Radio and television mirror (Nov 1939-Apr 1940)

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C, of Texas, earned 8474.25 while taking course. Mrs. S. E. P. started on her first case after her 7th lesson; in 14 months she earned $1900! You, too, can earn good money, make new friends. High school not necessary. Equipment included. Easy payments. 40th year. Send coupon now! CHICAGO SCHOOL OF NURSING Dept. 1812, 100 East Ohio Street, Chicago, 111. Please send free booklet and 16 sample lesson pages Name_ City _Age_ Fate's Bad Boy (Continued from page 24) to write it, he knew he would have to get away from New York. He was tired — and somehow, he couldn't seem to write about John Brown in that room over the Chinese laundry. An Indian actor, a Chippewa boy he'd met at the station where they were broadcasting his radio serial, offered him the chance to get a vacation and write his play at the same time. He invited him to come and visit his people on a Chippewa reservation in Lac Flambeau, Wisconsin. They took a cross-country bus out across the prairies to Madison, Wisconsin, then traveled until they reached a lake, a flaming bowl of color in the light of the setting sun. Here they were met in a canoe by the old Chippewa father, chief of the tribe. "We shall call you Young Bear," said the old chief gravely. And so, as Young Bear, Orson lived for three months, a part of the primitive simple life still led by these people in the wilderness. He slept in a wigwam of birch-bark, on a bed of pine-boughs. He swam, laughing, in the lake, with the pretty young squaws, or walked with them, on moccasined feet, through the woods, in search of wild flowers, herbs, birds only the Indians have ever seen. At night he sat around the campfire, listening to the rhythmic beating of the drums, or to the stories of the days when the beaver and the bison, the eagle and the Indian were the lords of America. HE was as carefree and as young as he had been in Ireland three years before. But happier. For every day the manuscript of his new play grew thicker on the rickety table in his wigwam. The dream grew closer. Broadway. He would surely conquer it now. But Destiny had not yet come to terms with Orson Welles. When he went back to Broadway, the same old game began again. Casual interest. Raised eyebrows. Shrugs. No — said the girls at the reception desks. He isn't in. But you can leave your play, if you like. One producer after another picked it up, toyed with it, laid it down. Finally one man, more experimental than the rest, bought it. But months went by. It was not produced. Back again to the Chinese laundry — and the monsters and the fiends and the bullets made of ice. Until another idea for the theater came into his mind. An idea for a modern edition of Shakespeare that would set Broadway by its ears. He would go away again to some quiet spot and work. He decided to go to Africa. To most people, the idea of trotting off to Africa to write an edition of Shakespeare is too fantastic for belief. But to Orson Welles, it was perfectly natural. He had been to Africa before— with his father in the old travel days. He knew an African chieftain — the Glaouii — or Eagle — of Telouet. Years ago, as a little boy, the Glaouii had given him a standing invitation to visit him in his Moroccan palace. Why should he not go now? It would be at least an adventure. He went by tramp steamer to the West Coast of Africa, disembarked at a place called Casa Blanca, then penetrated to the very heart of the Riff MMffSPM wgrc] r#f TEXACO STAR THEATRE GREAT SHOWS IN ONE A GREAT VARIETY SHOW 30 Minutes . . . from Hollywood! with Kenny BAKER • Frances LANGF0RD David BROEKMAN'S Orchestra Jimmy WALLINGT0N and Ken MURRAY, Master-of-Ceremonies A GREAT DRAMATIC SHOW 30 Minutes . . . from New York! Each week HIT PLAYS . . . written by the world's foremost playwrights! 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