 Dedicated to the strength of the nation. Proudly we hail. Proudly we hail starring Kent Smith in the Aurora. United States Army and United States Air Force presentation. And now here is our producer, the well-known Hollywood showman, C.P. McGregor. Thank you, thank you, and greetings from Hollywood, ladies and gentlemen. Welcome to your theater of stars, where Hollywood's foremost motion picture personalities join us to produce plays we know that you'll enjoy. That widely known and very popular actor, Kent Smith is our star, in the title of our comedy romance, The Aurora. In our story, Kent Smith turns artist in the character of one Joe Winters. Joe is a draftsman, a good one, but he likes painting, and he isn't so good at art. When romance comes his way, the losing battle his artist in waiting suddenly collapses. She doesn't like his paintings either. Our curtain for act one of the Aurora will rise in just a moment. Here now is our announcer, Wendell Niles, with an important message. Veterans, your experience in U.S. Air Force can mean a lot to you. Right now, the Air Force can use your skill and training. You'll be enlisted in grade according to your ability and experience. And if you want to train for a new career in aviation, you'll have opportunity to qualify for one of the Air Force specialist schools. Ask for details about opportunities for veterans at your U.S. Army and U.S. Air Force recruiting station. Now, once again, at the microphone, our producer. The curtain rises on act one of the Aurora starring Kent Smith as Joe Winters. The dictionary defines it this way. Aurora, dawn, east, the rising light of morning. That was the name Joe Winters has given his painting of the sunrise, Aurora. Joe had conceived it of a Sunday. His one day away from his job as draftsman, with few and fleeting hours each week apart from the exacting grasping eye of his employer, Mr. Flick. Yes, Joe had first thought of it of a Sunday. Then, on succeeding weekends, he experienced the joys of creating it, of seeing his Aurora materialized on the canvas before him, and the sweat of his determination and the touch of his brush. Could one blame him then for being just a little bit of his creation towards the door of Andre Donay, art dealer of sorts. For in his tiny shop, filled with bric-a-brac and second-hand furniture, Andre occasionally sold an oil painting, and Joe could use a dollar. Good morning, Andre. Good morning, Joe. How goes it? Terrible, Joe. Business is terrible. I'll change that. Here's my masterpiece, Andre. What do you call this? The Aurora. Really? Oh, what's wrong with that? To the door of my shop comes every starving artist in town. In droves they come, and fully up of them have painted the Aurora. Ah, but not like this, Andre. No, most of them are not quite so atrocious. No, Andre, don't be too harsh on me. Oh, forgive me, Joe. I did not mean it to sound so bad. If I were one to take things to heart, that you would be... No, no, no, no, no. It is many that I once had ambitions as an artist myself, and even as a dealer, I once had one of the finest salons in Paris. It is none too pleasant memory now, you know, doing business in this shop with the unknown and for the most part, untalented. But you might make a brilliant discovery, Andre, young Picasso, a budding Renoir. There is one with talent. Well, thank you. Oh, not you. Saca, he is magnificent. He has tremendous talent. He has hidden genius. Saca? Does he have my color? Does he? I must admit your sunrise is rather exciting. Well, the truth, at last. Oh, but I warn you, I am being very generous. Well, while you're still in that generous mood, what about hanging it for me here? I'll put it up for a week, Joe. If it isn't sold by then, it will... Ah, but it will be. Ha, you foolish boy. Joe, you have a job with a future. Now, why involve yourself so in this dream of becoming a famous artist? You spend every cent you make. Well, look at you. Look at that awful suit. Andre, I long ago determined to become a fine artist. You determined? I'll get there. Well, God always takes care of the foolish, and perhaps you do. I resent that. But I'll tell you, Andre, further than any ambitious desire, there's fleck, my craving employer. Every day when I leave the shop, I pray it'll be the last. Or fleck is impossible. I had him in my place here. Look, you are dartsmen. They're either employers. You must be joking. Jobs are scarce these days, and in my line of work, they've practically disappeared. A condition flecks the lights to remind us of each day. You would, naturally. Well, it isn't so bad for me. I've only myself. But for a fellow like my friend Clark with a new baby coming on, it wouldn't be tough. Say, I'd better be getting to work. I'm late. See you later, Andre. Goodbye, Joe. And you may hang my picture in the center of your show window. I give you my permission. Really? Young man, you are fortunate that I've resented on my back wall. Hello, Joe. Good morning, Clark. Say, what's wrong? You're white as a sheep. Plenty. Fleck just gave us a bad news. Bayview homes have canceled out on us. No kidding. Joe, will you come in? Yes, Mr. Fleck. You're seven minutes late. I'm sorry, Mr. Fleck. I'll stay on tonight and make it up. See that you do. We lost Bayview homes this morning. Terrible blow. Just as I've prophesied all along, the bottom has dropped out. They're still putting up buildings and homes around town, Mr. Fleck. Well, if they are, we certainly aren't doing their drawings. Our business is bad. We're going to have to cut down. Just don't give me an excuse to fire you, Joe. I'll try not to, Mr. Fleck. That's all? Yes, sir. Oh, Mr. Fleck. What is it? I suppose you've heard that Clark is expecting another baby. I haven't. Any day now. We're all hoping it'll be a boy to go with his three girls. Yes. Well, maybe a new child will light a fire under Clark. I swear he's the slowest man in the shop. Now, there's still a little bit of the morning remaining. Yes, sir. Joe, Joe, what do you have to say? Is he going to cut down? Oh, I don't know. Here, let me give you a hand with these drawings, huh, Clark? I was hungry. Joe, thanks for helping me with those drawings. Fleck is in a rush one. Oh, he's always in a rush. I, um... I'm glad he didn't say any more to you about having to lay somebody off. Well, no more than usual at any rate. But why do you worry about your job, Clark? Why? Well, there's Marge and the kids, you know. Besides, I'm not the best dressman at the shop. Who says you're not the best? Well, it's fairly evident. It's only as evident as you were allowed to become. Now, let me show you. I like to paint. I want to be an artist, full-time. Yes, and off. Well, let me tell you something. Over at the school where I study, they think I'm terrible. You should have seen the trouble I had getting a little art dealer on fifty-thirds feet to put up one of my paintings. One tiny scandals. He gave you an argument? Didn't want it on the premises. He thinks I'm the world's worst. But I don't care what they think at school or what he thinks. Oh, I don't have any doubts about you, Joe. If I just had your confidence... You have, only you don't know it. Say, there's your wife. Oh, so it is. Hello, sweet. Hello, darling. They said I might find you here. Joe. Hello, Marge. I haven't seen you for a long time. No, I don't get out much. Sit down, sweet. Where are the children? I left them with the bronze next door. The reason I came downtown, darling, they're having a sale on baby night town. After three children, don't you have a supply of those? We should, but he has to polish his car every Sunday. I've killed it. Well, darling, shall I get them? We'll save over a dollar. Buy all me. Marge, you mean to say you came down here to ask this character sitting beside me. If you could save him money, do you think he's worth it? Oh, he's kind of lovable when you get to know him. Oh, bye, darling. I'll be running along now. Bye, sweet. Bye, Marge. She's all right, Clark. She sure is. That's why I worry about things at the shop. I sure hate to put her in any kind of a spot. Well, that's what I was trying to point out to you a minute ago, Clark. All you've got to do, Clark, is to believe that you're the finest grass we've ever created. That would be the end of worries about fleck or anything else. Gee, sure do thank you, Joe. You made me feel a lot better. A whole lot better. Collect draft from the service, Joe. Windows speaking. Joe? This is Andre. Yes, Andre. Miracle of miracles, Joe. I just saw your painting. You didn't? I can't believe it myself. But if you could come over, I could give you all these sweet details. Well, it's almost quitting time. I'll be right over. With amazing, Joe, all day there is no business when suddenly what should pull up in front of my shop is the limousine. Three blocks long. Yes, yes. A beautiful young lady comes in. She looks round. Suddenly she stops in front of your painting. The Aurora, she says. We star in her eyes. But this is my privacy. How much for this one? Well, we're seeing the limousine and almost touching the main coat. I'd swallow and save her $200 for you and my commission. 200 bucks. And here it is, Joe. He found her my angel. She's by anything of yours, she sees. She's wailed about your work. Oh, for that, I could believe it. For you, I still have to pinch myself. Well, listen, I'm going to get another canvas or two over to you immediately. Yes, do it, do it, do it. She's coming back tomorrow. Meanwhile, I've got to get back to the office and try to catch Clark. This is proof positive of something I was telling him this noon. Clark, I've got news for you. I sold my painting. Say, what's going on here? You're gathering all your things? I've got news for you, Joe. Flex just gave me my walking papers. I'm sorry, Clark. But why? He says I'm too slow. He said I was late with those drawings today. But you weren't, Clark. I know I helped you with them. Well, that was his excuse. Joe, I don't know what I'm going to do. You wait here. I'm going to talk to Flex. One usually knocks before entering my office, Joe. I'm sorry, Mr. Flex. I wasn't thinking. I suppose not. Well, I'm delighted to see you making up your seven minutes. I wasn't really doing that, Mr. Flex. I was talking to Clark. I'm sorry about Clark. Business outlook is horrible. I don't quite agree with you, Mr. Flex. There's building going on all over town. The Latham Building, for example. 20 stories high. A block square. Well, if he only had a fraction of that building, he'd be busy for a year. Just try to get the Latham Building now. Competition being what it is? Well, maybe so. But getting back to Clark, I know he finished those drawings and had them in on time. Just how do you know? Because I helped him finish them. Ah-ha! The truth comes out. Right behind my own back, collaborating one with another to misrepresent. To try to defraud me. I knew Clark was too slow to finish those drawings on time. Mr. Flex, I think the least thing you could have done was to wait until Clark's baby was born. I'm not interested in what you think, Joe. You're getting a little out of hand. I warned you this morning not to give an excuse to me to fire you. So you did. Well, I guess I'm going to throw caution to the winds. I'm going to give you a good excuse, Mr. Flex. A real good excuse. Get out of here! I'm moving out with you. Joe, it wasn't on my account, was it? No, not really. My public demand is Clark. But I devote my full time to painting. Really? Yeah. And don't you worry. Until you find a job, you can help me carry my canvases over to André Doné's art shop. In part, ladies and gentlemen, from our story, the Aurora Starring Kent Smith to bring you an important message from your government. Ladies and gentlemen, our Army and our Air Force are critically short of physicians and dentists. Over 2,000 volunteers from these two professions are urgently needed today to safeguard and care for the health of the men and women, whereas members of the United States Army and United States Air Force are serving you and me at home and overseas. Young physicians and dentists, particularly those who did not serve in the armed services during World War II, have been asked by their government to act now to volunteer for duty at once. If you are one of these young physicians or dentists, please write or wire either the Surgeon General of the United States Army or the Air Surgeon of the United States Air Force at once and volunteer your services. If you know of one of these young physicians or dentists, please call his attention to this urgent message. Thank you. The curtain rises on Act II of the Aurora Starring Kent Smith as Joe Winters. Rising to the help of a friend in need, Joe Winters has abruptly terminated his employment as Draftsman for one Herman Flick as abruptly as a punch in the nose can be. But Joe's spirits are high for having sold his painting to the Aurora, Andre Doné Art Dealer, has happily informed Joe that Joe's unseen patron is anxiously awaiting, cash in hand, more of his canvases. On the strength of this, Joe has given his friend, Clark, a job carrying his canvases over to Doné's shop. With a new baby enroute, Clark is profoundly grateful for his assistance over a rough spot. As our scene opens, we find Clark entering Joe's apartment. Back you, Clark? Yes, Joe. Well, did you get the paintings over to Andre? All three of them. Andre was very happy to get them. He says the young lady should be in within an hour or so. I wonder if three will be enough. I guess so. I don't want to make her think they're cheap with me. Joe, I was wondering if I could have the rest of the day off. I called Marge from Andre's shop and I... You mean today's the day? Looks that way, Joe. Well, you better get Marge right over to the hospital. I will, Joe. Thanks. Now, everything set at the hospital? Thanks to you, Joe. Marge and I still think it's rather reckless to be going into a double room when Marge could very easily go into a war. Listen, only the best for Marge. And now tell me, you need money. Well, Joe... Here's 50 bucks. Gee, Joe, I owe everything to you. Not to me. The Aurora. Have you gone through that 200 already? Well, I've got 10 bucks left. That'll last me until I get down to Andre's. Now, let's hear from you, Clark. Well, Andre, what happy little song do you have for my ears today? I have only discord, Joe. Discord? You mean she hasn't been in? She is in. Then she didn't buy all three? She didn't even buy one. But I don't understand. Well, perhaps I can help you out on that. You're the artist, aren't you? That's right. I'm Sandra Evans. How do you do, Miss Evans? It is Miss Evans. Yes. I was very much hoping it would be. Now, listen, let's get down to business here, shall we? We're not getting anywhere this way. Yeah, that's what you think. I mean the paintings. Oh, yes. About my paintings, Miss Evans. I'm afraid I don't like your three new ones at all. You don't, Miss Evans? But I think your painting, the Aurora, is magnificent, Mr. Zaka. Zaka? Did you say Zaka? Andre. That is your name, isn't it? Andre, what have you done? Oh, dear. What have I done? You've given her Zaka's Aurora. It was so late yesterday. I had the lights turned off for reasons of economy. And you were dying to make a sale. Business is business. You idiot. It is simply a mistake. You mean you didn't paint the picture I purchased? Unfortunately, no. Oh, I'm sorry. Hello? Yes? Joe there? Yes, yes. One moment. It's for you, Joe. Hello? Joe? Yeah? It's a boy. Seven pounds, 13 ounces. Wonderful, Clark. How's Marge? Oh, Marge is fine. Oh, Joe, I had to bring Marge to the hospital in an ambulance. You don't mind. Marge and I are such sentimentalists. I'm touched, Clark. Goodbye. Clark had a baby. Friend of mine. Oh, nice. Everything is happening today. You can say that again. Well, Miss Evans, you will undoubtedly be interested in Marge, that, won't you? Oh, by all means. You wouldn't care to look at more of mine, Miss Evans. I have a beautiful still life titled Onions. I'm sorry. I have tried to tell you, Joe, you just do not have it. I'm afraid you've got something there. Miss Evans, I will get back on the ball immediately for you. Well, now let's be clear about this. It's not from me, but rather from my employer, Mrs. Constantine Constance. I'm her secretary. I purchase most of her art. Oh, what a lovely person to know. I read in the paper where Mrs. Constance spent a million dollars last year for art. Two million? Yes. I believe that Zaka's a fine. So does Mrs. Constance. Well, I am delighted to inform you. I have an outright exclusive with Zaka. Oh, good. Why don't you give Mrs. Constance a ring? Tell her what a Zaka you've got together for her. No, I will be most happy to. Now, Joe, what about that $200? That belongs to Zaka, you know. I better get back and have a talk with Mr. Fleck. Maybe he'll put me back on. Well, can I give you a look somewhere? Would you? Of course. Oh, that's very kind of you. I feel responsible in a way. I bought the painting, remember? I wish I could forget it. Well, now to face Mr. Fleck. Mr. Fleck? This is it. Thanks very much. Dave, can I wait for you? Sure. But why? I want to see how this works out. All right. I'll be back. Hi, here, boys. Hello. What is it? I did not, Mr. Fleck. I was afraid you wouldn't talk to me. Oh, I'm happy to see you back, Joe. Glad to see you back here. I suppose you've been all over town and find yourself fresh out of employers. Fresh out of sponsors would be more accurate. Well, you're fresh out here too, Joe. That was a lot of thanks for keeping you on these years, Joe. A punch in the nose. I was a little excited, Mr. Fleck, but actually you deserved it. All right. Don't come back crawling to me asking me for a job. Go get the lathe and building all that construction you were yacking about. That's your only chance, wise guy. No luck. Sorry. You don't have to look as if you'd like to bite somebody's head off. That's precisely what I'd like to do, and I am going to do. Are you still with me? It seemed to be. Let's go back to Andre's. Please, Joe, don't hold my collar so firmly. Andre, you're responsible for all this. You put me into this hole. Now you're going to get me out. Please, Mr. Fleck, do not get so excited, man. What did Fleck say? He said to go out and get the lathe and building. Some of that construction that's going on around town. Just a minute. Ah, I see Ray of Sunshine. Lathe him. He's an old friend of mine. Perhaps I can help you. Give to me $10. Ten bucks? What for? This is my last ten. Never mind. Give, give. This has got to be legitimate. But... Don't you question it. When I'm cooking with uranium. No. Now, now, give me 15 minutes. Then drop by Mr. Latham's office, pick up your authorization to do the entire lathe and building. You must be out of your mind. Why, with such an authorization, I'd have Fleck in the palm of my hands. Just wait, Joe. You will. I thought I chased you out of here earlier this afternoon. Better read this, Fleck. Why, Joe, my boy, this is an authorization to do the entire lathe and building. That's right, Mr. Fleck. Well, sit down, my boy, sit down. Thanks, Mr. Fleck. What's that authorization worth to you? Is it worth 51% of this business? 51%. Well, now, Joe, I might go a quarter. I guess I'm in the wrong office. No, no, no. Sit down, Joe. Don't go away. All right. I'll talk turkey. We'll run things together, Mr. Fleck. Yes, Joe. You don't know how sweet that sounds. Now, let's give the boys the rest of the afternoon off, shall we? Wait, but it's only ten minutes after four. Shall we? Yes, Joe. And give Clark a ring, won't you? A forgetful person. You haven't congratulated him on his new baby. I wanted to stop by and thank you, Andre. No, it was nothing. What in the world are you doing, clearing everything out? I am getting Zaka on your boy. Zaka? Yes, it is going to be his studio. Oh, you know, Mrs. Constance, she's wild about Zaka. Oh, what a lovely creature, Mrs. Constance. Any widow, you know. So you're doing all this for Zaka? For myself, actually. You see, Joe, I have not told you. Zaka is the name under which I paint. Why, you old buzzard. You didn't even recognize your own painting. The dim light and gross commercialism. Ah, but now, now, now I'm started. You know, Grandma Moses started at 76. I am starting at 56. What was that? Well, we'll make it 66. Who cares, Mrs. Constance, doesn't it? But I still don't understand how you swung the lathe into you. And my 10 bucks. An investment, my boy. Lathe him, he brings paintings here. Now, he's a hammoutist apart. Ever since he made his first million. When I told him he had sold a painting for 10 bucks, he was ready to do anything. Well, what painting did I buy? It is entitled The Aurora. Oh, no. See you later, Andre. Do not forget to give my regards to the young lady. You haven't even told me your name yet. Joe? Hello, Joe. What do you do? Well, my little old painting didn't win any art prize, but it accomplished a lot indirectly. So it did. A Clarke's baby, got Clarke's job back, got me a partnership. Got me you. Glad you're finally getting along to me. And just when the moon is coming up, too. The curtain calls in the final act of The Aurora. Our star, Kent Smith, will return for a curtain call after this timely message from Wendell Niles. This is important. This is urgent. Over 2,000 young physicians and dentists are needed as volunteers at once for service in the United States Army or the United States Air Force. These physicians and dentists are required to safeguard the health of the men and women who are serving our country in the armed services. If you are a physician or a dentist, you are needed now. Write or wire the Surgeon General of the United States Army or the Air Surgeon of the United States Air Force at once, volunteering for active duty. Let me repeat that. Write or wire the Surgeon General of the United States Army or the Air Surgeon of the United States Air Force today or see your local U.S. Army and U.S. Air Force recruiting station. And I'll once again have our microphone, our star, Kent Smith, and our producer. Welcome to our theater of stars, Kent Smith. It's good to have you with us. Thanks, C.P. If it's all right with you, I'd like to have our customers hear a few highlights in your life. Sure. Well, how far back do you want to go? Not too far. Don't worry. But I do want to bring out your combined experience and success in both the theater and pictures. Which interested you first? Well, since I was born and educated in the East, I leaned towards the theater. And you went to Harvard, didn't you? Yes, but they had a funny attitude there. They seemed to get the idea I should come to class instead of wandering off in theatrical jobs. So I got tossed out. A college? A college. We'd organized the university players in West Fowlmouth, Massachusetts at that time and I just spent too much time in dramatics. Henry Fonda was in a group, Margaret Sullivan, Stuart and a lot of others, too. We doubled between the theater and a nightclub. And I doubled as head waiter and a dash of dancer and bus boy. Well, I know that you have a long list of fine plays behind you and what is equally important, you've worked with many famous names of the stage. Let's see. There were Helen Hayes, Walter Houston, Bay Bainter, and Catherine Cornell, Brian Ahern, Jane Cowell, Peggy Wood. Well, then I started working for RKO and stayed there until I joined the Army. That reminds me, here we're doing a recruiting show for the U.S. Army and U.S. Air Force. One of the last things I did while I was in the Army was a picture called How to Be a Civilian. Oh, I remember it. And now we've got to interest the young men and women in an Army or Air Force career. Well, I know of none better but with all the advantages they have to offer. Yes, the new educational program, the opportunities for promotion, the young men and women can have a fine career in the service today. But let's get back to your picture work. How about a few titles for our listeners? Let's see. There were Hitters Children, Miss Landers Mine, Nora Prentice, Spiral Staircase, Magic Town, Voice of the Turtle. Yes, and many others. But now, your current picture at Warner Brothers with Gary Cooper and Patricia Neal, the dramatization of the famous Ayn Rand bestseller, The Fountainhead. Well, we'll all see it, Ken. I hope so. And now, suppose you tell us what you have in store for your listeners next week. We've been talking long enough about me. Next week, Ken, and ladies and gentlemen, lovely, talented, and Baxter joins us in a bright comedy romance, The Intuition of Diane. In upstate New York, where Diane teaches school in a small town, there's always the shadow of spinster hood haunting her just around the corner. Diane's intuition comes to a rescue with a trip to Hawaii. Romance under blue Hawaiian skies almost loses a game try competing against a precocious child she tutors for the trip. It sounds mighty good. I'll be listening. Well, so long, CP. Goodbye, Ken. We should have joined us next week, ladies and gentlemen, when lovely and Baxter stars with us in The Intuition of Diane. Until then, thanks for listening and cheer y'all from Hollywood. Ken Smith appears with the courtesy of the Hollywood Coordinating Committee, which arranges for the appearance of all stars in the program. Scripted by Rich Hall, with music by Eddie Dunn Center, the program is transcribed in Hollywood for release this night. Wendell Niles speaking.