 From Hollywood, California, the Lux Radio Theatre presents Deanna Durbin, Herbert Marshall, Gail Patrick, and William Froley in Mad About Music. Lux presents Hollywood. Our play, the sentimental comedy of a young girl hungry for the love of her father and what happens when circumstance forces her to adopt one. We are always glad, ladies and gentlemen, to hear how you like our program. We enjoy hearing from you and when you tell us of your purchases of Lux toilet soap as an indication of your appreciation, we're delighted. It's your enthusiasm for our products that makes this program possible. Tonight, we bring you Deanna Durbin, her charm and beautiful voice, Herbert Marshall, Gail Patrick, and William Froley in Mad About Music. Our special guest is Mrs. Callitheen Morrison of the Los Angeles Public School, giving us some interesting side lights on the training of movie children. Lewis Silvers conducts the orchestra. We had expected that Mr. DeMille, our regular producer, would be back with us tonight, but his doctors advised that he defer his return for one more week. Taking his place this week as guest producer, we are fortunate in having that famous and much loved Broadway and Hollywood personality, Walter Houston. You all know him, you all admire him. We've had him here before in the Lux Radio Theatre in such famous plays as Doddsworth. This week, he shows us another side of his versatile personality as guest producer of the Lux Radio Theatre. I am happy indeed to bring back one of our best friends, ladies and gentlemen, Walter Houston. Thank you Mr. Rurick and good evening everyone. You know when a man has spent 35 years or so in a business or a profession, I used to think he was entitled to, well, to form some definite ideas about his work. I know I did about acting, ideas that I cherished for years and years up until last week. In fact, when Mrs. Houston and I happened to go to the movies and see Matt about music, I used to believe that it required many years before an actor could really accomplish things. And when youngsters would come and ask me what I could tell them about going on the stage or screen, that's what I told them. Hard work, experience. An intense desire for the job. Then along comes a pretty little girl of 15 called Deanna Durbin who knocked the spot out of all this sort of thing completely. Ms. Durbin didn't want to be an actor. She wanted to be a not-for-singer. She had no experience. She lived in Los Angeles after coming here from Canada where she was born. But she paid no attention to the big studios that were her neighbors. She didn't collect autographs or stand in front of premieres or even visit a studio. Not only that, but she's at what I always thought was a girl's awkward age when she's no longer a child and not yet a woman. But here she is, one of the biggest stars in the motion pictures and one of the few I've ever heard of to make three smash hits in a row. How do I explain it? Hmm, I don't. I only shake my head in wonder at her artistry. But I do know that Ms. Durbin must have more than a great natural talent. She must have a tremendous innate honesty to be able to turn in the natural convincing performances that still distinguish her. Since meeting her this past week, I've learned a few things more about her that a good meal to Ms. Durbin means a sirloin steak with chocolate caramel for dessert. She likes riding on horses and bicycles, has a pet spaniel named Tippi, and is something of a tease. She has brown hair, blue eyes, and weighs 105 pounds. And perhaps there is some clue to the secret of her splendid acting and a bit of advice given to her by Adolf Monju. The honor he told her, it takes just as much effort to make a bad picture as it takes to make a good one. She's never forgotten. We hear Ms. Durbin tonight as Gloria Hawkinson, and with her come the same three stars in the picture. Herbert Marshall, who had just begun his new film, Anime Territory, at MGM, is Richard Todd. Yale Patrick is Ms. Gwen Taylor, and William Crawley is Dusty Turner. Also from the original cast are Jackie Moran, Kristen Robb, Helen Parrish, and Marsha May Jones. As the Lux Radio Theater presents, Mad About Music, an opening at the Chinese Theater in Hollywood. The picture has just ended, and the crowd built us into the floodlighted patio eager to exchange opinions, eager to announce the birth of a new star. It's Gwen Taylor makes it. Gwen Taylor is right, she's doing it. They should have started long ago. She's marvelous. An hour later, the whole town anxious to toast her name, new star sits alone in her room. There's a letter in her hand, and as she reads, her lips slowly frame the cherished words. Her manager knocks at the door. Can I come in? Come in. Say, there's a lot of people waiting for you to start a party. Let me finish this letter, Dusty. Oh, sorry. I forgot it's Tuesday. Well, what does she want now? Just an elephant tusk. Elephant tusk. Last month it was a tiger skin. The month before that, an African voodoo mask. Now an elephant tusk. Well, we're lucky it isn't the whole elephant, I guess. All those funny presents. What kind of a girl is she, Dusty, the daughter of mine? She's just a kid. All kids collect stuff. Dolls, pictures, elephant tusks. But this is different. I don't know anything about her. What she really likes, what's happening. Nothing's happening to her. Why, she's in the best school in Switzerland. But she should be here. She can't be here. You won't even let me write to her. It's too dangerous, Gwen. Now, we've been over this thing a million times. You're doing a great job as a mother. You never got married again after a father died. You never stopped working. And now the kid has everything. Everything but a mother. Dusty, I'm going to send for her. Now wait. Look, Gwen, to the whole world, you're Gwen Taylor, a glamour girl. That's the role that made you a star. Now, if they found out you had a daughter that's almost as big as you are, you'd have to start all over again. All right, I'll start over. But you can't, I tell you. Listen, you go on working just for a while and we'll run up a bankroll. A kind of a bankroll so that you and the kid will never have to worry again as long as you live. Then you can go to Switzerland, climb up on the highest doubt they've got over there, and tell the whole world that you're not Gwen Taylor, that you're Mrs. Sarah Harkinson, that you've got a daughter named Gloria, and that she's 14 years old. And if they don't like it, they can... Well, then they don't like it. Come on now, what do you say? All right, Dusty. Good girl. But see what you can do about that elephant, Tusk. Must not stick nails in other young ladies' bicycle tires. You may write that on the blackboard, Gloria. But, mademoiselle, I didn't do it. Write it 200 times, please, Gloria. But I didn't do it. I didn't stick nails in anyone's tires. Then who did? Well, it was... It wasn't I, mademoiselle. I'm sorry, Gloria. When you finish, you may join the other young ladies at their game. Young ladies must not stick nails in other young... Hello. Oh, hello. Mind if I watch, Gloria? Young ladies must not stick nails in other young ladies' bicycle tires. You're the one who did it, aren't you, Felice? How many times do you have to write it? I knew it was you. 100 or 200? I know. You're angry because I was the leader today. Why do you dislike me, Felice? What makes you think I dislike you? Don't you? No. I don't dislike you. I hate you. Goodbye, Gloria. Young ladies must not stick... Gloria. Olga. You better get away from that window if Miss Fuse not sees you. She won't. Felice was just here, wasn't she? What did she say? Nothing. She's starting up trouble again. You know what she said today? It was about your father. What did she say about my father? She said she didn't believe he wasn't an explorer, and she didn't believe he sent you the voodoo mask and the tiger skin and all those trophies and things. Oh, who pays me attention to what she says? Nobody, but she said she was going to prove it. But how can she? What about all those letters he writes to me? Well, she says he doesn't. She says you write them yourself. How did you... How did she happen to say that? It's the most awful lie. I tried to stop her. Oh, who cares? You better go now. All right. I wish you could come. Oh, Olga. If you see old Pierre around, will you tell him I want to see him? He's not here. He took the carriage into town to get garden tools. Oh. Well, I'll see him tonight. Come in. Good evening, Pierre. Hello, Gloria. How was that? Pretty good? Very good, Pierre. Sit down. Sit down. You want another stamp from my album, yeah? Well, yes. Where is the papa now? He's in Africa. We'll see where in Africa. Ah, the Gold Coast. Say, say, that's a 10 franc stamp. Give me the letter. I didn't write the letter. What? I didn't write the letter yet. But don't you write yourself a letter from your papa every Saturday? Yes. But this Saturday you've got to write it. Me? Please. Mm-mm. That's forgery. No, it isn't. Not if I tell you what to write. No. Let me think it over a few days and, uh, and when I think it over, I... I don't think I'll do it. Oh, but I can't wait. I have to get it when the elephant test comes. It's a matter of life and death. That's a good idea. We send the caber and say he got killed. Oh, no, we can't do that. I need him. All the other girls talk about their father. What about your mother? Doesn't she do something? Oh, no, no, and I can't talk about her. Oh, please, Pierre. But I can't write so good, ma'am. My hands shake. I'll say my father has a fever. Please. But when you do it, it's you writing a dream. But when I do it, it's me writing a lie. You can cross your fingers like this. That means you don't mean it. Please, Pierre. Why do you always make me do something when I don't want to do it? Well, go ahead. I'll write it. My dear darling daughter, I am far in the deep jungle tonight working toward denial. But how I wish I was my little brother and please, young ladies, and no talking on the way to church. If you please. It's raining, Miss Duzanotte. I can see that, child. Umbrellas, open. Ready, march. One, two, one, two. Gloria, you may go to the organ loss. Directly, we reach the church. Lead the opening hymn, please. Yes, mademoiselle. Gloria, look. The voice from the military academy. There's the one who pumps the organ. You watch as you're singing all the time. Oh, Gloria, stop it. Don't look at them. Which one do you mean? Well, you told me not to look. Well, look a little bit, but don't let them see you. Oh, hello. Hello. God bless you. Thank you. It's the dust up here. Yes, it is dusty. Very dusty, I guess. That's because there's so much... much dust. Yes. Yes. Well, I'm to pump the organ today. Oh, pump the organ? That's very nice. Yes, it is nice. Yes. Well, I've got to go now. Yes, of course. Yes. Goodbye. Goodbye. No, there's something else first. What? What's about me and you, too? Would you like to talk with me at the confectioners sometime? Say, Monday, when I have a three-hour off-time for winning an essay contest about Napoleon? Oh, Monday? That's tomorrow. Your school goes to the festival. My name's Tommy Gray, and I'm from the United States. California, the southern part near Mexico. From California? Near Hollywood? Yes. San Diego. I'm sorry. Sorry? I shouldn't have asked you to meet me at the confectioners. Oh, but I'd love to hear about California, especially Hollywood and the people in the movie. Well, I know all about them. I get fan magazines from America. All right. Monday. Honest, three o'clock. All right. Well, I've got to sing now. Goodbye. Goodbye. Hey, stop the pumping. When the charge was over, three elephants were in our pen. And the one that charged me was dead. I'm sending in his task. Good night, my dear daughter. And remember that I'm always thinking about you. And hope to see you soon. Your loving father. Now, aren't you sorry you said what you said, please? That was wonderful about the elephant. Where are you going to put the task? I think up next to the leopard he shot an Indochina. Gloria, is this your father's picture? It was hanging on the wall. Yes, that's my daddy's picture. I suppose that's one of the elephants he killed? Yes. Why, Felice? It's a very interesting picture. Especially the back. Give me that. Oh, not until everybody sees it. Look at the back of it, girl. It's an ad for a cheese company. Gloria, look at her father. My father captured the elephants of that company. He always sells the ones he brings back alive. So we hunt for a cheese company. What's his name, Ronald or Rookford? And I'll bet your name is Miss Lemberger. Gloria Lemberger. It sounds good, but to you. Please, give me that photograph. Oh, what do you want with it? I'll show you what. Give it to me. Oh, there you go. Young ladies must not make other young ladies eat photographs. Olga, come in. I can't. No one will see you. Where are you going? I'm going to the exposition. Oh, you don't want to go to the exposition, do you? But everybody's going. Listen, would you do me a great, great big favor? Would you stay here and write the rest of these for me? Oh, no, I couldn't do that. Oh, I know, but it's a matter of life and death. It really is. You see, I've got to meet him at three o'clock, and, well, it's almost three now, and... He? Well, it's, um... Well, it's my father. Your father? In Elferberg? Well, yes. He's coming here? Yes, but just for an hour, I don't know what to say. Oh, Olga, thank you. Your papa is coming, huh? Is he bringing an elephant with him? Nobody's coming. You know that, Pierre. Sure, I know it, but do you know it? You tell Olga, Olga tells the whole school. I told you that Dreamfather makes your nightmare some day. Just drive by the station, and then the confectionary store, and I'll wait in there, and nobody'll know the difference. All right. But in the next letter, instead of your papa shooting the lion, it's your papa. Hey, look at the girls. They're waiting at the station. Oh, Pierre. They come to see papa, too, yeah? Oh, what am I going to do? Pierre, what am I going to do? Peter, find yourself a papa pretty quick. Yes. Wait here, Pierre. But where are you going? I'm going to find a papa. A nine. Got all the baggage off-tip? Yes, a nine pieces, Mr. Potter. Well? I said hello. Oh, hello. Welcome to Switzerland. Here, take these flowers. But I don't want any. Take them, please. There. Clips, what do you say on occasion like this? Just, uh, thank you, little girl. Thank you, little girl. Well, this is an old Swiss custom. We welcome the most distinguished looking visitor on every train. And I have a carriage waiting for you to show you some of the village and take you wherever you're going. A carriage? How nice. Read horses, I suppose. Yes, one horse and a driver, but they'll get you there. I think you'd rather bother my child. Oh, no, no. You don't know what a great pleasure it is to welcome you. Did you say the Grand Hotel? Yes, the Grand Hotel. Oh, it's a lovely place. Oh, uh, would you wait for those girls? They want to welcome you, too. Yes, of course. Hello. Uh, are you Swiss? No, no, I'm an American. How odd. You're an American carrying out a native Swiss custom to welcome me an Englishman. Oh, are you English? That's nice. When I've been in America, a good deal in my home is in Paris. Mine is in New York, but I've been here in school for the last five years. What's your name? Gloria Harkinson. Well, I'm Richard Todd. I'm pleased to meet you. How long are you going to stay here? Five days. Five days? Oh, that's awful. Awful? Oh, well, I mean, it's awful. Nice. Not so bad, really. I thought you were just passing through and maybe you were going to Interlochen. Interlochen is very nice. It's only 20 miles more. Do you always welcome people who come to Eppelberg by telling them how nice it is in Interlochen? I like Interlochen. It's lovely. You'd love it. Well, I'm not planning on doing any sightseeing. I came here to rest. I'm a very tired man. I think you look almost as tired as an explorer back from a long trip, don't you? Whoa! Well, I hope not. I'm a composer. Rancourt Hill. Well, it's been very nice now. What are you looking back for? What? Oh, oh, those girls. I wanted if they were going to follow us. I mean, you. Well, they don't seem to have. No, no, they don't. Well, thank you very much. Oh, thank you. Goodbye. Goodbye. Goodbye. Goodbye. So, if Papa is a composer now, just like the daughter who composes the letter. Oh, Pierre, I think I got out of it very well, don't you? Oh, what a relief. Gloria! Gloria, wait! Olga. Olga, why did you tell everybody about my father? Oh, I couldn't help it, Gloria. I was so excited. Everybody's excited. Even Miss Fusenot. What? And yes, what do you think, Gloria? Miss Fusenot says we don't have to attend any classes tomorrow. Why? Because your father's here. They're going to invite him for lunch. There comes the curtain on the first act of tonight's production, mad about music, starring Deanna Durbin and Herbert Marshall with Gail, Patrick and William Frawley. We decided that during our intermission tonight we ought to talk a little bit about Easter. Easter? Yes, Mr. Jones. What's the matter with that? Well, it is Easter Monday, but it's still the Lux Radio Theatre, and I honestly can't see any special connection between Easter and Lux toilet soap. Well, I can. Have you forgotten the thousands of beautiful ladies who sauntered up and down Fifth Avenues and Main Streets all over the country yesterday morning, displaying their new Easter clothes? I have not. I was intrigued by the shoes with all the holes in the toes, and I'm still wondering whether chin straps are meant to hold the ladies' hats down or their chins up. Even so, I can't see where Lux soap comes into it. Well, think of all the really attractive women you saw in the Easter parade. Didn't they all have clear, smooth complexion? Oh, I began to follow you, Mr. Rui, and you're absolutely right. A beautiful ensemble, isn't that what they call it? That's right. It loses a lot of its charm if the ladies' complexion isn't well all it might be. That's exactly what I mean, Mr. Jones. Without a smooth, lovely skin, no other charm counts. And right there, Lux toilet soap comes in. Lovely ladies everywhere find it guards against unattractive cosmetic skin. It gives complexions the kind of beauty care they ought to have. It guards some beautiful complexions right here in Hollywood. The figures are that actually 9 out of 10 Hollywood screen stars use Lux toilet soap regularly. And, of course, that's very significant because screen stars must have the best. And when they overwhelmingly favor Lux toilet soap and have consistently for years, why, that's something. And now let me remind the ladies in our audience that it's Lux toilet soap's active lather that guards against the choked pores that cause dullness, tiny blemishes, and enlarged pores. Cosmetic skin. This active lather removes stale cosmetics, dust and dirt thoroughly, preserves the fresh soft smoothness that never fails to win admiration, romance. And now, our guest producer, Walter Houston. Once again, a mad about music starring Diana Durvin and Herbert Marshall with Gail Patrick and William Crawley. It's the following day and the whole school is feverish with excitement because glorious father, the adventurer, the hunter, the famous explorer is coming to lunch. Up the road from the gates glides Mr. Todd and his shoulders set, sticks swinging with grim resolution. Glorious spies in from the window and rushes to meet him. How do you do? I thought you'd be here. Oh, wait, please. Before you go in there, I want to... Before I go in there, I want to tell you that I've been invited for lunch. It seems I have a daughter at this school. Yes, I know. I mean... Oh, I'm sorry at hand, but then I can explain the whole thing. Wait. I'm sorry it happened too, but I'll do the explaining and it won't wait. Well, please listen. I'm not interested. But you've got to be interested. I had to make you up. You had to what? I had to make you up. You see, I have no father and I can't talk about my mother and I just made up a father and you just happened to come along and then you were it. I was it. Well, young lady, I don't like to be it. Well, you don't have to be. You can go away. Please go away. Not until I've straightened this out. Well, please don't go in there. It's a matter of life and death. I'm sorry. But they'll know all the stories about my father weren't true. Well, you should have thought of that before you told them. Well, you've got to help me. Straight, I can't. But I'm an American and you're an Englishman and England's the mother country. Well, that doesn't mean that I have to be your father. Oh, I know. I know. But if you don't go in there, you don't have to be anybody. Please. Oh, welcome to our little institute, Mr. Harkinson. I wish you wouldn't call me Mr. Harkinson. Oh, I'm sorry. Gloria said you were incognito. Come in, please. Girls, girls, quiet, please. Now, girls, I want to present you to Gloria's father. How do you do, Mr. Harkinson? Oh, dear. Wait. Before you go any further, I think there's something you want to know. Oh, please wait. When you do me all this honor, you rather embarrass me. Oh, no, please, please don't. Until I realize that you're really paying honor to my daughter. Oh. I hope the food is satisfactory, Mr. Harkinson. Mr. Harkinson will do. I'm not incognito here. Yes, the lunch is excellent. Well, we didn't know exactly what explorers are accustomed to eating. Oh, penguin and seal steaks. Polar bears. In Africa, you have seal steaks and polar bears? No, please. That's when he's in the North Pole, isn't it, Daddy? Yes, the North Pole. There are no polar bears in Africa, young lady. Everybody knows that. In Africa, you have lion meat, don't you, Daddy? Sometimes, but lions generally are a bit tough. Now, giraffes are quite delicious, especially the neck. Really? Yes, they're quite the thing for dinner parties. Twenty people can sit down to just one giraffe's neck. Oh, Mr. Harkinson, what about the elephant who's captured for the cheese company? Oh, the elephant for the cheese company, you mean? What about it? They put it on the package. Oh, well, you wanted to know about the elephant for the cheese factory. Yeah, quite a package. So that means it was a big elephant. That's the way hunters talk. For big elephants, they say package. I think it's kind of cute, don't you, Felice? It also means very wild and tameable. He seemed pretty tame in the photograph when you were sitting on his neck. Uh, yeah, well, when I was sitting on his neck. Well, that's easy to explain. I have a peculiar effect on elephants. I just looked them in the eye. And only one eye? Yeah, yes. You see, it's rather a job to look an elephant in two eyes. One's over here, and the trunk comes in between, and the other one's over there. But how did you capture him? Single-handed, didn't you, Daddy? Oh, yes, yes. You'd track him for days. Days and days up hill and down dale. Then one morning I met him face to face, fixed my stare on one eye, then in most decided fashion I said, elephant, I'm your master. He came toward me, running. Stop, I said. His steps grew slower, slower. Then he grabbed around the waist with his trunk and lifted me high. I thought he was going to dash me into the bottomless chasm. Slowly I felt his trunk slip from my waist and I fell. Yes, I fell in the back of his neck where he wanted me. He looked up at me and smiled. Then he galloped off with me into the jungles and brought me to the throne of the beautiful white princess. The white princess? Well, you never told me about her before. Didn't I? I must have slipped my mind. But now let me see. Before I forget you, didn't you say you wanted to hear me sing? Well, spend it, of course I do. I'll play it for you. What can you sing? Whatever you can play. Do you know Chapel Bells? If you can play it, I can sing it. I thought of myself. But you told your friends from very tall tales. But I kept my fingers crossed. When you do that, it means you don't mean it. Did I send you that elephant tooth? Tusk. I mean tusk. Where did I get it? Africa. Africa. I get around a good deal, don't I? Wherever Pierre has a stamp from. Well, I'm quite a chap. Hunter, explorer, family man. Oh, by the way, sit down a second. Yes, sir. This is a bit awkward. But yesterday when I came to Switzerland, I was a bachelor. I had no wife and I had no children. Today, of course, I have a daughter and somewhere in the world a wife. Oh, please don't ask me about my mother. Only what she looks like and where she lives. Those questions come up, it seems. Well, I'll show you a picture of it. I keep it locked in the drawer. Well, I've never let anybody else see this, but I guess it's all right to show it to you. Certainly I'm a sort of relative now. That was my father. He was a Navy flyer. He died when I was a baby. Oh, I'm sorry. Is this your mother? Yes, and that's me when I was a baby. You've grown some since then. Yes, I have. And you do look like her. Oh, thank you. What's her name? Harkinson. Oh, it's the same as mine. Well, that's customary. Well, young man. How do you do, Mr. Harkinson? I'm not Mr. Harkinson. Mr. Todd is Mr. Harkinson. I mean, Mr. Harkinson is Mr. Todd. Oh, well, I'm his secretary. Oh. What is it you wish, please? Well, it's kind of a family matter, I guess. Family matter. Oh. This way, please. Mr. Todd. What do you want? It's very important, sir. What's important? Your son, sir. What? What's he talking about? He got it all wrong, sir. I'm not your son. I'm Tommy Gray. How do you do? How do you do? And I came to see you about your daughter. My daughter? Oh, well, now I'm beginning to see daylight. Sit down. Thank you, sir. Uh, I, uh, that is we, Gloria and I. I talked to you yesterday to Dennis again. We were having our teeth cleaned. We met there. I, uh, I was... Yes, go on. I don't suppose you smoke, do you? Oh, no, I don't smoke. Uh-huh. Well, could I, could I get you something to drink? Maybe a glass of milk or something? No. No thanks. I don't like milk. But I'm very fond of your daughter going. We're very good friends. And that's what I came up to talk to you about. Whoa, here, not so fast. You and Gloria are good friends. Yes. That is, I'm a good friend of hers. And I'm going away. But I'll be back. That's what I came to talk to you about when I come back. Pardon me. You, um, don't mind if I have a drink, do you? This is a very trying time for a father. Now, I think I get the idea. Well, personally, young man, I think Gloria is a little bit too young to be talking about marriage. Oh, I want to marry her. You don't. This sounds very serious. Just what do you want? Well, when I get back, you'll be gone away. Yes. And when you might get killed. What? Well, a rhinoceros might go. You were lying much up in your back, or even a tiger. Oh, yes. It's nice of you to think of that for me. Oh, you're welcome. And I just want to tell you that if you do get killed, I'll be here. And I want you to tell Gloria that she can turn to me. Now, that's a very comforting thought. And I'll remember it, too, when I'm lying in the jungle with a rhinoceros kneeling on my back. Thank you. Oh, you're welcome. Any little thing I can do to make life pleasant for you, I'm glad to do. I'll tell you that if I get killed, well, that you're to be a father to her. Oh, thanks very much. Thank you. You're welcome. Goodbye. It's wonderful, Mr. Harkinson. It isn't often the young ladies have a party. They do enjoy its own. No more than I do. Yes. We're all children at heart, aren't we? Aren't we? Telegram for you, sir. Telegram? Oh, excuse me, please. Oh, of course, Mr. Harkinson. Well, Gloria, you come here a minute? Yes, Daddy. I have to leave for Paris tonight. Tonight? Oh, I'm sorry. I have to. It's business. I think you better tell the girls. Yes, I better. What are you going to tell them? Well, my fingers across. My daddy just received a cable. Yes, he has to go to the off to get a boat. And from off, he's going to the North Pole for polar bears. They're already in. Tired of packing? No, it's fun. Fun? Oh, I didn't mean that it was fun packing for you or going away. I mean, I never packed for my father before, and it's fun. Yes, it is rather. I better see how Tips is coming along with the trunk. What comes next here? Goodbye? No. Goodbye comes later. Socks come next. They're in the top door. Do you want to take the morning paper with you? I can get a new one at the station. Oh. What's the matter? Oh, nothing. I just... Can you see there? Gwen Taylor in Paris, is that it? Who opened American Wing of French Exposition. Gwen Taylor, motion picture actress, isn't she? Yes, I think so. Are you a fan of her? Oh, no, I've never seen her. But some of the girls talk about her at school. Oh. What about those socks? I'll put them in. And then run back to school and get permission to come to the train. Oh, may I? Well, don't you wonder? Well, yes, of course. But, well, maybe I'd better not. Maybe we ought to say goodbye right now. You see, I don't like to say goodbyes, and, well, you've been so nice to me, and I don't like to see you go, and... Oh, well, you know. Yes, I know. Goodbye, Gloria. It's been fun being your father. Thank you. It's been fun being your daughter. Goodbye, Daddy. For station identification, this is the Columbia Broadcasting System. Everything concluded, the second act of mad about music starring Diana Durbin and Herbert Marshall. We take a little intermission now and we're going into act three, and here about another phase of Hollywood. About the education of motion-pictured children. Our guest is Mrs. Teletine Morrison. Mrs. Morrison has been a teacher of movie youngsters for about 10 years. Her pupils have included Judy Garland, Betty Janes, Anita Granville, Virginia Wilder, Jackie Cooper, Spanky, and Al Falfa of our gang fame, and tonight's star, Diana Durbin. Mrs. Morrison is former dean of women at Dakota Wesleyan University. A western state college in Colorado. She's done considerable lecturing and writing and is now with the adult education division of the Los Angeles Public School. Mrs. Morrison, a lot of people have the idea that famous movie children lead anything but normal lives and that they don't go to school like other kids do. What have you to say about that? We realize one thing, Mr. Houston, that a contract child can't go to public school and be in the movies at the same time. So we've found a way of combining both. In music work, the children, in the movie work, the children get individual instruction directed at giving them a sound, general education, and we think it is more important that we teach them to lead happy, normal lives. After all, that's what really counts. But aren't there certain specific rules that must be followed to obey the law? Now, I've seen many directors call a halt on a scene and tell the children involved in the picture that it's time to go to school. Yes. There are many different legal regulations concerning the education of movie children. For instance, every boy or girl under 18 who has not been graduated from high school must have at least three hours of study every school day and one hour of recreation. If the boy or girl is a high school graduate and is still under 18, the teacher becomes a welfare worker. And what does welfare work consist of? Has it anything to do with the progress of the child in pictures? Yes. In that, we see that he has not overworked, that he gets plenty of rest, that he isn't exposed to conditions that might impair his health and, in general, that he has well cared for. And let me add right here that every major picture studio, without exception, extends to the board of education the most complete and sincere cooperation. Every studio has its own school. And when a child is not in a picture, he attends this school and is taught by teachers who must have exactly the same qualifications as other public school teachers. When the child is working in a picture, then his books, his equipment, and teacher follow him just the same to the set or on location. And I often wonder how they do it. I have enough trouble memorizing my lines without going to school. I suppose that's why you went to New York with Miss Durbin on her recent visit there. Exactly. And that trip gave Deanna a chance to see firsthand many of the things that she has studied, the geography of the country and the government of the country, too, because we went to Washington and saw Congress in session. And I might tell you that we brought luck soap with us on the train and use it wherever we happen to be in the East, just as we do back home. It certainly looks as if Miss Durbin is going to follow in the footsteps of the grown-up star, doesn't it? But tell me, between us two now, just what kind of a student is Miss Durbin? Between us two, Mr. Houston, she is as willing, as delightful, and as intelligent a pupil as a teacher could wish for. She is happy, and happy pupils learn best. What's she studying these days? United States history, civil government, English, music, and French. She's greatly interested in drama, and in New York she read quite a bit of Kenneth Roberts' book, The Northwest Passage, but I still think her favorite book is Bambi. Naturally, I'm pleased to see her making such fine progress with her lessons, but what pleases me most is to know that here is a girl at the top of a glamorous profession who has enough common sense to keep both feet squarely on the ground. Like any other girl, she's fond of clothes, but Deanna prefers simple clothes. She doesn't attempt to act beyond her years. She's just a fine, wholesome young girl, and we never can have too many of her kind. Thank you, Mrs. Morrison. Deanna Durbin, Herbert Marshall, Gail Patrick, and William Fawley in Mad About Music. Gloria didn't meet Mr. Richard Todd at the station for an excellent reason. She had decided to meet him on the train. The train gains momentum. Richard walks through the passageway of his compartment. What are you doing here? Are you angry with me? I couldn't meet you outside because I was waiting in here and you didn't come and the train started to move and, well, here I am. Gloria, is that the truth? Why, no. Well? Oh, Mr. Todd, I found out my mother was in Paris and I just had to see her. Can't she come to Switzerland? No, she can't come to Switzerland at all. She's a... Well, she just can't. That's why I had to come on the train. It's a matter of life and death. Well, but this time it really is. You won't be coming back to see me anymore. I might. No, no, it would be too dangerous. I think you're going to disappear at the North Pole. Get lost. Really? I'm sorry to do it, but it seems the best way. Of course, I'll miss you a lot. Gloria. Yes? Where did your mother live? Oh, it's the Lafayette Hotel. I live near there. If I give you my address, will you bring her over to see me? Well, it's awfully nice of you, but... Fine, I'll be expecting you. Lafayette Hotel. Where's the little girl who called me? Here I am. Oh, sure, there you are. Well, come over here, Gloria. I'm Dusty Turner. Yes, I remember you, Mr. Turner. How do you do? I'm fine, thanks. How are you? Very well, thank you. Well, that's fine. Come on, I'll sit down and tell me just how you got here. I came on the train. Well, how did you get away from the school? Oh, I just... Well, it wasn't hard. Well, I'm afraid that's bad business. You should have told me about your plan. Oh, I know, but... Well, I was so lonely, and then I saw that my mother... Gwen. Yes, Gwen was here, and I came. Oh, I just want to see her a minute to say hello and talk, and then I'll go right back. Well, I don't know about that. Gee, but you've grown a lot. I guess I have. Well, I should say so. How's the school? Oh, please, I don't want to talk about me or the school. I want to see my... Gwen. Yeah, I know you do. But that's not going to be as easy as you think. You're not going to let me see her? No, I'm not going to stop you. They are. Who? Those people out there in the lobby. Her fans. Why, they're waiting for her now. Oh, I can wait until they go. I don't mind. But that's not it. You see, she sort of belongs to them. But I belong to her. She's my mother. Well, you know. Sure, I know. It's tough on you and tough on Gwen. And me, too, for that matter. But you see, everything a big star does. Everything about her makes people talk. The guests and gossip and watch every move she makes. Everything she does. So she's got to be different. Why, she's almost like a princess in a fairy tale. I see. And a princess in a fairy tale can't have a daughter. As big as I am. Can she? Oh, but next year, she's going to be with you all the time. Goodbye. Isn't there anything you want, Gloria, anything that I can do? No. No, thank you. Goodbye. My big pardon, sir. You have a visitor. Yes, who? Your daughter, sir. Gloria, how are you? I'm sorry to bother you so much. Bother? It's a very pleasant surprise. Did you find your mother all right? Yes, I saw her. Take off your hat and coat. You have a nice time? Oh, yes. I had a very nice time, thank you. I bet your mother was surprised to see you. Oh, yes. That is it. First she was. Is this the song you were playing just now? Yes, that's it. How long is your mother's life? Would you mind if I sang this? Well, right now? I'd like to try it. All right. Bring out yourself, you know. Could you send me back tomorrow? Send you back? Tomorrow? Does your mother know about this? He gave me the money to go, but I lost my handbag. Did you tell her you'd lost it? I didn't think I ought to. She's very poor and... Poor? And stop you at the left for yet. Oh, but she's poor in a very rich way. Oh, the new poor. You had a good time. Yes, we had a lovely time. Tell me all about it. I met her at the Lafayette. And she was so glad to see me that she hugged me till she almost took the breath out of me. Just because she was so glad to see me. And then she stood back and just looked at me. And then she started to cry. And I cried just because we were both so happy. It's funny how you cry when you're happy, isn't it? And then she laughed. She laughed and I laughed and everybody looked. She's so beautiful. And then we just talked. Because I had so much to tell her and she had so much to tell me. She told everybody else to go away and we just stayed there alone together. And then... Go on. And then she had to go to a party and I told her I'd better get back to school and she said I was right and gave me the money. And then I lost it and then I came here to ask you. I'm glad you did. You can uncross your fingers now, Grawian. What? Uncross your fingers and tell me what happened this afternoon. Oh, but I can. I mean, I can. All right, then I'll have to find out for myself. Put your coat on, Gloria. Why, what for? We're going to take a walk, you and I, around the block to the left of your hotel. Oh, no, listen. Where's my hat? No, wait, oh, please. But she must be there. Well, let me speak to Miss Fusenot. Hello, hello, Miss Fusenot. This is Gloria's mother. What? In Paris? Mr. Harkinson? Mr. Richard Todd? Oh, what? Oh, there's some mistake. I'll call you right back. Stay right there. Dusty, Dusty! Hey, Gwen, the press gang is waiting for you. Dusty, listen. Gloria's in Paris. In Paris? Yes, she's here. She left Switzerland last night with the men. He said it was her father. Call the police. Oh, wait a minute. We're not going to call anybody now. Let's take this calmly. How can you talk about taking things calmly? Gloria's in Paris. She's here. I know she's here. You know she's here. Yeah, I saw her this afternoon and she's all right. Where is she? She's on her way back to school. What? You made her leave? Certainly not. She didn't want to talk to you. She just wanted to see you. She didn't want to talk to me? Oh, now don't take it that way. I told her what it would mean if it got out that you had a daughter her age and... You... You did that to that baby? She wouldn't have been in this room five minutes before all Paris would have known it. Bell, boys and maids would have been fighting to get to the phone first to tip off the new space. You could have managed it. You managed everything else. What did you want me to do? Present her to the press? Yes. Oh, the press. I forgot they were all over the hotel. Now you're making sense. Come on in and meet them. All right, Dusty. What a trooper you are. Come on. I'll give them that big smile. And don't let them know that anything's wrong. Come on, Dusty. Come on. Wait a minute. Wait a minute. Will you take it easy? One at a time. One at a time, please. Now there she is. Ask her anything you like. Her life is an open book. Are you going to do a picture in France? Is it true you're buying a villa? Are you going back to the States? Wait, wait just a minute, boys. I know you want news and I'm going to give it to you. That's our girl, Glenn. I have a daughter and she's 14 years old. What? And she's here in Paris tonight. No, no, no, no, boys. Listen to me. That's not it. She's only a baby. She's only so big. She's 14 months. She's 14 months. I swear to small interest people. Quiet, everybody. Listen to me. Listen to me. Listen to me. Now look, boys. Wait a minute. We're going to give you a formal statement in a half an hour. Yes, meanwhile, I want you boys to find her. She's in Paris. Oh, why? She's with a man named Richard Todd. What's her name? Her name's Gloria. Richard Todd the composer? I don't know. Just find Richard Todd. I'm Richard Todd. Get a picture. What have you done with my... I'm the use of it done years ago. Come in, Gloria. That's her daughter. She looks like her. It's all right. No, no, this is all a mistake I never saw her before. It's really all a mistake. Mr. Todd is my father. Gloria, my baby. Oh, Mummy. Mummy, I didn't tell them. No, dear. I know you didn't. I told them. Oh, Mummy. Mr. Todd, are you Miss Taylor's husband? Certainly not. Miss Taylor, are you his wife? I am not. Little girl, who is this man? He's my daddy. Gloria, dear, I don't think you... You'd better not tell them that now. All right, but, Daddy, I want an explanation and I want it right now, or I'll call the police. No, Mummy. Call them. But wait, Daddy, Mummy. There are a lot of things I'd like to tell you, Mrs. Hudson. No, no, no, you would. Well, all right, then, go on. No, wait. Listen, let me say something. Let me... Oh. She's faded. Gloria! Oh, my goodness. Wait. It's all right. What? She has her fingers crossed. She's a lovely party, Mr. Todd. And to have Gloria's father and mother both at once. But I still don't understand how you... Oh, it's quite all right. I will explain later, maybe. Yes, of course you will. I don't know how exactly. Oh, we'll think of something. But she's right, Richard. Gloria should have her father, you know. Yes, sir. Quite customary. Well, I don't want to nominate myself, but I've had a week of experience. Oh, but we'd have to be married, wouldn't we? Yes, that's part of the idea. Richard, are your ideas always that good? I'm mad about music. And now, for a moment or two, we'll have a chance to hear from Miss Durbin, Mr. Herbert Marshall, Miss Gail Patrick, out of character. You know, Mr. Houston, you've been so nice that I think maybe it would be a good idea if you broke down and called us by our first name. Mm-hmm. At least me. I don't feel like Miss Durbin to you. I feel like Deanna. And besides, don't forget, we were both born in Canada. Oh, yeah. Then there's one old neighbor to another. Thank you, Deanna. Ever since we've made mad about music on the screen, Deanna, people have been asking me a lot of questions. They want to know what you're planning to do if you're going to stay in Hollywood or if you're going to be an opera singer. And here's your chance to answer them all at one time. Do you mean what I'd like to do or what I'm going to do? Well, since it's pretty hard to predict the future, what you would like to do? I'd like to do three things. I'd like to sing an opera, and I'd like to keep on making pictures, and I'd like to be on the radio, as long as people want to hear me. There's one tip I can give you, Deanna. If you want to keep that lovely complexion of yours as you grow up, just keep on using luck soap. I'll bet you use it, Miss Patrick. If you mean that for a compliment, Deanna, thank you. I do use it. I think it's the best soap there is. And so do I. It makes the nicest ladder, and it smells nice, too. In fact, luck soap is the favorite with my whole family. Well, thanks, Deanna. And tell me, now that your picture's finished and our radio program is over, I suppose you'll be taking another vacation? Where are you going this time? Right back to Universal City, Mr. Houston, to make another one. It's called that certain age. That's all I know about it. No, I wonder what certain age is that certain age. I can answer that after a fashion. Deanna is going to have a bow. I am? You are? I was speaking to Mr. Rogers at Universal, and he says that what they'd like to do is to have you grow up in pictures, just as you grow up in real life. What kind of a bow does a girl have at 15, Miss Patrick? Oh, well, you'd better ask your father about that. Mr. Marshall, please. Walter, Deanna wants to know... Yeah, she has a bow, I guess, huh? Well, you know, Deanna, he carries your school books and picks flowers for you. And after that, you'll have an older bow in your next picture. First love. Well, if I can have you for a father and Miss Patrick for a mother, I guess whatever kind of a bow they give me will be perfectly all right. And now, Mr. Houston, thank you for a very nice time. Good night, Deanna. Good night. Good night. Mr. Houston brings us important news about next week's program in just a moment. Our cast tonight featured Jackie Moran as Tommy Gray, Christian Rubb as Pierre, Helen Parrish as Phyllis, Marsha May Jones as Olga, Edgar Norton as Cripps, Margaret Brayton as Miss Fusenot, Marie Hammond as Miss Louise, Jo Ann Ransom as Dorothy, Suzanne Ransom as Catherine, and Jerry Gale as Lisette. Mad about music was made at New Universal Studios. The original story was written by Marcella Burke and Frederick Conner with music by Harold Adamson and Jimmy McHugh. Gale Patrick's new Paramount film is dangerous to know, and William Frawley's Professor Beware. Lewis Silvers is from 20th Century Fox Studios, where he directed music for four men and a prayer. And now, ladies and gentlemen, just a reminder, as you know, many localities switch to daylight saving time next Sunday. If your community is one of those changing to daylight saving time, you will hear this program at the usual hour. If your community remains on standard time, tune in one hour earlier. And now, here's Walter Houston. Next Monday night, the Lux Radio Theater presents Madeleine Cowell and Don Amici in Dangerous, a great romance drama which many of you rank among your favorite motion pictures. Dangerous is the story of a girl, once a great actress, whose life suddenly becomes an endless series of bad breaks. She's a hard luck girl, bringing misfortune to all who knew her. How this chain of adversity is broken, how love and happiness finally come to her, you'll learn next Monday night when Madeleine Cowell and Don Amici enact this exciting drama on our stage. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to listen in a week from tonight, and the Lux Radio Theater presents Madeleine Cowell and Don Amici in Dangerous. Beginning next Monday night, Mr. Cecil Meadamel will be back here as usual as your host and producer. This is Walter Houston, thanking you all and bidding you goodnight. Ladies and gentlemen, came to you with the good wishes of the makers of Lux Toilet Soap. It's hosted by nine out of ten of Hollywood's famous actresses. So join us again next Monday night. Be part of the audience that gathers each week from coast to coast to hear Hollywood stars in the finest plays of stage and screen. Until next Monday night, then, this is your announcer Mel...