? You must have forgotten. You gave me a Christmas present. Oh, but these aren't from me. I found the box outside the door. Look, there's a card. Well, Benny. Sam, they're from Benny. You don't say. Oh, I wonder where he is. Maybe the force. Well, there's no name on the box. But anyway, this proves he's all right. Oh, yes. I'm thinking about me. Sure, honey. Now how about giving me some good news and going back to work? Oh, I will, Sam. Just as soon as Benny clicks on his own and comes back to me. Oh, how long can you lay off, Blossom? The public forgets fast. We'll all let them, as long as he remembered. Yeah. Blossom, I've got to go out to the coast on business. I'll miss you, Sam. Well, what I'm trying to say is, how's the bankroll? Oh, I'm okay. You sure? Honest. Happy New Year, Blossom. Oh, Sam. It's just got to be. I had to go to the coast, but I had two reasons for going. One was business, and the other was to run down a tip. I'd heard that Benny was in San Francisco, playing a stooge in a fifth-rate burlesque house. All right, Sam. What are you doing here? What did you come here for? Take it easy, Benny. There's not going to be any arguments. Go ahead. Rub it in. Say it. This is where I belong. There's only one thing I ask. Well? Don't tell her. Don't tell Blossom where you finally found me. Okay, okay, Benny. I won't tell her. How is she, Sam? Well, aside from making like a hermit, giving up her career and rehearsing for the gas pipe, she's great. I never thought she'd take it so hard. She's in love with you. Nature had to get into the act. I only did it to save our marriage. I thought if I clicked as a single, I'd... Is this clicking, playing stooge to custard pies and slop buckets? You're right. I'm nothing. Oh, okay. Benny, you've tried to square things, but where has it written that you've got to be a performer? You want yourself respect and get a job. It's better to be a good shipping clerk than a bad performer. Shipping clerk. Anything. Stop being a ham and start being a husband. And the first thing to do is to go back to her. Go home. What's this? What's in this envelope? It's money, sucker. No, Sam, I... Take the money and go home before you punch me in the nose. Oh, if she says anything about flowers at Christmas, I act like you said them. I'm still a crock in the morning. You all bells are shut up. Essie, who is it? You want a mind reader at these prices? Who is it? It's me, Essie. Ah, it is you. Blush. Oh, Benny. Good morning, Essie, darling. Isn't it a beautiful day? Rebecca of Sunnybrook Farm. Well, I feel wonderful if that's what you mean. What's new with the Rover Boy? He's still asleep. We were up most of the night talking. Oh, would you try to reach Sam Dahl and tell him I'm ready to go back to work? You'd better. We've got another mouth to feed. Morning, honey. Benny, I thought you were still sleeping. Glad to be home. Oh, am I? Blush, what were you saying last night about why you haven't been working? Oh, it was just my nerves, honest. You're the only medicine I needed. That's fine, because I... Well, I've been doing a lot of thinking, and I've come to a decision. I'm through with the stage. Oh, you're kidding. Where is it written that I've got to be a performer? And what book does it say that? But you're a ham, just like I am. You wouldn't be happy doing anything else. We'll both be happy. I'll get a job, Blush. I want to be able to hold my head up. Oh, and you will. I want you to. But you don't have to work with me. Do a single. Oh, I tried that. I'm no good. But, Benny, you worked in dumps, and you probably picked the wrong song. Don't blame the songs. It was me. I haven't got the voice. Oh, of course you have. But a voice isn't enough, Benny. Now, take me. I hit them with a flashy gown. I do new things with my hair. I use my hands and my hips. They see me more than they hear me. All you need is a style, Benny. What do you want me to do? Wiggle my hip? Oh, no, look, Darrell. People in our business don't get to be a hit just like that. I could give you a style. Of course, it would mean months of hard work, but you could do it. You really think I could? Oh, I know you can. Please. But, meanwhile, how we... Oh, I'm loaded. Oh, now look, you've paid me back. In fact, you'd better. Okay, Coach, it's a deal. We start training right now. You call us training? Kissing me? Only one promise. When I'm ready, don't pull any strings for me. Whatever I get has got to be on my own. I promise. All on your own. Now, come on, let's go to work. I'll put some music on the phonograph. Sam says he wants to talk to you. I'm busy. I'll call him later. He says he can get you 20 weeks on the keys time. Tell him to cancel. What do you get? I said, tell him to cancel. I've got a job. Now, here we go, Benny. Now, listen to this. Let's number one. Let's number one. Get yourself a beat. Like this? That's it. Now, apply it to your feet. Left, right, that's right. Kind of cute. Beat, beat, hat, bat, walk and stick, cute trick. Are you ready? Okay, let's go. One, one, two. Get yourself a beat. Get it working for you. Apply it to your feet. Make your having fun. Get your hat. Do a little trick. I'll do a little trick. Get your walk and stick. My walk and stick. Now you've just begun. Sing yourself a song. A successful melody. And you can't go wrong. Just come along. From above. It's your love and need. With your hat. Trick. Walk and stick. A break that is neat. That you can repeat. Now it's your own little beat. We'll continue with act three if somebody loves me in just a few moments. We have a story here that pretty well illustrates the difference between two beliefs, two ways of life. Unless you've been stationed there, you probably haven't even heard of a place called Herzfeldt in Germany. It's close to the border between the Russian and American zones. In the Russian zone, little by little, the last vestiges of freedom and human dignity are being stripped away. And the people look with fear at their conquerors. But just to step across the border, there's a different spirit. The men of our constabulary squadron there set out to do a big job, one that you won't find listed in Army manuals. On their own initiative, on their own time, they built up the community instead of reducing it to nothing. In two years, this little group of men raised more than $40,000 to be used for assorted good works to help the aged and the homeless and the unemployed. The biggest single accomplishment was an $11,000 donation toward construction of a new orphanage. And the work still goes on giving you hope for the future. Yes, such acts by you and your friends today are shaping our world of tomorrow. Pause now for station identification. The curtain rises on Act Free of Somebody Loves Me, starring Betty Hutton as Blossom Sealy and Jean Barry as Benny Field. I wonder who's there. Well, with Blossom as a teacher, Benny had the world's best coach. He had lots to learn, but he learned it quickly and well. Then Blossom was never happier. Well, Sam, you should see him. He's wonderful, just wonderful, and the way he put over a song... Well, will you listen to me? First, you wouldn't work because Benny was away. Then you wouldn't work because you were helping. I'm sure he's good, but he's been looking for a job now for weeks, and still you won't go back to work. Oh, Sam, you know why I'm doing this? Yeah, yeah, for love. Look, look, I'm married too. The only thing my wife ever gave up for me was being single. All this torture, is it worth it? Sam, it's worth it if you want something badly enough. I did this to Benny. He would have been a big man on his own if I hadn't busted up that trio. No, I had to have him for myself. So you'll go on this way for years, maybe playing the pawn shop circuit. Where's your piano? Oh, it's out being tuned. They tune them in the house now, sister. Is your jewelry gone too? Just a junk. I've got the really important one on my finger. I'm going to change before you lose that too. Look, look, I offered to get him some work. Oh, no, Sam. He knows they'd be buying him as a favor to you. He's got pride. Pardon me, but you can't eat that for breakfast, fried pride. They're both crazy, Sam. Good. Stop packing, honey. I've got a job. Benny! Hiya, Sam. Etsy, see if you can find me a clean shirt. Oh, Bloss. Bloss, I opened next Friday in Chicago. The Chaperies. The Chaperies? You're starting right at the top, huh? That's Mike Fitzel's place, Bloss, remember? Oh, of course. Oh, I haven't seen Mike in years. Oh, honey, you'll kill him. Good luck, Benny. Thanks. How'd it happen? Fitzel, he walked into the Fry's Club, said he was stuck for an act, and he set me for two weeks at 500. $500? Well, this is going to make the landlord very happy. Oh, honey, I knew it had to happen. Good things have to happen when a guy has you for a rabbit's foot. What do you bet I go over? Just my life, Benny. Just my life. We were all in Chicago for Benny's big opening. About 15 minutes before he was due to go on, Blossom and Essie were with him in the dressing room. You're not nervous, are you, darling? Not me, honey, just my body. Oh, I'm always nervous before I go on. Oh, you haven't been on in years. Oh, that's why I'm nervous. Well, I got the feeling I ain't wanted. I'll see you at the table, Bloss. Oh, hello, Mike. The joint crowded. Loaded? All set, Benny? I think so, but there's still time to cancel me, Mr. Fitzel. Oh, no, you're going to be great. Oh, say, Mike, I'd better see your band leader. Anything wrong? Well, I just want to tell him about that last number. You see, the brass were a little bit too much. Now, wait a minute. Let me handle it, baby. I'm sorry. I guess I shouldn't act like a stage mother. I'll go and talk to him now. I'll be back in a minute, honey. Well, Bloss, I always pull for an act to go over, but never like this one. Now, don't worry. Gee, I feel like a mother having a baby in front of a thousand people. I'll keep talking to me, Mike, before I go all to pieces. So, Benny went to talk to the orchestra leader. He was waiting backstage for the number to finish. Nearby, some of the stage hands were playing cards. Playing cards and talking about many fields. Oh, no. Maybe this guy feels his great. After all, Fritzl knows talent. I bid 300. Singers like Fields are a dime a dozen. I pass. Anyway, it's the first time a guy ever started to finish the career in one night. Fritzl's secretary, she tipped me off on a deal. Deal? What deal? He didn't want Fields, so Sealy promised him. If Fields lays an egg, she'll play the rest of the date for the same money. So Fritzl gets Sealy for a measly 500. Pass? What some dames will do for a pair of pants. I bid 350. So it was all just another deal, huh? Darling, what is it? No wonder you brought your orchestrations along, so you can go on after I flop. Who says you're going to be a flop? I might have known Fritzl wouldn't want me, that you pulled strings. All right, Benny, I did, but only because I wanted to... Teach me a lesson, so that when I flop, I'll keep my places. Mr. Sealy, that's it, isn't it? That's what you want. Oh, no, Benny. Well, that's just what you're not going to get. Because I'm going on, and I'm going to be great. And from now on, I don't need anybody. Benny! Thanks for everything. Hey, what's your right? Forget it, will ya? I keep telling you, Bloss, never leave a door open. He knows, Sam. He's found out. Oh, come on. I'll take you back to the hotel. No. You go out there at the table. I'll be there in a minute. It would look funny if I didn't, but now, Sam, please, just let me alone. Ladies and gentlemen, the Shakespearee takes great pleasure in bringing you a new singer. He's making his debut here tonight, and I know you're going to love him. So let's give a nice, warm welcome to Benny Field. Come down from above to see if you're loving me too. Bloss, I hate to admit it, but he's going great. He's starting. We're finished. Excuse me a minute, would you? Just remember that I've got a full New York. Benny, wait a minute. You hear that applause? I guess somebody just lost a good shipping clerk. But you lost a wife. Now listen to me. Please, I gotta go back on the stage. My problem... Do you think she worked all those months teaching you everything you know because she wanted you to flop? Is that why she canceled work at 4,000 a week? Pawn dollar jewelry? There's something you don't know about Blossom. She'll do anything to get what she wants. So why did it have to be a heel like you that she wanted? Now get this. She told me this morning that if you clicked, she was quitting the business for good. Now go ahead and hit me. I'm warning you, Sam. I can take just so much. Some other wife might have told you, but she didn't want to make it tougher for you tonight. Now go off and take your bow, big man. Sorry, fellas. It kind of looked as if I missed my cue. My wife never missed a cue like that in her life. Would you like to meet my wife? Blossom Sealy. Go on, Blossom. Go up there on stage. I see you, but I thought you were making a call. I did, and I got through fine. I said my wife, Blossom. Come on. We're going back up on that stage together. Oh, no, no. I can't say no. Not even one call, teacher? All right, darling. My call is in the car. Ladies and gentlemen, you know, in show business, you better quit when you can't top yourself. And I can't because now I've got the billing I've always really wanted. Mrs. Benny Fields. Here be flat, boys. Anybody love me can be Wish that I knew can be Just worries Join me in the last stage. Somebody love Wonder In a moment, our stars will return. But now here's Ken Carpenter. Ken. The letters G-Y-A signify German youth activities. And wherever such an organization exists in Germany, you know that there the way of democracy is being taught and encouraged. Our occupation forces are helping out through G-Y-A, developing healthy interests through group handicrafts and hobby projects. A girl by the name of Helga is one example. She was pretty confused when she joined a G-Y-A group. Her father had been very much anti-American, and she reflected his ideas. Luckily, she won a trip to Switzerland in a handicraft contest. Once on the trip, Helga learned that the Swiss people and the American women in charge of the tour were very different than her father had pictured non-Germans. She won't change overnight, but she wants to learn more about the workings of democracy and her education is continuing through G-Y-A. Such acts by you and your friends today are shaping our world of tomorrow. Now, Mr. Cummings with our stars. And after that performance, everybody loves them. Betty Hutton and Jean Barry. I'm also wondering about next week's story. Well, it sounds like a musical, but it isn't. It's the story of a man who falls in love with a small town and its people. But he can't convince his wife that it's the perfect life. 20th Century Fox has made a beautiful drama of Wait Till the Sunshine's Nelly. And we will have two outstanding stars in their original role. David Wayne and Jean Peters. I just love the picture, Irving. Good night. Be seeing you all in Chicago. Good night. Good night and all our best wishes. The theater is produced by Mr. Irving Cummings. Our orchestra is under the direction of Rudy Schrager. This is Ken Carpenter inviting you to join us next week at this same time for another presentation of the Hollywood Radio Theater. Radio Theater is a presentation of the United States Armed Forces Radio Service.