 Lux presents Hollywood. Lux Radio Theatre brings you Margaret O'Brien, James Craig and Francis Gifford in Our Vines Have Tender Graves. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. I'm sure that many of us think of Labor Day not only as an end to summer, but as the start of a purposeful and promising new season. And in keeping with that boy and spirit, we bring you tonight a play as heartwarming as the smile of our little leading lady. A star who has always been a favorite of this theatre, just as she's a favorite of movie-goers everywhere. I refer, of course, to Margaret O'Brien playing her original screen role in Metro Golden Mares, Our Vines Have Tender Graves. A co-star with Margaret is the ever-popular James Craig, whose personality and talent are winning new fans every day. Also, the charming Francis Gifford, whose rise to stardom I have watched with greatest interest. Like Margaret, they appear in their original screen roles in this delightful story of a little girl who brings faith and sunshine into the lives of a community typically American, although its people came from distant Norway. I was reminded of Norway on a trip Mrs. Keely and I made this summer in British Columbia. We cruised among the typically Norwegian fjords of Princess Louisa Inlet, a seaway, peaceful, lovely and majestic. When we found that the captain of the Malibu Arrow had provided a generous quantity of Lux toilet soap, I suspected it had been done for our benefit, as a friend or reminder of my pleasant work in Hollywood. But he assured me that on the contrary, Lux soap was a regular passenger on all the boats his company chartered. In fact, wherever I traveled north of the water, I found that our Canadian friends are as loyal to Lux toilet soap as we are, and are equally loyal members of our audience each Monday night. So, from Northern Canada to Southern California, our curtain rises on the first act of Our Vines Have Tender Graves, starring Margaret O'Brien as Selma, Frances Gifford as Viola Johnson, and James Craig as Nels, with Joseph Kearns as Pa. It's late summer, 1942. On a country road in Wisconsin, two small children wide-eyed with amazement stare at a tiny body that lies in the dust at their feet. You sure killed him, Selma. You killed him dead. Look it. But I didn't mean to kill you, little squirrel. It was just pretend. Shucks. It's only a red squirrel. They're bad. But he wasn't doing anything bad. He was just eating his dinner, and I picked up a rock and... I almost never hit where I aim, and, ah, let's go down to the river and play. I want to go home. Hey, look who's coming. It's editor. Hiya, kids. Hi. Hello, editor. Hop in. I'll drive you home. I'm not going home. I'm having dinner at Selma's house, and Bruna's going to fix egg pancakes. Egg pancakes, huh? Editor, red squirrels are bad, aren't they? Squirrels? Well, I don't know if they're so bad. Why, Selma, what's the matter? Oh, editor, I just killed a red squirrel. She picked up a rock and killed him dead. But... but you really didn't mean to, Selma. It isn't what you mean to do. It's what you do. Well, there's enough trouble in the world without grieving over something that can't be helped. You talk like my pie editor. That's nice, Selma. Thank you. Hey, who's that down there? It's a lady. What lady? Yeah, what lady? Suppose we find out, eh? Hello there. Can we give you a lift? No, thank you. I'm really enjoying the walk. You're new here, aren't you? Yes. Oh, I'm sorry. It's not a matter of curiosity. I'm Sam Nels Halverson, editor of the spectator here in Fuller Junction, and one of the strangest scenes in this part of the country. Well, that's news. Oh, how do you do, Mr. Halverson? I'm Viola Johnson, the new school teacher. First to eighth grade. Well, that's wonderful. Meet one of your pupils, Selma Jacobson. How do you do, Selma? Hello. I'm six. Oh. Oh, and this is Arnold Hanson. They're cousins. Hello, Arnold. Hello. Going any place in particular, Miss Johnson? Oh, just on my way to the Farassons. Well, that's quite a walk. Better let us take you. All right, I will. Stand up, Arnold. Don't mind holding a young man on your lap, do you? Oh, I think not. Oh, shut. You know, Miss Johnson, it always makes it much better news, Adam, to pad it with a little human interest. For instance, where does our new school teacher come from? Milwaukee. Mm-hmm. And ask how she likes Fuller Junction, Miss Johnson said. But Miss Johnson doesn't like Fuller Junction, and I'm afraid you wouldn't quote what you'd have to say. Oh, that bad? Well, for one thing, it's awfully small. Well, so's a diamond, Miss Johnson. Well, tell me, what is there in Milwaukee you can't find right here? Oh, well, Milwaukee's a city. There are concerts and lectures, theaters. It's exciting. Well, if that's what you wanted, why'd you come here? Well, there was no choice of mine, Mr. Hobbes, and you see, I'm studying for my PhD in education. That requires a year of practical teaching. My parents are Norwegian, and when the university heard I spoke the language, well, here I am. At the end of the year, I go back. It's just as simple as that. Why is everybody here Norwegian editor? Well, because most of them came here from Norway, Selma. But they aren't Norwegians anymore. They're Americans. My father calls me into me. That's Norwegian. That means girl mine. My father just calls me. Well, this looks like the harassing farm, Miss Johnson. Oh, by the way, if you have any spare time, I'd like to show you some of the things around full adjunction you can't find in no walking. Oh, I'll have plenty of spare time, Mr. Harvison. Thank you very much. Goodbye. Bye. Bye, Selma. Bye, Arnold. Goodbye. I wonder if Miss Johnson ever ate egg pancakes. You know something, Selma. I'll bet she never did. In a minute, Bruna. Just blushing. Can I pump the water for you now, Pa? I'm pumping. Huh, good Martinius? I'm the guest. Oh, nobody has to pump. I'm all finished. I have something for you and me. Come over here to the barn. My roller skates? Is that it, Pa? No, not roller skates. Roller skates are for your birthday. Look in to me. Jeepers, a calf. Yes, Selma. Is it my calf? My very own? Your very own. Oh, Pa, I'm so happy. That's good to be happy. Selma killed a squirrel, Uncle Martinius. Killed him dead. Yes, I know. She just told me about it. Oh, Pa, do you think while I was killing the squirrel, the calf might have been born just about then? It probably was him to me just about then. Jeepers. Oh, coming, Bruna. Boy, Aunt Bruna, you sure make egg pancakes good. Well, thank you, Arnold, but don't you think that's too big a bite? Uncle Martinius takes big bites. Look. Well, your Uncle Martinius has a big mouth, Arnold. Do I get to feed my calf tonight, Pa? Well, you have to wait three or four days then to me. Then we'll teach you to eat out of a bucket. If I had a calf, it would be bigger than yours. Only I haven't got a calf. Well, neither is Selma. Not really. But I have, Ma. Pa said so. Sure is funny how I keep on not having a calf. Well, what Pa meant, dear, was that it was just pretend your calf. But Pa didn't say it was pretend. He said it was all mine. Um, passed the blade on like a good boy. Selma, everything on the farm is yours, dear. Yours and ours. Couldn't just belong to one of us any more than the sunshine or these pesky flies. I'm sure that's what your Pa meant, isn't it, Martinius? Well, I did tell her it was all hers. But maybe your mother's right, Selma. Maybe we ought to figure, like she said, instead of what we spoke about. Yes, Pa. For the land's sake, Martinius, you can't take it away from her if you gave it to her like that. Oh, maybe it's a good thing, Selma. You need something to take care of. You'll have work to do, just like a grown-up. More pancakes, Martinius? Oh, no more, Bruno. Well, I'm going to take a nap. Then I'll go to town for a load of salt. Oh, I, uh, I might stop off on the way to see Bjornsson's new barn. Won't come along in for me. I've got to go home. I've got to catch rats. My Pa gives me two cents a rat. You know, Bruno, they'd tell me Bjornsson's new barn is as near rat proof as you can build them. Bjornsson's new barn. The way you men talk about a new barn. And Mrs. Bjornsson's wanting inside plumbing for the last ten years. Can't have everything at once, Bruno. No, but I bet there are times when she wishes she was a cow. You know you'd be walking around with your chin up to here if we had a new barn. Going up to here is right. Up to here in debt. Those are fine pancakes, Bruno. Fine pancakes are not. No barn. Well, I've got to go ratting. Bye, Aunt Bruno. Bye, Summer. Bye, Uncle Martinius. Bye, Anna. Why do you always take a nap on the floor? Why don't you ever take a nap on the sofa? Oh, I don't know yet to me. Sometimes I just like sleeping on the floor, I guess. Do you want a new barn, Pa? Well, every man wants a new barn yet to me. Then I'll pray for one. That's nicer to me. But it'll take more than praying. Gosh, what's one more barn to God? I sure love you. That's nicer to me. That's nicer than the biggest barn in the world. Look where the moon is now. Yes, dear. And that means the minutes are moving, too. Almost time for bed. Pa, you lot have seen Mr. Bjornsson's new barn. Gosh. You stop by this afternoon, hmm? Every cow has their own stall with their name on it. I guess your Pa likes that. Deeper's mob, but Mr. Bjornsson has fat cows. Better than Judge Henderson, I bet. Mr. Bjornsson has worked 50 years, Selma, for fat cows and a barn to put them in. I'm glad he has them. Then why don't you want Pa to have a new barn? I'd like Pa to have everything that would make him happy, Selma. Look, look, right now, there's your Pa at the Amendon Harness when he ought to be sitting here on the porch getting some rest. For the old barn, he works more than any man should. To pay for a new one, he'd never be able to stop. Oh, it's better, Selma. It's better never to have a thing than to have it and be afraid. Some of these days, you'll... Pa, come now. Well, that's done. Come sit down, Martinez. Did you ever see so many stars? The real pretty night parties. Pa, do people live on the stars? They do. We want them to, Yantami. Why is that? Well, cause nobody can tell for sure that they don't. I wonder if the people who live on the stars have free barns. Sure, Yantami. It's guaranteed with your birth certificate. A big red barn and a fine herd of cows. Five minutes more to bed time, Selma. I guess that's why they call it the Milky Way, isn't it? See the big dipper up there? Almost running over with milk. Come here. Come on, I'll put my lap. Pa, that is my birthday. Yes, I know. I'm sure growing up. Too big to give me a kiss, are you? Oh, no. Why didn't you go to the great meeting tonight? Oh, I don't know. On a night like this, a lot of people around I... I get a lonesome feeling. Can you be lonesome with people around? Yeah, sometimes. Are you lonesome now? No. But I'm people. No, Yantami. You're my daughter. It's a fine place. It solids the men all around the silo. Anyway, there isn't any other place to stay on a farm. When do I get my turn? They were my birthday present. You can have your turn after a while. I want my turn. Uncle Martini said I could have a turn. But they were my birthday present. You're a big ol' pig. I am not. You're a big ol' pig in each slot. I was going to let you have a turn, but now I won't. I want a turn. You're a big ol' pig. Don't you go home. Because I want my turn. And if I don't get my turn, I'll tell your pa, too. If you do, I'll slap your face. Why don't you, uh, uh, spank her or something? I think that's your job. No, no, I can't do that, Bruno. My hand's too big. You better take care of it, Bruno. But you gave her the skates, and besides, I got supper. Said she pushed me. Uh... Come here, Selma. Yes, Pa? Why didn't you give Arnold a turn on your skates? A dirty ol' pig, and he said I ate slop. Did you say that, Arnold? Oh, no, Uncle Martinius. Liar. Come on, give him the skates, Selma. No. Then you'll go to bed right now without any supper. Yes, Pa. Now, where are you going? I'm taking my skates, and I'm going to bed without any supper. Give me those skates. But you told him if I went to bed without any supper, I wouldn't have to give him a turn. No, you don't have to give him a turn. Now you have to give him the skates. But Pa, I... Here, little Arnold, these are your skates. Selma wants you to have them as a present. Don't you, Selma? Yes, Pa. Now go to your room, go to bed. She sure is selfish. She sure is. Go on home, Arnold. I'm trying to read my newspaper. Oh. What do you want? Get away from those stairs. Can't I use this? Good night, Pa. Go back to bed. Selma. Out to the bar, and I guess I'm going to get the bath tub. I'll take a bath. Oh. Well, can't I take a bath if I want to? I'll get the water on the stove. Uh, Martinius, I wasn't going to tell you this, but... Tell me what? Oh, nothing important. It's just that there's a circus going through town tonight. They're stopping at Lowberg's store for feed. What time? Well, it's four o'clock in the morning. Oh, four o'clock. But she's never seen a circus. Never once. Still want that hot water? No, don't bother. I think I'll just sit down and read the newspaper. Oh, you. Honestly, half the time I can't tell which of you is the biggest babe in your Selma. Yentemi? Yentemi, wake up. What's the matter? There's a circus. A circus is going through town. I want you to see it. I want to sleep. But a circus, lions and tigers, elephants maybe. Elephants? I'm going to take you. Oh, but I'm too tired. Oh, come on now. Wake up. Wake up. A real circus? Yes, Yentemi. What do you think of that? A reed. Pull that away. There they are, Yentemi. That's the circus. But Pa, all I can see is trucks. Where's the animals? They're coming at me. Oh, yes, yes, I'm sure of it. Look on the trucks, tigers and lions. But there are only pictures of animals. Yes, but inside there are wild animals. Look how close we're standing to them. Pa, I'd like to see the wild animals without the trucks. Well, yes. Let's walk down there. Oh, look Pa, a real elephant. Where? Oh. Is he going to come out? Is he? Well, I don't know. Wait here, Yentemi. I lost the trainer. Oh, excuse me, Mr. But... Lost the trouble, Jack. Were you figuring to bring the elephant out? No. Oh. Is he going to pass? Is he? I know it's a lot of trouble, but maybe I could pay you something if you... Have you got a sawback? What? Have you got a fin? Well, I'd be willing to pay. Have you got five dollars? Five dollars. Oh, five dollars. Uh, two, three, three-sixty. You know, I never carry much money around. Could, um... Could you do it for four dollars? Four bucks? Okay. Hey, Eddie. I think Boitner wants to take his stretch. Let's get him off of the truck. What did he say? What did he say? He said he was always glad to show elephants to little girls. Come on. Deepers, look at her. Yes, look at him. See, he's getting off the truck. Look, his skin's too big. You want she should do some tricks, little girl? Look at him. He's sitting up like a puppy dog. Oh, what a wonderful elephant. All right, Boitner. Knees. On your knees. Oh, that's a wonderful trick. That big elephant on his knees. Like to take a ride on her trunk, Boily? Oh, well, is it all right? Oh, sure. Here we go, kiddo. Up you go. Look at me. Look at me. Look at me. Just hang on there, sister. She'll take you for a little walk. Oh. Put your hands up. Get going. That's us, mister. I'm sorry to walk us out. Hold still, Boitner. Head down. Way down. I'll jump off, sister. Oh, thank you. Thank you very much. That's OK. A nice little kid. How did you see him lift me up? Did you? Oh, I should say. Did you like it yet to me? Oh, yeah. Goodbye. Goodbye, elephant. Better get inside my coat and it's getting chilly. Maybe we'll see the frost before the sun comes up. No frost, gentlemen. It's too early in the season. Besides, you'll be back home in bed before the sun comes up. Pa. Hmm? Yeah, I kiss you goodnight. Yes. I'm sorry about this afternoon. You know, sometimes I get a meanness when you get lonesome. Yes, I know, yet to me. This has been about the night. You'll have more, yet to me. Even nicer. In a moment, we'll return with the second act that our vines have tender grapes, starring Margaret O'Brien, Francis Gifford, and James Craig. Meanwhile, here's Libby Collins, our Hollywood reporter. What have you been up to, Libby? Oh, I had a fascinating afternoon out at the Warner Brothers Studio, Mr. Keely. They were telling me something about the filming of Night and Day, their new Technicolor musical. Hmm, the picture that celebrates the 20th anniversary of sound. Yes. It was at the Warner Studios that the very first talking picture was made 20 years ago. I can remember the difficulties they faced in the production of those first talking pictures. Well, I guess they've mastered most of the technical problems, but they still have other production troubles, they tell me. For instance, in this new musical, they were looking for a group of short girls to fill the chorus lines. Now, that sounds like a simple problem, but it wasn't. Why, Libby? Well, because girls just seem to grow taller out here in California. They had to scar the countryside to find girls who were short and also lovely to look at. The fact that there are so many luxe girls in Hollywood must have helped on the second requirement, Libby. Oh, naturally, Mr. Kennedy. Every starlet knows how important a nice, smooth complexion is to a spring career, and that's why so many of them have come to depend on daily luxe-soaked care. They're following the example of nearly every famous star in Hollywood. While all the feminine stars of Night and Day are luxe girls, Mr. Kennedy. Alexis Smith, Jane Wyman, Mary Martin, and Ginny Sims. Quite a dazzling array of lovely luxe complexions. That should be something to see, especially in technicolor. There's a reason why luxe-toilet soap is Hollywood's own beauty soap. Well, here's what stunning Alexis Smith says. My luxe soap facial gives skin fresh new beauty. They're a quick, easy care that really works. A thrifty soap, too. Each satin smooth cake can be used to the last thin sliver. Why not try luxe-toilet soap for your own precious complexion? Screen stars tell you it makes a luxurious bath soap, too. Mr. William Keely returns to the microphone. The curtain rises on act two of Our Vines Have Tender Grapes, starring Margaret O'Brien as Selma, James Craig as Nels, and Frances Gifford as Viola Johnson, with Joseph Kearns as Pa. A few months have passed, and now in deep autumn, the days well by on the Jacobson farm was Selma, their school, and the nice new schoolteacher, Miss Johnson. And after school, her proudest possession, the little brown heifer cat. Look at her, Ma. I guess Elizabeth's just the most beautiful cat from Wisconsin. All right now, she's the hungriest. Here, Elizabeth, come get your supper, girly. You were late from school today, dear. I stayed to talk to Miss Johnson. Only I couldn't talk to her very much. Why not? Cos edited came, and I guess he wanted to talk to Miss Johnson, too. Again? Well, that's just fine. Why is it fine? Well, because Miss Johnson's very nice, and an editor's very nice. I wonder if two nice people like each other, well, then it's fine. Oh. And the born martinis. I just figured up the potato crop. And? Over $700 net. That's some potato crop. That much, huh? Now they're a year like this, and we'll be richer than Judge Henderson. How much did my potato money figure out, Pa? Oh, now let me think. You picked $104 bushels. That's $4.16. Cheaper. And then you got exactly $0.84 bonus coming to you. It comes to $5 even. Oh, thank you, Pa. Thanks. Hey, Bruno. I, uh... I've been talking with the WPB. Oh? Yes. They said they could release enough lumber for a 10-cow barn, and the machine shed attached. Martinius. Well, don't worry yet. I haven't found anybody yet who's willing to lend me the money. But I may find somebody when I go into town tomorrow. Oh, I never. Pa, can I go with you tomorrow into town? It's Saturday, and I... I want to see editor about something. Yes, I guess you can go. Snow tonight, Bruno. Snow for sure. Ma, how many days is it till Christmas? Man's sake, Selma. One less than it was yesterday. Ma, can I take the catalog with me into town? What for? It's a secret. Oh, well, I guess so. Selma, you know something? Your pa broke his jackknife the other day. He did? Mm-hmm. He could probably use another. Oh, thank you, Ma. Thanks. The Christmas exercises will be played by our grade school teacher, Miss Viola Johnson. Well, any more items of journalistic interest, Miss Johnson? Oh, definitely. It's snowing. Oh. Well, there's a paragraph with a society column. I'd certainly like to print. Is there? Oh, yes, I have it all written out in my mind. That is, school teacher and spectator publisher plan early wedding. Nels. Oh, this is a heck of a place for my six proposals, isn't it? This musty old office of mine. Selma didn't work on the river in the moonlight. Didn't work at the Halloween party. So I figure... Nels, whatever you figure it, it all adds up to our living here in full adjunction, doesn't it? Mm-hmm. How can I say it without hurting your feelings? Say what? That living here is just like saying, I want to put you in jail. I want to deny you all the opportunities of a civilized world. I thought it was like saying, let me make you happy. Let's live where human nature's real. Funny how I different the same words can sound to two people. Aren't you ever going to leave this place? Well, as a matter of fact, I am. Today now looks like the army's finally got me. But they rejected you twice. Oh, I've been going to a specialist in Madison. He's fixing up that old football back of mine. Oh, don't go, Nels. Don't... I'm sorry. I shouldn't have said that. It's all right. It's funny. You want to stay here, and yet you're planning to leave. You want me to leave, and yet you want me to stay. It is funny, isn't it? Oh, well, one thing's certain. Anyway, I... Well, hello, kids. Hello, Miss Johnson. Hello, Selma. You helped us so we could come in, editor. Well, what brings you to here this cold and snowy morning? I'm ordering Christmas presents from my mom, Pa. It's a secret. Oh, I see. I brought the catalog, editor. Would you make out the order for me, please? Sure, I will. Come on, let's get a pencil and paper. Well, Arnold. I know you. You knew the teacher. And I know you. I bet you don't know what I'm thinking about. Now, what are you thinking about? Nobody knows, and I wouldn't dare tell them. Why not? Because it'll scare them. Oh! And here's the money, editor. I want this one for my mom. Uh, this one here, huh? Number 11K. I'll write that down. And this one for my Pa. This one? Yes. Mm-hmm. A very, very good choice. Now let's see, uh, your mom's, uh... Do you want that with the lilies or roses? Roses. Mm-hmm. Okay, R-O-S-E-S, roses. Don't forget the money. Oh, yes. Well, I'll take you to this order personally. Oh, thank you. Thank you very much. Before you came in, Selma, I was telling Mr. Halverson about the Christmas program in the church. And you're on it. Honest? I've written a story for you. And you're to tell it. At night, at the church? Mm-hmm. Well, if I'm not too scared, what about me? Do you have to go to school to get a story? Oh, I'm afraid so, Arnold. But we have this for you. Uh, a half a dollar. All for me? Mm-hmm. All of it. Gosh, you sure must be richer than Judge Henderson. Ha-ha-ha. We've got to be going now. We're meeting my pal over at Logan's store. Sure is a pile of money. Sure is. Come on, Arnold. Goodbye. Thank you. Thank you very much. Thanks. Bye. Bye. Now, uh, among the nicer things we have in full, is it now, Bruna? Now does she give the story? I-I think so. Oh, what the she-for-gets, Bruna? I tell you, Martinius, you're worse than she is. We can continue our Christmas program now with a recitation by Selma Jacobson. Jesus, Miss Johnson, I'm scared. Oh, you'll be fine. Now walk out nicely. It was tax time in Palestine. And all the people had to go to the county seat to pay with the owed. And some of them had to go to the town of Bethlehem. And among these were Joseph and Mary, who lived in the town of Nazareth. Joseph led a donkey. And Mary rode on the donkey. But they were getting very worried because it was getting dark. And Mary was going to have a baby. As soon as they got to Bethlehem, they went straight to a hotel. But the man in charge of the hotel said, I'm sorry, but we have in any rooms at all. We are all filled up. You will have to go someplace else. But when Joseph explained that they needed a room very badly, the manager said, you may go out into the barn. I'll have the hired man throw some hay into the manger for you. So they went out into the barn. Out on the hillside beyond Bethlehem, a shepherd was lying there sleeping. Suddenly he woke up with a light shining in his face. He saw a star hanging in the sky low over Bethlehem. Then he saw three riders with three camels going towards Bethlehem. The three men rode their camel straight to the hotel and got down from them and went to the manger. Because it was there that the stars shone most brightly. There they found a man, a woman and a little baby. They gave presents to the little baby. And then the air was filled with the sounds of angels singing. Peace on earth sang the angels. Goodwill toward men. The mother heard it. And Joseph heard it. And out on the hillside the shepherd heard it. And the people of Bethlehem heard it. And in Jerusalem a king heard it. And then the mother looked down at the little baby and said to Joseph, Look, there's a light around the head of our baby. A shine that is soft like moonlight. And Joseph looked and nodded. And then he looked at Mary and said, There's a light around your head too. And then the mother hugged her baby closer to her as if she were afraid for it. And then the three of them listened to the song of the angels which filled the whole world. And the baby cried. And the slam, the most beautiful I've ever seen. Selma gave it to me. And look everybody, my presents. Oh Jackknife! You should have seen the wrappings too. Philip Holger, sharper than Judge Henderson. From Selma. Sit down, sit down. We've got to have wine on Christmas morning. I bet you don't know what I got in this packy, drunk and martinius. It's for Selma. I couldn't even begin to guess, Arnold. Well, Arnold, that's a very, very nice thing. It's pretty nice for my mom to make me do it too. Well, it is. It is indeed. Well, I guess since Bjorn Bjornson here is the eldest. And owns the biggest barn in Fuller Junction. And the biggest barn. I think he should say the words. Merry Christmas, everyone. Merry Christmas. Merry and prosperous New Year. Merry Christmas. It will be a prosperous New Year. Oh, I have some news to tell. I, uh, I talked to the bank. They think we should put up a new barn here. Oh, when martinius? As soon as the winter breaks. Well, then we drink to a merry Christmas and a new barn. Oh, especially the new barn. We already have the Christmas. What are you going to do with the old barn? Use it for storage space. Yeah, you always need more storage space around the barn, Bruno. But what will we do with the debt? We'll drink to it. We'll drink to that too. School everyone. To the biggest debt in Fuller Junction. Well, now that you've dragged me out of school, Nels. School was out an hour ago. I have papers to correct. Where are we going? To Aurora, dinner and a show. Aurora? Why not? May as well use up all my A tickets and one big splurge. Nels. Well, I got my papers this morning and a two weeks furlough. I see. I'll be leaving too soon as the spring term is over. It's funny. I never quite thought you meant it before. I couldn't spend my life here, Nels. I'd suffocate, honestly. Well, we'll have a double celebration. We're both going away. Spring certainly comes here with a vengeance, doesn't it? Look at the river. It's almost a flood. Almost it is. Always floods over this time of year. Isn't it dangerous? If you get into it. We do something else this time of year. What? Oh, it's highly traditional. We just a school teacher. Nels. You know I'm in love with you. Who am I to break tradition? Still want to leave full injunction? I just have to. Sure, I guess I understand. Come on, Selma. I don't want to play anymore with that old calf. All right. You can rest now, Elizabeth. But there's nothing else we can play. Everything's all flooded up. Sure is terrible. All that water off they're going to waste. Let's play boat. We can't play boat because we haven't got a boat. We do so. There's an old tin bathtub. We can play as the bathtub is the boat. It wouldn't work. We can find out, can't we? Come on, let's drag her down near the river. Oh, Cola. Arnold? With her playing in the barn? Sure, I'll tell him. Goodbye, Cola. Arnold, come home right away. In the barn, Selma. I'll get it. You're not in the barn. I was just out there feeding the chickens. Well, they can't be far in this mud. Maybe they went over to the Farrassans. I've got a telephone. One M3, Emily. Well, pretty good, thanks. Only wish this flood would go down. Hello, Mrs. Farrassan. This is Bruna Jacobson. Got a couple of kids there named Selma. No... What? When? Why didn't you... All right, all right, thanks. Bruna. They're in the flood. They've got the bathtub in the river. Oh, my teamies. Then maybe I can get to them. What if you can't? I don't know, but they can drown. They can't. Call some people in town. Tell them to go to the bridge. Pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll bring you the third act of our vines of tender grapes. Starring Margaret O'Brien, Frances Gifford, and James Craig. From south of the border comes our lovely young guest tonight, Miss Linda Christian, who, after a much-traveled life, discovered that all trails lead to Hollywood, and in her case, to Metro Golden Mare Studios. Right, Linda? That's right, Mr. Keely. Producer Joe Pasternak saw me in a fashion show and gave me a part in MGM's new Technicolor musical, Holiday in Mexico. And from the crowds at last week's premiere in Hollywood, that's a great start for a new career. Well, it was a thrilling experience to work with stars like Walter Pigeon and Alona Massey. And an exciting story, too. Terrifico, as you say, in Mexico. With plenty of colorful music to go with it. Yes, there's Jose Durby and Xavier Cougat, and the lovely new singing star, Jane Powell. She's beautiful to watch as well as to listen to. Well, Linda, when our audience sees you in Holiday in Mexico, especially in those close-ups, I'm sure they'll agree that you're a match for anybody with that gleaming auburn hair and flawless complexion. Thank you, Mr. Kennedy. You're looking at the Luxe complexion and Luxe toilet soap is one thing that always went in my traveling case. The stars of my picture use it, too. Thank you, Miss Linda Christian. I'm sure with such beauty and talent, you're slated for success. Exacting camera close-ups call for lovely smooth complexions. And here's the beauty care that Hollywood stars depend on. Daily active lot of facials with Luxe toilet soap are so simple. Just smooth the creamy lather well in, rinse with warm water, then cold. Pat dry with a soft towel. Give skin quick, new loveliness. In recent tests by skin specialists, actually three out of four complexions improved in a short time with this daily Luxe soap care. Why don't you try it tomorrow? Here's Mr. Keely at the microphone. Act three of our vines have tender grapes. Stop by the store. The vines have tender grapes. Starring Margaret O'Brien as Selma, James Craig as Nels, and Francis Gifford as Viola Johnson with Joseph Kearns as Pa. 30 minutes have passed. Trapped by the swirling currents of the swollen river, Selma and Arnold hadn't terrified in the improvised boat that bears them ever closer to the waterfall beyond the bridge. On the bridge, a dozen villagers stand by the rail, peering intently upstream. Why is everyone waiting here at the bridge? How do you know? Maybe they've passed already. Someone would have seen them, Cola. All we can do is wait. Wait. That's fine. How do you think I feel? That's my little boy down there is going to drown. Hey, Jacobson's coming. I'm a genius. Mr. Bjornson! Cola! Tell me, tell me. No sign of them yet, Martinez. I cut across Farasson's farm as far as I could. The water's too deep. I didn't even see them. Why didn't you watch them? I don't know, Cola. I just... Oh, I'm sorry, Martinez. It wasn't your fault any more than it was mine. Look, there it is. They're coming. They're coming. But it's empty. The bathtub's empty. No. No, it isn't empty. They're in the bottom. We'll get it as it comes under the bridge. But how can you? The water's rushing by like a mill race. I'm going in. Nobody's trying to water like this. Selma! Selma! I'm going in. You can't stop me. Paul and Bjornson. Joe, quick. Get ready with the boat. Here they come. If you miss, you'll never get another chance. They're goneers for sure. We won't miss. Bravo, Joe. Here I go. Paul! Paul! Shend to me. Postel, Selma. Don't move. Do five seconds more. Four, three... I'm coming, Joe. Grab the tub. I can't hold on. I got it! Paul! Paul! Oh, shend to me. Oh, it's all right, little one. You're safe. You and Arnold, you're safe. Thank God. Thank... Why did you do that? Why did you do that? Oh, Paul! Paul! Oh, shend to me. Shend to me. It's wild geese. They're coming back. Wild geese. They fly just like airplanes, huh? Why do airplanes drop bombs, Selma? To kill bad people. Editor's going to kill bad people. I bet he kills them all. What do you mean about editor? He's going to be a soldier any minute now. He is not. He's got a sore back. Yes, he is. He told me so. There you get. Get out of back here to the barn. Storm's coming. Rachel, Arnold, we're coming back. The official was out in that rain. He drowned. Drowned dead. Yes, I guess he would, Arnold. Their milking's about done. Paul, editor isn't going to be a soldier, is he? Yes. But won't he get hurt if he's a soldier? Shucks. They can't hurt editor. Why, he can run faster than Judge Henderson. Well, you can't tell them to me. It's just whatever happens. But why is he going to be a soldier? Well, because he thinks he ought to. But why? I don't think it's too about peace on Earth. If editor's going to get hurt, maybe. Well, look at me now. Take this milk. Now, milk's a good thing, isn't it? It's good for everybody, isn't it so? Yes, Pa. Well, just because it's good is no reason we get a treat. We have to work for it. Does that make sense to you? Yes. Well, the way I look at it, the same thing with peace on Earth. It's good for everybody, and it don't come free, but you have to work for it. When somebody comes along, tries to take it away from us. Well, we've got to fight for it, then, because it's that good, young man. So why? I guess that's why editor's gone. Does that help you to understand? Does understand mean I've got to be glad about it? No. Then I guess I understand. Good, good. Well, that looks like I'll have to drive you home tonight, Arnold. Oh, look at it come down. You know what kind of weather this is yet to me? No, what kind, Pa? Checker weather. Come on, let's go into the house and find our checkers. Martini is quick! What's the matter? Jonson's barn. It's just been struck by lightning. It's burning up. Jonson's new barn? Get in the car. They need every man they can get. My poor husband. He'll be all right, Mrs. Jonson. Martini's got him out on time. He'll be all right. There's no insurance at all. No. The insurance man said he wouldn't allow he and the loft above the stock. Oh, my. Jonson said no insurance company could tell him where to store his hay. So now everything's gone. Barn, stock, hay, everything. Such a pity. Oh, that's shooting. Well, they saved a few cows. But the others didn't. It's better they don't suffer. It's better. 50 years he worked for this. For his new barn. He is an old man, Bruno. It is better they save one's shell for a broken-hearted old man. It's after midnight, Martini. Go to bed, dear. I just sit here and think. Those were prized cows, Bruno. I shot 21 pure bred jerseys. Man can't sleep on that. You did what was best. Bruno, when the war is over, I want to do something to the house. Fix up the bathroom. Maybe get a little electric plant. You could do with a new stove, too. You know the kind that works on that rock gas. Are you figuring on getting the money? We've got the money. But you... You'll need that and a lot more for the new barn. I don't figure to build a new barn, Bruno. But you had your heart set on it. Yes, I guess I did. I guess every man kind of figures the one thing he really wants is a new barn. That's mostly foolishness. I'm not so sure, Martini. Maybe if a man wants a new barn as bad as you do, maybe you ought to have it. Not if it costs a price a man isn't willing to pay. I've got you, Bruno. I've got Selma. Now, if I had a new barn, I'd have everything. There wouldn't be anything else I'd want. You know, maybe it's a good thing for a man to want something. Something that he's never going to get. Just to keep his interest up and help him take care of the things. Oh, here now, Bruno. Here. Bruno. Just look at me. I don't know about you, but I'm going to bed. Church in the morning, Martini? Yes, I think I'd like to go to church. I think I'd really like to go. That concludes our service for this morning. But now our friend, Nels Halverson, has something to say to all of us. Is this about Mr. Bjornsson Park? Yes, I think so yet to meet. We're quiet now. Many of you here remember that my father began publishing the Spectator 37 years ago. We have never missed an issue since. Unfortunately, that record will be spoiled next week. I won't be here. I'd like to read you a part of my father's first editorial. He said this. We are all children by adoption of the land in which we now live. The earth is here, and the water and the sunlight, and the labor to make it yield. The only thing which can make a land evil is the people who inhabit it. If we have within us the generosity to share in times of stress with those who are in need, then we can raise our heads among the nobility of the earth. Then we can say, this is a good land, and the men who live in it have no fear. All of you know what's happened to Bjorn Bjornsson. He needs our help. As a collection plate is passed, please give us money. Got it figured, Viola? Oh, Nels, it's terrible. Not even $50. Well, I guess that's that. Nothing I can do but tell them, nothing go home. What I'd like to tell them is... Hey, what's she waving her hand for? Selma Jacobson? She wants to say something. Let her, Nels. What is it, Selma? If we don't have any money to give, can you give something else? You can give anything you wish. Can I give my nine-month-old brown-haired calf? Oh, well, that's funny. I've got papers. Martinius, is it all right for your daughter to make this gift? Well, it's her calf to do it that she wishes. She says she gives it, so I guess she gives it. Thank you, Selma. Mr. Editor, I give two pigs. A whole stained calf. Two turns of brown clothing. I give half my silence. Keep track, Viola. The dam's broke. Feel me glad to give two fur courses. 30 bushes of corn. My son Arnold has a gift to me. I give my goat. I give my goat and his name's Henry. Hundred versions of my own? Five tons of Timothy Hay. What's it all come to? Oh, it's wonderful. 11 cows, six calves, 15 loads of silage, and 26 tons of Hay besides all of the... My goodness, everyone's left the church. They've got work to do now. Nels. Do you think if I asked the school board, they'd reconsider my resignation? They might, if the reasons were good enough. Yeah. It's going to be a little bit difficult to explain that I've fallen in love with the whole town. I am afraid they wouldn't understand that, but... Well, if you'd fallen in love with one person in the town, that might be good enough reason, if it were true. It's true, Nels. It's been true for a long time. But it wasn't until this morning that I understood why. You suppose a fellow can kiss a girl in church? Well, I think under the circumstances, it's quite permissible. Arnold, Arnold, where are you? Just a sitting in church, ma. Well, you come out here this minute. Shucks. Just when you're going to start kissing me. Well, how do you like that? You'd better hurry, Bruna. Your husband and Selma have started walking already. No, pastor. I kind of think they'd like to walk home alone this morning. We're all proud of them, Bruna. Just as proud as you are. Yes. Thank you. No. Didn't you even have a lonesome feeling in church with all those people around? No, Yantami. We're lost by the roadside. The grass is growing too? And me, Pa, I'm growing too. Yes, Yantami. All of us. We're all growing. I'm sure we could bring you no happier vacation fare than our vines have tender grapes. And here are the stars who gave up their holiday to make yours more enjoyable. Margaret O'Brien, James Craig and Francis Gifford. Margaret, I saw you and your mother in the news reel the other day. You were placing your hand and footprints in cement at Grownman's Chinese Theater. I saw that too, but tell me, why'd you take your shoes off before you placed them in the cement? Because it's easier to wash your feet than to clean your shoes. That's very sound reasoning. Very close to my footprints are Mr. Charles Lawton and Mr. Edward G. Robinson. They're very good friends of mine, and I'm a pebble's throw from Judy Garland. Well, I'd say you were in mighty good company, Margaret. And those are neighbors who'll never move away. Incidentally, Margaret, I understand that in your new Metro-Golden Mayor picture, three wise fools, you play the part of a little Irish girl. That's right, Mr. Keely. And it's about time that O'Brien had an Irish role. I hear you have an Irish probe, too. Can I please a role of Shiloh Monaghan when I come from Ireland with your man-servant till in celebration of that? Bet you could pretty nearly cut with a knife. You know, Margaret, those Irish keleens are famous for their beautiful complexions. Are you Irish, Miss Gifford? I certainly am, Margaret. And if you're thinking of my complexion, Lux Turlett-Sope has been a great help in that direction. I thought it would be something special like that. And I'm sure our audience will think your loveliness is something special, Frances. When they see you in Metro-Golden Mayor's picture, a little Mr. Jim. Thank you, Mr. Keely. What are you presenting next week, Mr. Keely? Next week, we're bringing our audience the drama of two fascinating people in one of the most popular plays ever to reach the stage or screen. The Barretts of Wimple Street, starring Loretta Young and Brianna Hearn. I might add that Brian plays the role he first created so successfully on Broadway. The Barretts of Wimple Street is a very impestuous love story of Elizabeth Barrett and Robert Browning. Their dramatic struggle against misunderstanding and misfortune in one of history's most famous courtships. Well, that's the play your audience won't want to miss, Mr. Keely. Congratulations and good night. Good night and all our warmest thanks. Good night. Sponsors, the makers of Lux Turlett-Sope, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Loretta Young and Brianna Hearn in the Barretts of Wimple Street. This is William Keely, saying good night to you from Hollywood. Every housewife knows how hard it is to buy all the soap she needs. But not everyone understands the reason why. And that is the worldwide shortage of fats and oils. Both are necessary to the manufacture of soaps and many other essential goods. It'll be a long time before our production of fats and oils is up to the pre-war mark. If you want to help prevent a serious shortage of soap, here's what you can do. Keep on saving every drop of your used kitchen fats. Your butcher still gives you four cents for every pound you turn in. Get all the food value from your cooking fats, but don't throw them away after you've used them. Pour the fat into a salvaged tin and take it to your butcher. Think how much it would help if everybody, every day, would save every drop of used fats. Margaret O'Brien, Francis Gifford and James Craig appeared through the courtesy of Metro-Goldwyn-Mayer, producers of A.J. Cronin's The Green Years. Heard in our cast tonight were Joseph Kearns as Paul, Marissa O'Brien as Cola, Johnny McGovern as Arnold, Dorothy Scott as Bruna, and Griff Barnett, Edwin Cooper, Janet Scott, Tyler McVeigh, Cliff Clark and Charles Seal. Our music was directed by Louis Silvers. Our Lux Radio Theatre production of Our Vines Have Tender Grapes has come to you with the good wishes of the makers of Lux Toilet Soap, Hollywood's own beauty soap. This is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear The Barretts of Wimpole Street with Loretta Young and Bryan Ahern. This is CBS, the Columbia Broadcasting System.