 You are about to hear a romantic drama, Forgotten Girl, adapted from a story in Street and Smith's Love Story magazine and featuring the love story girl in the role of Anne Hampton. This is the love story of Anne Hampton who works for a living as a reporter on the Daily Record. Now everyone knows that a girl should have more sense than to fall in love for the newspaper man. However, that's just what Anne has done, falling in love with Barry Pearson, brilliant and erratic reporter on the same paper. We find Anne now at her desk in the city room, about to hear a few words of wisdom from one of the news photographers. And what about Barry Pearson, Shorty? It's my affair, you know. Yeah, I know. But he isn't the kind of a man to play around with, Anne. Shorty, I thought Barry was a friend of yours. Oh, he is. There isn't a better guy in the world. But, well, you know the way it is with a newspaper man and women. Well, you're too late. I'm in love with him. Well, you can't be. You hardly know him. I've known him a month. Forever. It doesn't matter. What's past is gone, Shorty. It doesn't count. The grandest person in the world. And I'm crazy about him. Oh, well, I didn't know it was that way. Forget I said anything, will you? Just skip it. Barry. Barry Pearson. Hello, Anne. What were you and Shorty in a huddle over? Oh, Barry. Shorty is a darling. He was trying to tell me what a big, bad, dangerous, dawn-worn you are. Why, the mug or whatever he said is true and probably worse. I told you last night I'm no angel, but I'm telling you this, Anne. No matter what there was in the past, it's past. It's over, done, finished. You know that, don't you? Uh-huh. That's what you say. What's more important to me right now is where are we going to eat tonight? Oh, darling, I was just going to tell you, I won't be able to take you to dinner tonight. I've got an assignment. Oh. Shall we make it tomorrow night? Sure. Sure, all right. Oh, Anne, you're the most adorable, delectable. Here comes you. Oh. That fool city editor would interrupt, just as I got going right, too. Well, see you tomorrow, darling, without fail. Miss Hampton. Oh, yes, Mr. Gray. Oh, there you are. Listen, I've got an assignment for you. Yes, Mr. Gray? I want you to go out of the castle tonight and interview Lauren Winters. Oh, he's that new young dance orchestra man, isn't he? Yeah, he's in the news all the time. Playing at the charity ball of the castle tonight, I want you to interview him. Get his ideas on women, politics, anything. Whatever he says, the deems he did after. Okay, I'll see him tonight. Hey, Miss Hampton. It's funny to think that here I am, Anne Hampton, once an awkward small town girl sitting here in one of the swankiest hotels in the country waiting to interview a celebrity. Garly, look at these people. Must be grand toward your gowns and perfumes in Paris. I wouldn't change places with any one of them. I've got Barry. Oh, there he is. Barry, he's here at what can't be her, of Barry. What is he? He just saw me. And now he's talking to that woman again. How could he do this to me? I've got to get out of here. I've got to get out. He was at the charity ball and with a beautiful woman. Anne, don't be like that. I can explain everything when I see you. All right. I'm going to see you tonight. You can explain then. I'm sorry, dear, but it can't be tonight. Oh-ho! It's a dash now, but I'll see you later and explain things then. You needn't bother. I'm not at all interested. Guys, you're late this morning. Did you hear about the big robbery last night? No, I haven't had a chance to see the pay be yet. Some society dame got herself separated from a pearl necklace that's worth a fortune. Oh, yes? Yeah, she discovered it after she got home from the charity ball last night. So you were there, wasn't you? Yes, but I didn't stay very long. This dame was at a dinner party given for the Countess Rosalska. It's the swellest news story that's broken in weeks. I'll let you in on a secret. The record's going to get a scoop on it. Oh, that's nice. The boys are sending me and Mac out to cover it now. All ready, Shorty? Yeah, sure, Mac, anytime. The car's downstairs waiting for us. Hey, what's that bulge in your pocket? This. Wow! An automatic. Where'd you get that? Haven't you guys gone yet? Well, just leaving, Chief. You better be there on the nose. It'd be tough for Pearson if you're late. Remember, the cops have to be kept out until we go to press. OK, Chief. Listen, Mac, let me go along with you. Oh, for Pete's sake. Don't get excited. I've been doing sappy interviews for weeks. Let me come along with you for a little change. Listen, you go home, Sister, and tend to your knitting. Oh. Come on, Shorty. Some swank apartment house, isn't it? Yes, Rosalska dame certainly believes in showing off. Say, will you look who's here? Don't talk so loud unless you want to give us away. You get out of here, Sister, right back where you came from. Oh, don't be difficult, Mac. Hey, how'd you get here, Anne? Took a cab and followed you. I'm going with you from now on. You are nuts, Grant. Oh, no, I'm sticking with you. Try to get rid of me and I'll scream. Whatever it is you're planning, I don't think you'd like a welcoming committee of nice, warm-hearted cops. Oh, let her come along, Mac. She won't do any harm. OK, you can come along, Sister, but you've got to do as you're told and keep quiet. Don't worry. I will. All right, let's get going. Here's the elevator. Hurry up, Sister. Inside, inside. Say, is this what a Countess's apartment looks like? You shut up and don't talk so much. They'll be here any minute. The camera loaded, Shorty? Yep. All right. Now, you get behind that screen in the corner. You, Sister, get behind that curtain by the window there. And not a peep on up either of you, no matter what happens. All set? Yes, I'm ready. All right, I'm going to turn the lights out. Now, remember, not a sound we have to wait a century. Wait a minute. I hear someone in the hall now. Oh, we made it just in the nick of time. You turn on the lights, Barry. You're a heavenly tonight, Countess. Here, let me take your cape. My darling Barry, you are the most darling man I ever met. And you, Countess, are a very lovely woman. Oh, Barry, how can you? Here, my Barry, you come see by your Countess and tell her how very, very much you love her. Suppose you tell me. I'd like to hear you say it better. What a funny man you are, Barry. What a nuisance. Yes, but I am busy. I will see you tomorrow. But I cannot see you tonight. I tell you, I am busy. Oh, all right, for one moment, you can come up. I'm so sorry. Those friends insisted that I see them. Well, that's quite all right if they don't stay too long. I tell them they cannot stay. They are on their way up now, but I will not let them stay. Good. But I will have to ask you to step into my booed water for just a moment, Barry, until they go. Very well. You do not mind? No, if it's not for long. Which is at this door here? That is all right. I will be with you in just a moment. I would have to come at a night, pigs. You've got to be very quiet. I have a guest in the next room. All right, make it snappy. Let's have the beads. Just a minute. They must be disposed of at once, you understand? Yeah, yeah. You've got to bring me the money here Friday. I stay all Saturday. Hey, what's the idea running out in us like that? I'm taking too much of a chance. Last night it was very difficult. I'm going away for a year, then I'll come back and everything will be quiet. Well, you're the doctor. Farf over the beads. Here they are. Oh, I should keep them for myself. They're very lovely. When I think of that fat old lady wearing them, here you'll take them. Reach for the ceiling, Countess. Come on, you eggs, get them up. Say what? Did you get the picture, Charlie? Yeah, you bet. A nice group picture. What is the meaning of this? You are these men. It's a shame to ruin your masquerade, diamond doll. But your countess days are over. Also, I'm afraid you'll have to postpone your trip to Paris. You're wanted in four states on rather important charges. What would you do? Mac, relieve the lady of the pearls. Will you please? Sure. Come on, sister. Hand them over. Wait a minute. I'll give you the case for them. The doctor! Oh, we're still in that awful woman's apartment. That's all right. The police have taken them away. Everything's OK. Oh, but, Barry, your arm is hurt. Oh, nothing to it. Yes, you are hurt. There's blood on your sleeve. OK, I'm hurt then, but it's only a scratch. You know what would have happened if you hadn't seen her get that gun out of the table drawer and hit her over the head with that lamp and spoiled her shot. Oh, don't make me think of it. And after that moment, I didn't have the vaguest idea you were within five miles of the place. It's the lucky thing for me you were. Otherwise... Barry, don't talk like that. I've got a lot of talking to do, but first I've got to get to the office and get this story off my chest. Do you mind? Business for four pleasures, sweetheart. Oh, it wouldn't be you to forget business. Of the century and everybody's happy. Now you and I are going for a long ride. Oh, but, Barry, it's three o'clock in the morning and it's raining. Three o'clock in the morning is the best time to listen to rain, didn't you know that? Just a couple of crazy reporters. Oh, I love being crazy with you, Barry. What are you stopping the car for, Barry? Because I can't talk and drive at the same time. Oh, that's funny. You never had any trouble before. Dearest, there was so much I was going to explain. Oh, don't, darling. I saw all the explaining I need. It was pretty small of me not to trust you. Oh, you're adorable. You better get in a new supply of trust. You may need it. Why? Because I'm going to ask you to marry me. And do you think you could? Oh, Barry. You have been listening to a romantic drama featuring the love story girl and presented with the permission of Street and Smith Publishers of Love Story magazine.