Radio and television mirror (Jan-June 1942)

My Heart Was True Continued jrom page 56 she was making pleats in her handkerchief and her only comment was, "I hope to God somebody gets that villain. He carries the play — but he's a stinker." The third act — it was the first act multiplied and the second act through a magnifying glass. Ken was going more slowly now and Maude was drumming, but noiselessly, on the arm of her chair. And then it was all over but the shouting and Ken patted the pages together and thrust them back into his brief case and zipped the case shut. "What do you think of it?" he asked. "You're a pal of mine, Maude— tell the truth." Maude obeyed him rather regretfully. "I wish to heaven I'd written it," she said. "Our children, if we ever have children, will be seeing that play in stock fifty years from now. . . . You've got an 'Abie's Irish Rose,' Ken — or a 'Tobacco Road' — you've got what it takes. You won't have any trouble selling the thing if that's what's worrying you. Play rights, movie rights, radio rights — the whole works. Look, angel — I know a good agent. Do you want to — " Ken interrupted — "I don't need an agent, Maude. I've sold the play already— I have an advance in my vest pocket but money's the least — consideration. You see, I sold it with a stipulation." Maude gurgled, "Anybody who can sell a play with a stipulation is good. I take off my hat to you." Ken said, "You must do more than take off your hat to me, old dear — you must help me finish the deal. It means — " his tone was pleading — "everything to me. I came here this afternoon to read the play and get your opinion, but I also came here to ask you nine or ten favors. First of all, will you keep it a secret — nobody must know that I'm the author." "Huh?" queried Maude. She was puzzled. "Publicity never hurt a script writer. Ken." Ken told her — "I realize that and I'm not one to hide what might be called my light under what might be called a bushel, but in this case it's necessary, Maude, I'm going to introduce you to the man who is producing the play. He's all set to do his stuff — but we need you. Will you be a heavy conspirator?" "I lost five pounds last month," Maude told him, "but I'll do my best. Shoot the works. Ken." So Ken, bending over until his head almost touched Maude's head, started to talk. The next day Carol and Ken and Stan were having breakfast, the phone rang and it was Maude Sanborn, asking if she could bring a friend of hers — a theatrical producer — out to dinner. Carol told her that they'd adore company if the company didn't mind taking pot luck, but Stan said — "Maude has a hell of a nerve to horn in for grub and bring strangers with her!" Ken didn't say anything at all, but that afternoon when Carol was doing the marketing he went to a liquor store and bought wine and Scotch in a square bottle with a crystal stopper — Stan's old brand. He bought roses, too, for the table. MAUDE arrived with the twilight, her producer in tow. The producer was a small man and stocky, with an accent that might have meant anything, and did. He bowed low over Carol's hand, he acknowledged an introduction to Ken very casually, he told Stan that he had followed the Breen career as an announcer and that he was "so sorree" about the unfortunate accident to the vocal chords. Stan, warming to sympathy from a new source, immediately became the gracious host and when Ken brought out the square bottle of Scotch it was he who poured the drinks and urged them on the stranger. His harsh rasping voice said pleasant things and Carol, listening, could scarcely believe her ears. It was a good dinner. The roses and candlelight helped and so did the wine. Maude led Stan on to take the center of the stage, Carol was quiet, and Ken— who ate sparingly — listened with an odd concentration. It was toward the demi tasse stage that he asked the producer a direct question. "Anything interesting coming up this year," he asked, "in the way of plays?" The producer said, "I have only one int'resting possibility." He laughed. "Possibility ees the wrong word. I must say more, for I have a hit upon my desk. Until tonight I would not have dared call eet so, for until tonight I was unable to cast eet — even in my mind." The producer was very suave. No one — no one on earth — could have suspected a frame-up. Maude, when she spoke, was equally suave. She queried innocently, "Why until tonight? What are you getting at?" "The play ees a murder mystery with a villain who ees — but superb. The whole success of the play hinges ^ouu TTeluLo lo JEAN TENNYSON — soprano star of Great Moments in Music, heard each Wednesday night on CBS. Blue-eyed and goldenhaired, Jean began to study music when she was fourteen. She was born and grew up in Chicago, but went to New York at nineteen, and from there to Europe to study with Mary Garden, famous opera star of earlier days. When she came back to America she sang for the Son Carlo and Chicago Civic Opera Companies, and more recently was heard in the Hollywood Bowl, Grant Pork in Chicago, and Robin Hood Dell in Philadelphia. This is her first regular radio series, and on it she sings arias from famous operas and duets with Jon Peerce. If you like operatic music, but not in large doses, this capsule-sized program will be just right. 'iistenr... I SAID TO WE CAl[l\IDAR, you canido this to me h "■OOB'S telephone call — and my cramps — ■O came just at the same time. "Bob said, 'Big news, honey ! I've picked up two good seats for tonight — you know, the show you've been wanting to see. We'll splurge a little, afterward — supper, where we can dance. See you at 7:30!' "All the while the calendar was saying, 'Tell him no: But I was sick of its tyranny! Right then I did something I'd been meaning to do for a long, long time. / tried Midol. "Bob and I enjoyed that show. Yes, we danced, too. And nobody knew — even / almost forgot — that sheer habit of giving in to 'regular pain' had almost wrecked our fun!" Isn't it time you broke the habit — the oldfashioned habit — of giving in meekly to functional periodic pain? Isn't it time you tried Midol? If you have no organic disorder calling for special medical or surgical treatment, Midol should redeem your "dreaded days" for active, comfortable living. It is made expressly for this purpose. You can use it confidently, for Midol contains no opiates. One comforting ingredient is often prescribed for headache and muscular pains. Another, exclusively in Midol, increases relief by reducing spasmodic pain peculiar to the menstrual process. If you don't see Midol on your druggist's counter, ask for it. The large size, is only 40 fi; the small size, 20(4. Guaranteed b^ " Good Housekeeping y Ml DOL APRIL, 1942 RELIEVES FUNCTIONAL PERIODIC PAIN 59