 Lux presents Hollywood. Lever Brothers Company, the makers of Lux Toilet soap, bring you the Lux Radio Theatre, starring Gene Crane and Glenn Langen in Margie. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. For me and I think probably for you, the memories of high school are the gayest, pleasantest, and most nostalgic of all. And tonight in that nostalgic vein, we take you back to 1928, a year of raccoon coats, flagpole sitters, miniature golf and rumble seat romances, a crazy colorful romantic period that forms the backdrop of our play from 20th Century Fox's screen hit, Margie. You'll meet the original stars, Gene Crane as Margie and Glenn Langen, one of Hollywood's most promising young leading men in his first appearance on our stage. Many things have changed since the flaming 20s of our play, but one fashion that still prevails is Lux soap for complexion care. Even in 1928, it was the beauty soap of film stars. And while the Lux Radio Theatre had yet to be born, the early popularity of Lux soap was, I'm sure, already laying the foundations for this, the greatest national theatre in the world. It's curtain time, and here's Act 1 of Margie, starring Gene Crane in the title role and Glenn Langen as Mr. Fontaine, with Jane Darwell as Grandma and Barbara Lawrence as Mary Bell. It's a rainy Saturday afternoon, and in the attic of a pleasant little house in a pleasant little town, a young mother and her teenage daughter are rummaging through a dusty collection of trunked boxes. The daughter has discovered an old phonograph and a carton of records. Can you imagine, mother, the phonograph actually still works. Well, after all, dear, it's not quite an antique yet. You used to have to wind this thing every time you wanted to play a record? Oh, we put up with a lot of hardships in those days. My goodness, will you look at these? Well, what are they? Just an old pair of bloomers I used to wear when I was about your age. Gee, they're hideous. I mean, well, they're so bulky. Well, they were quite a problem now and then. Mother, tell me all about the crazy and idiotic things you did when you were my age. Well, I went to Central High School just like you were doing. Well, tell me about it. Tell me about some simply terrific event that happened in your life. Well, I'm not so sure a terrific event in 1928 will seem so terrific to you in 1947. Oh, Mother, now you're just being difficult. Well, let's look at my old photograph album. Now here, this is a picture of Johnny Green. What's that thing he's wearing? Why, a raccoon coat, of course. He was the only boy in school with a raccoon coat and a studs blackhawk. Oh, what? It was a kind of automobile, dear. You went for him, huh? Oh, I went for him all right. But it was Maribel who had him hog-tied. Maribel? She used to live next door to us. Well, one day after school... Hiya, Maribel! Johnny, you're terrible. If you keep me waiting like this again... Hi, Banana Oil. Get in the car. Oh, I, uh, I promise we'd take home Margie too. Oh, for crying out loud. Do we always have to drag Margie McDuff along? Well, I can't help it. After all, she does live next door to me. Oh, boy, what a pain in the neck. Say, did you see the new French teacher? Yeah, I saw him. Is he good-looking? His name's Fontaine. Look, if Margie doesn't show up in two minutes, we're gonna have to go... Shh, there she is. Uh, hi, Margie. Oh, hello, Marybell. Well, come on, McDuff. Don't you stand there. What do you mean you can't? Mary, come here a minute. Oh, please. What's the matter? Marybell, please. Oh, just a minute, Johnny. What are you so flustered about? Not so loud, huh? Do you have a safety pin, Marybell? What do you want a safety pin for? The elastic in my bloomers. It just broke. I've felt it. I think I've got one in my purse. Hey, what's the matter, McDuff? What are you standing so funny for? Take him away. Oh, please take him away. Here's a safety pin. You want us to wait for you? No, just go on home. And if you dare tell Johnny Green what's the matter, I'll kill you. Oh, I won't. Goodbye, Margie. Well, where's she going? Well, Margie just decided to wait for something. Oh, what's she waiting for the fall? Oh, Johnny, you're a scream. You don't know how funny that is. Hey, Margie. Hey, Margie. Roy. Gosh, I'm glad you waited for me. How come you didn't go home with Marybell? Oh, because I didn't, that's all. What's the matter, Margie? Anything wrong? Roy, you shouldn't do that. What? Go around with safety pins in your mouth. I knew a kid once who swallowed a safety pin. Roy, I wish you'd go home. Can I go home with you? No, I've got some things to do in the library. Okay, I'll go with you. No. Well, what are you walking so funny for, Margie? Anything I can do? Yes. Go home and don't bother me. Oh, gee whiz. Okay, okay. Margie. Hello, Miss Palmer. I have those books for you for your debate. Oh. Oh, yes, the debate. Can I pick them up in a minute, Miss Palmer? I want to go over there in the corner. What's over there in the corner? I've got a hitch-up. I mean, I've got a catch-up on my political philosophy. Of course, dear, run along. Thank you. Oh, hello, Ralph. Well, how does our new French teacher like Central High? Well, so far very much. But it's really surprising, Isabelle, you should see my classes standing room only. I never heard of such a passion to acquire a French. Girls, mostly, I suppose. Yes, yes, I believe they are in the majority of that. You've been the talk of the school all day long. The girls think you're too darling for words. Oh, come on, I was about to cut it out. Say, this is quite a nice library you've got here. Would you like a book? Yes, yes, I would. Help yourself, Ralph. We still trust the faculty. Oh, hello. What's the matter? Oh, nothing. I just didn't know you were there. Well, I didn't know you were there. So I took these books off the shelf, then I saw you on the other side of the rack. Do you like poetry, too? Poetry? Isn't there poetry on your side? Uh-uh, political philosophy. Oh, I see. But I'm all finished with what I came in here for. Goodbye, Mr. Fontaine. Wait a minute. You're in one of my classes, aren't you? Yes, Mr. Fontaine. Well, do you two know each other? Yes, Isabelle. I call Miss Palmer Isabelle. I've been good friends of hers for some time. Margie's our champion debater. We're very proud of her. Why, she's the youngest student in her class. Well, that's fine. As a matter of fact, Margie the principal asked me to be chairman of the next debate. That's Wednesday, isn't it? Yes, Mr. Fontaine. Good. Well, if you'll excuse me now, I'm looking for a certain volume of Wordsworth. Why the long face, Margie? Why did you have to tell him that I'm a debater and younger than other people? And when a person meets another person for practically the first time, she doesn't want to be known as a debater and younger than other people. Oh, but I'm sure he'll appreciate your being so smart. Don't you think he's cute? I don't know. I don't generally notice how teachers look. Well, he is cute. Your books are on my desk, Margie. Good night, dear. Good night, Miss Palmer. I'm sure glad I waited for you, Margie. But I figured if I sat there long enough, you'd come out sometime. You're very nice to carry my books, Roy. Oh, that's okay. Say, when you came out of the library, who was that that opened the door for you? Mr. Fontaine, the new French teacher. What did he want? He merely happened to open the door for me. I don't trust Frenchmen. He isn't French. Then why does he teach it? Oh, Roy. Sometimes you act just like... but that's Papa. Huh? Papa! Papa! Papa! Oh, golly. That's awful. What's awful? That's a car that just went by. That was my father. Oh, I miss seeing him. You know, Margie, I've been to your house several times, and I've never met your father. Well, he doesn't live with us. Why doesn't he? I mean, are your folks divorced or something? Of course not. My mother died when I was a baby and ever since I've lived with my grandmother. Well, doesn't your grandmother like your father or something? Well, of course she does. It's only... Well, for goodness' sake, Roy, now it's in your business. Okay, okay. He's just that Papa was all broken up when my mother died and he went away for a long time. And then when he came back, he just started living by himself. And it's better that way, too, because, well, after all, what is that businessman know about girls? Oh. Papa's a very wonderful man and we're very fond of each other. And he has a terrific business, so we can't always see each other all the time, so we try to see each other on Wednesday afternoon. Oh. Of course, he pays for everything, but, well, I mean, Papa's a widower. Oh, yeah, he would be. I mean, if you're mother... Yeah. Of course. See what you mean. Well, come on, Roy. I got to get home sometime. Well, thanks a lot for walking home with me, Roy. I guess you better be going now. Goodbye. Oh, I'm in no hurry. Oh. Well, uh, would you like to come in and say hello to my grandmother? Sure, why not? Okay, wait here in the porch a second. Are you late, Dr. Margie? I know, Grandma, but I couldn't help it. I know. Maribel stopped in and told me all about it. I've told you a dozen times to fix those bloomers. Naturally, they fell down. Oh, Grandma, please. He's on the porch. Who's on the porch? You can come in, Roy. Hello, Mrs. McSweeney. Come on in, Roy, and sit down. Sit down. Thanks, Mrs. McSweeney. You know, I've always been meaning to ask you about your fireplace here in the living room. What's the matter with that fireplace? Oh, I don't mean the fireplace. I mean, that old lock and chain hanging up on the mantle here. Young man, I lashed myself to the railing of the White House with that lock and chain. It took four cops and a hacksaw to pry me loose. I spent two days in jail. Oh, gee whiz, what for? For a very noble call. Oh, really, Grandma? I don't think Mr. Hornsdale's very interested in politics. At his high time, he took an interest. Young man, I was campaigning for the right of women to vote. They called us suffragettes. Oh, yeah, I read about that. My father says a woman's place is in the home. You tell your father to wake up. A woman's place is wherever she makes it. Now I've raised Margie to take a deep interest in politics. And someday, I hope she'll be the first woman president of the United States. Oh. Grandma, please. A woman president couldn't be any worse than some of the men we've had. Well, Roy, I... I know you're in a hurry to get home. It's so frightfully late as it is. Well, goodbye, Roy. I'll see you tomorrow. Calling us again, young man. Yeah, well, goodbye, Mrs. McSweeney, Margie. I'm sorry you have to rush off. Oh, I don't have to go yet. Well, thanks again, Roy. Goodbye. Oh, Grandma. What's the matter with you? Don't you understand? I don't want to be the first woman president of the United States. For heaven's sake, why not? Not even if you've paid me. And I wish you wouldn't keep telling that to people. Oh, now, now, honey, what's wrong? Well, first Miss Palmer tells people that I'm a debater and younger than other people. And then you have to go and tell Roy that you were chained to the White House and sent to jail, and then about me being the first woman president. Oh, you'll probably never come back. I bet a cookie he phones you right after dinner. Do you think so? Grandma, in your opinion, is Roy's Adam's apple very noticeable? Well, I know, dear. You're just being nice. You can't help noticing it, I guess. It hits you right in the eye. Oh, well, I guess Roy's better than nobody. Well, you wouldn't want a silly, vain, conceited boy like Johnny Green for a bowl, would you? Johnny? Oh, yes, yes, Grandma. I certainly would. You just listen to that phonograph of yours. Oh, I'm working, Cynthia. Your grandma says it's time you was in bed. Why are you waving your arm around like that phone? I'm rehearsing my gestures. You ain't rehearsing, honey. You shadowboxing. Cynthia, do you know anything about Frenchmen? All I know is that they eat frog legs and snails. Oh, I'm sure Mr. Fontaine wouldn't eat snails. Oh, every girl in school's got a crush on him already. Including you. I've got more sense than to get a crush on a teacher. That chance I'd have anyway. Cynthia, do you think a woman could learn to love a man with an Adam's apple? Well, a friend of mine, her husband's got a garter and she's got seven kids. Don't seem to trouble her none. Come over here to the window, Miss Margie. Look down there. What? They're on Maribel's porch. She and that raccoon-coat boy. My, my, they're kissing this couple. They're at it most of the evening. I, I know. You've been peeking too? Of course not. I only meant... Well, anyway, how can people waste their time like that? Why, I think it's disgusting. Mm-hmm. Well, good night, Miss Margie. Good night, Cynthia. It's really not so noticeable. Not when Roy wears a high collar. Why, they let Roy have their Model T today. Well, that's fine. Here you are, Margie. A spare handkerchief. Oh, I won't need one, Grandma. No, but Roy will. That boy always has the sniffles. Golly, I almost forgot. My ice skating. Everybody's going ice skating after the debate. Grandma, do you suppose... Do you suppose maybe Papa would come and hear me debate? I mean, it is Wednesday anyway, and all it is mean is going to the high school instead of here, and he could hear me debate. I think it's a wonderful idea. Then ask him, Grandma. Call him now. I do nothing of the sort. You stop by his office and ask him yourself. But I, I don't think Papa likes me stopping his office. He's always so busy. Oh, rubbish. Now you do as I say. Well, all right. And don't forget, Grandma, the high school auditorium at 3 o'clock. You're sure quiet, Margie. Golly, don't worry about your father. He left a message for him, didn't you? Yes. It wasn't his fault. He wasn't in his office. Sure is funny, Margie. I never knew your father was an undertaker. He's a mortician. And, and what's so funny about it? Oh, I just mean I didn't know he had his own funeral polars here on Ridge Street. It's not what you meant at all. Well, I, well, I'm sure it's a very interesting business. I bet it's a good business, too. I mean, well, gee whiz, people are always dying. He can't help being in the business he's in. Oh, it's all right. I don't mind on it. Yes, you do. Everybody minds. I mind. Oh, I'd give anything on Earth if he was just a bricklayer or something. Do you suppose he'll come and hear you debate? How do I know? Papa can hardly plan anything. It's just like you said. People are always dying. Ladies and gentlemen, you've just heard Miss Margie Macduff, captain of the Central High Debating Team. The next speaker for the negative is Mr. Arnold Harrison, a polytechnic high school. Mr. Chairman, honorable judges, worthy opponents, and ladies and gentlemen, my worthy opponents, the Central High Orators, have spoken to you of the high cost of keeping the Marines in this house. Boy, oh, boy, Marybill, I've had about all of them. I can stand. But where will we go, Johnny? I'm skating. Oh, but we can't. We're supposed to stay in the auditorium and listen. Not me. Anyway, the orchestra won't start at the skating rink until four o'clock. Well, we'll just stand here in the corridor then. If I go back in the auditorium, I'll fall asleep. Somebody's coming. I beg your pardon. I beg your pardon. There's a debate going on in there. And how? Oh, thank you, young man. Thank you very much. Can you imagine somebody wanting to hear that stuff? Johnny, do you know who that was? Oh, Margie's father, Mr. Angus McDuff. He's an undertaker. Oh, poor Margie. A grandmother who's nuts in an undertaker for an old man. Oh, you. Of the Nicaraguan people during the 10 years preceding the arrival of our Marines, with the notable achievements since made in that troubled land. Why, as far back as 1900? Miss Margie McDuff. This argument that our opponents have been able to advance this afternoon is that American occupation will raise the standard of living of the Nicaraguan and enable them to buy American plumbing. Ladies and gentlemen, would you turn in liberty for a bathtub? Would you? Where is the conscience and the heart of America? If we can say give us liberty or give us death, then we have no right to tell the people of Nicaragua that they should take bathtubs instead of freedoms. Ladies and gentlemen, we fought in 76 in 1860 and in 1918 to make the world safe for democracy. And we do it again and again. Don't let us ever forget our brave past. Don't let the flag of the United States mean bathtubs and plumbing instead of liberty. I say to you, take the Marines out of Nicaragua and bring them home to defend liberty always, but never plumbing. Thank you. Wonderful. Janie. You too. My star is here. Where, Margie? Where? In the fourth row, with my grandmine. And Mr. Pond's hand. Here, watching those children ice skate, with a minor and a pair of myself. Well, are you glad you came, Mr. Ponte? I wouldn't have missed this for anything. And I might easily have, Mrs. McSweeney, if you hadn't introduced yourself at school. I've had to introduce myself. Margie's got a crush on you. Well, Mr. McDuff, your daughter's almost as good a skater as she is a debater. You know, Margie would look awfully nice in a skating outfit like Marybell Tennis. Well, buy one, Grandma. Buy one. Just send me the bill. Prove a young girl exposing her bare legs, Mr. Ponte. I certainly do. Always keep in mind, Mrs. McSweeney, that I studied in Paris, France. She's right. She's right. The child is right. Agnes, what are you mumbling about? We should take the Marines out of Nicaragua. She's absolutely right. Yes, sir. I'll write my congressman about it. Might even send a telegram to send her to Whipple. Good. Why did we send the Marines down there in the first place? You tell me that, sir. You just tell me that. Sorry I'm such a terrible ice skater, Margie. Maybe when they play a slower tune I'll do better. You're doing beautifully, Roy. Isn't this fun? No. Look. Look at Marybell and Johnny. Oh, they do. They define me. A couple of show-offs. Gosh, Margie, that sure was a swell speech you made this afternoon. Oh, thank you, Roy. And you look, well, you look so sort of intense and full of fire. I did. Hi, Marybell. Isn't he eyes divine? Oh, hello, Johnny. Hi, MacDuff. Well, I won't be long, Johnny. Where's she going? Oh, she's got to get another lace for a shoe. Well, just don't stand here, Johnny. Can't you see Margie wants you to skate with her? Oh, don't be silly, Roy. Well, he doesn't want to skate with me. Oh, I don't mind. Come on, MacDuff. Why, why, Johnny? Don't we let the Nicaraguans mind their own business? They're skating with that Johnny green. Come out, they've stopped skating. Something's wrong with Margie. She's holding a stomach. Oh, she and Roy waiting to look. Are you sick? No. Just go away, Johnny, please. What if you don't feel good? You better hang on to me. Hey, hey, Marybell. I'm coming. I've got to sit down here on the ice. I've got to and go away. Well, gee whiz, okay? Marybell, stand in front of me. Oh, please. Oh, look. I know. I never did fix them. What'll I do? Gosh, I don't know. Look, they're coming, your grandma and your father, Mr. Fontaine. Mr. Fontaine, gee, are you lucky? Hey, what's happened? Is she badly hurt? Oh, it looks like something fell down. I mean, she fell down, I guess. Oh, Margie, sit on him. Sit on him. I'm trying to. Oh. It's probably her ankle. Pardon me, please. Let me in there. Clear out of here, everybody. Where's my ankle hurt? Well, I'll get a doctor. Just relax, Angus. I've got a muster. I can bend her ankle, temporarily, at least. Now, Margie, stop squirming. What are you looking for? Come here, Grandma. Well? Grandma, my boomer. Your what? Grandma? Where are they? I'm sitting on them. I think. But if I get up, well, for heaven's sake, maybe while Daddy and Mr. Fontaine are fixing my ankle, I can sort of slip them into your coat. Well, hurry up. Get ready, Grandma. Hi. Grandma. They're gone. What do you know? Angus, I think you and Mr. Fontaine better get a doctor, after all. I'll stay right here with Margie while you're full. Johnny, wasn't it awkward? I can't figure out what happened to her, Marybell. She was skating fine, and all of a sudden, she kind of lost her equilibrium. You said it, Johnny. Her best embroidered ones, too. In a moment, we'll return with act two of Dr. Fontaine. In a moment, we'll return with act two of Margie. Meanwhile, here's Libby Collins, our Hollywood reporter. What's our theme for tonight, Libby? I'd say it was romance, Mr. Keely. Romance with a capital R. To be more specific, it's 20th Century Fox's new picture, The Foxes of Harrow, made from the recent best-selling novel. Ah, with Marina Harrow and Rex Harrison as the stars. I can't think of anyone who could bring a love story to the screen more vividly than those two. I'll be fancy, Marina Harrow, as a New Orleans belle of the days before the Civil War. The gorgeous costume she wears are just right for her stately beauty. And Rex Harrison, as the dashing adventurer and gambler, is going to make feminine hearts flutter as never before. Rex is a fine actor, and certainly shows his versatility in The Foxes of Harrow. You know, he told me he had special coaching in fencing, jumping horses, singing and dancing, and Irish dialects, and lessons in how to do card tricks. That's an assignment for even the most experienced actor, don't you think, John Kennedy? I should say so, Libby. But there's one thing I'll bet Rex needed no special coaching for. What's that, John? Making love to Marina Harrow. No, Maureen's beauty would be inspiration enough. She's one of our loveliest lux girls, isn't she? With her fresh, vivid coloring and soft, smooth skin, she certainly is. Maureen found time during the shooting of the picture to entertain the president of her largest fan club at lunch in the studio commissary. She invited me to come too. Her young guest was thrilled with Maureen's charm, and asked lots of questions. When the talk got around to beauty care, Maureen had some sound advice for the girls of her fan club. My complexion care is very simple, she said. Just daily beauty facials with lux toilet soaps. They give my skin exactly the care it needs. Nine out of ten famous and beautiful stars agree on that, Libby. And no wonder, screen stars must have a complexion care that works. I think any woman who uses lux toilet soap for a while will be delighted with the fresh new loveliness it gives her skin. I'm sure she would, Libby. So here is a message to other women. Begin tomorrow to use this gentle, effective care screen stars recommend. Remember, lux toilet soap is Hollywood's own beauty soap. Here's Mr. Keely at the microphone. We continue with the second act of Margie, starring Jean Crane in the title role and Len Langan as Mr. Fontaine. Let's leave 1928 for a brief moment and return to the attic in the pleasant little house where the young Bobby Soxer continues to press her mother for the secrets of her youth. I mean to say you lost your bloomers in front of all those people at the skating rink. I'm afraid I did, darling. But I was hoping desperately that no one besides Grandma and Marybell knew the awful truth. The others had a vague idea that I'd sprained my ankle or something. Apart from the bloomers, I'd had a very happy day. A wonderful day, Grandma. Are losing your best bloomers wonderful? Golly, no. But I did get to skate with Johnny Green and Poppy came to the debate and Mr. Fontaine and Poppy stayed for dinner and kissed me goodnight twice. I'm afraid your doctor father all worked up over Nicaragua. He seemed very interested. I still wonder what happened to your bloomers. They couldn't have just walked away. Oh, Grandma, please, let's not talk about it. I'll never be able to face anyone again. Now, who on earth could it be Roy? Maybe it's just Marybell. Who is it, Cynthia? No, Grandma. Just look at me in my bathrobe. Well, come on in, Mr. Fontaine. But I'll bet he saw. I mean, this afternoon, my... Well, how nice of you to stop by. Good evening, Mrs. McSweeney. Hello, Margie. I, uh, just happened to be taking a walk in the neighborhood. I helped him take a walk after dinner, and it occurred to me to drop in and see how the input was getting along. Well, how is your ankle, Margie? Oh, it's, uh, fine. It highly hurts at all. Well, I'm delighted, after all, to be certainly ashamed not to be able to go to the prom next week because of a sprained ankle. Have a chair, Mr. Fontaine. Thank you. Margie, if your foot's really better, why don't you go to your room and get Mr. Fontaine's muffler? Oh, yes. It was really very nice of you to bind my ankle with your lovely muffler, Mr. Fontaine. Well, get it. That's probably what he stopped by for. Oh, Margie, just a minute. Here. A package? For me? Yes, and the excitement this afternoon, I... I believe you lost your handkerchief. I'll get your muffler. A handkerchief, Mr. Fontaine? Well... That was very tactful. Thank you. Remember, Mrs. McSweeney, I studied in Paris. Just came to call on me. Well, naturally, people don't let people call on people unless they have permission. He, uh, he brought me a lovely gift. Maribel, when a person receives an intimate gift from a gentleman friend, she doesn't go around blabbing about what it is. It's something. He's going to invite you to the prom? The prom? I really don't know what Mr. Fontaine's motives are. Excuse me, Maribel. Men hate to be kept waiting, you know. Oh, as if anyone else had asked me about Roy Hornsdale. But what if he does? Oh, Mr. Fontaine. I'm coming, Grandma. Take it easy. Mr. Fontaine just left. He said you can bring him up to the school tomorrow. Martin, did you hear me? Yes, Grandma. I heard. Why aren't you dressed? Didn't you tell me the prom starts at 8.30? I'm not going to the prom, Grandma. That was Roy on the phone just now. He's got the sniffles again. Horns is tonsils, too. His folks won't let him go. Oh, it doesn't matter. I just as soon as they stay home. Well, Maribel's going to the prom with Johnny. I'm sure they'd be glad to take you along. Without an escort, I'd rather die. Besides, Johnny doesn't like me tagging you along even to come home from school. Look out the window. She's coming here. Who? Maribel. Margie, 20 years from now you'll look at Johnny Green and you'll wonder what you ever saw in him. 20 years from now I'll be an old woman and it won't matter. I'm coming, Maribel. She just gloat over you. Don't you dare tell her what happened to Roy. Oh, it's true, isn't it? Hello, Maribel. Margie, I just simply had to come over. Look, Johnny sent them. Imagine two orchids. Oh, hello, Mrs. McSweeney. Hello, you flapper. Orchids. Well, I suppose you'll be going with Roy, huh? No, his coals worse. Oh, Margie. But I'm still going. You are. But who with? Oh, you'll find out. Margie McDuff. I bet you've been holding out on me right along. But it couldn't be not with him. Not with Mr. Fontaine. They... they say Frenchmen dance very well. Oh, gosh. Well, I really better get back. I'm going to take a bubble bath and a simply terrific perfume I have which absolutely is guaranteed to intoxicate men by its fragrance. Goodbye, Margie. Goodbye, Maribel. Mr. Fontaine. Yes, dear. I'll get the phone. Hello? Yes, I hope I didn't disturb anybody. And guess what, Duff? You don't have to apologize to call up here. What's on your mind? Why, not a thing, Grandma. Not a thing. I... Say, hold the line a second. Margie! Margie! I just wanted to be sure the coast was clear, Angus. What do you mean, Grandma? Incidentally, you'll be very interested to know I just threw a salesman out of my office. Try to sell me a gloss of hand-dipped candles made in Nicaragua. The maintenance, I told him. Don't talk to me about candles, I said, until you can bring me word that our marines have been withdrawn, sir. Were the candles any good? Well, what do I care? Nothing is good, madam, if it betrays the heart and conscience of America. Angus, have you got anything special to do tonight? We Americans fought in 76. In for a stakers' mortician service was coming over to discuss a merger of our interests. Are you engaging your interests with Margie's? Huh? Angus, she's had her heart set on going to the high school prom tonight. Only this boy she was going with can't make it. Yes. Who cares? And you're in on Monday. Good. Now, don't be late at 8 o'clock and don't you dare show up without a corsage. And Margie likes gardenias, doesn't she? Gardenias, my foot. Orchids. Three orchids. Yes, Grandma. Eight o'clock with three orchids. Yes, Angus. Goodbye. Margie! She's coming to take me to the prom. Now stop asking questions and get into your formal. Grandma, if you call someone and made him take me, I'll never forgive you. He called me. He's a great admirer of yours. It's not Joe Kelly, Grandma. He's only 15 and his hands are always clammy. He's much older than... 15. And his hands are not clammy. Grandma, do you remember that bubble bath I gave you for Christmas? Of course. Would you let me use a little? I was taking a bubble bath and she says it simply intoxicates men with its exotic fragrance and so I thought... Well, help yourself, honey. Well, hurry up. If you don't hold still, Miss Margie, I'll never get you hooked up. I'm sorry, Cynthia. Grandma, do you think I look sophisticated? Well, yes, for your aid. Did you doorbell? I'll go down. Grandma, who is it? You've simply got to tell me. You'll find out. He's on time anyway. Don't worry, honey. As soon as she's downstairs, I'll go down too and take a peek. And I'll tell you who it is. It's a surprise. I hope you'll excuse me, but I was driving by, so I... Well, you look very nice in your tuxedo, Mr. Fontaine, and that corsage is lovely. I'm about to call for Mrs. Palmer. You know, the school librarian. I'm taking her to the prom tonight. I thought I'd leave this for Margie. It's her French theme. She was anxious to know what grade I'd given her. What grade did you give her? Hey, of course. You know, Margie's an exceptionally bright child, Mrs. McSweeney. An enchanting child, am I right, Ed? Child indeed. I doubt if you're eight years older. Well, frankly, I did lie a little bit about my age to get on the faculty here. Well, I suppose Margie's going to the prom. Who's taking her? Her father. Oh? Well, just between us, I wish I were. You know, it's a very strange thing. I've never seen a girl... French with my mark, and he's... he dressed up and with flowers too. It can't be, Mr. Fontaine. Oh, Cynthia, do you suppose Grandma bribed him to take me on a kind of I didn't have anyone else? He don't need no bribe, honey. He's a young man, ain't he? And you're a pretty girl, ain't you? I didn't tell you that all along. Do you really think he likes me? Oh, I've had a crush on him ever since the day he came to Central High. My diary's simply full of him, Cynthia. Well, it looks like a two-way crush to me, honey. Now, go on, get out of there. Go on, get... What do you look? Oh, thank you. You look very pretty, too. I mean, you look... Excuse me, telephone. Oh, what a beautiful corsage. I have perfectly lovely of you to bring me flowers. Oh, Margie, I... Oh, they're just beautiful. Margie, this French theme of yours, I thought that perhaps you... Well, Margie... Excuse me a second, Mr. Fontaine. Oh, I know I'm going to wake up and find this is all just a dream. You don't understand. Hello, Helen. This is McSweeney. You don't have to tell me. I know. She thinks you're taking her. But what am I going to do? Well, it's all my fault. We've simply got to think of something. Oh, they're simply gorgeous. Look, Helen, I have to fly now. Mr. Fontaine's waiting for me. Okay, I'll see you at the prom. Goodbye. Helen thought I couldn't go to the prom on the counter-roy's tonsils, Mr. Fontaine. But when I told her you were taking me, why, she was just speechless. Oh, this card. This card on my corsage. I'm going to put this card in my scrapbook and keep it forever while I'll even... Card. It says Miss Palmer. I'm sorry, Margie. That's what I was trying to explain to you. You see, I stopped by merely to bring you your French theme. It's excellent. Margie. Let her go. Oh, this is terrible. Look, I'll call Miss Palmer up and explain. She won't understand. No, now you just run along, Mr. Fontaine. Margie wouldn't go with you now in a million years. I'm upset, Tivley. He's here. Well, aren't you thrilled at this? Margie, listen, why don't you and Mr. Fontaine sit with us tonight? Well, it's okay by me, but he's probably made other... other arrangements. Well, go down and ask him. He won't mind you, so he's sitting next to you. Gosh, Margie, how'd you ever do it? Oh, honestly, Marybeth, you're so funny. What? You're so gullible. Just as bad as Helen. She fell for it, too. Fell for what? Oh, honestly, it's just a scream. Well, I'm not going with Mr. Fontaine. I just pretended he was taking me just for... just for fun. Oh, you don't really think I'd be seen at a... at a prom with a teacher, do you? But didn't he bring you a corsage? Helen says. Oh, that was absolutely priceless. Well, I pretended to think they were for me, just to... just to see what he would do. And he was so fussed and so embarrassed that it was all I could do to keep... to keep... to keep him bursting out laughing. Honestly, Marybeth, he was a scream. Margie. Margie Macduff. I... I just don't understand you. I wish I were dead. I wish... I wish I were dead. Pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll return with Act 3 of Margie. Tonight's guest is the young 20th century fox, darling, Randy Stewart, lovely representative of her home state of Kansas. Well, I wasn't in Kansas long, Mr. Keely. My folks were in show business. Most of my childhood was spent traveling with them. You started acting in stock at the age of three, didn't you, Randy? That's right. Then turned to radio and finally pictures. Well, you have an excellent background for the screen. And they tell me at 20th Century Fox that you're one of their most promising young players. Well, they've given me every chance to learn. Watching an actress like Betty Grable is an education in itself. I've spent every moment I could on the set of Mother War types. Then you've seen Betty in her most important role to date. She and Dan Daly make a great team of lovable stage hooffers in Mother War types. They're two of the smoothest dancers I ever saw. And Betty's part as the mother gives her a dramatic talent's full play. Oh, and isn't her wardrobe really spectacular? Just dozens of different costumes and hairstyles. All greatly enhanced by Technicolor. Yes, and that brings up a point of special interest to you, Mr. Kennedy. What's that, Miss Stewart? Well, I was in Miss Grable's dressing room one day watching her put on her makeup. And it took an unusually short while because of her very fair, smooth skin. Well, Miss Stewart, any girl who uses luxe toilets so isn't likely to have makeup problems. True as can be, Mr. Kennedy. Betty Grable told me that daily luxe soap facials kept her skin just the way she likes it. I'm glad I found out about luxe soap care long ago. Nice skin is so important for picture close-ups. I'd say lovely skin was important in real life close-ups too, wouldn't you? Well, rather, I wish every girl could find out for herself how easy and effective luxe soap care can be. Why not tell our audience how you take your beauty facials, Miss Stewart? I just smooth on the luxe soap lather well in, rinse with warm water and then cold and pat dry with a soft towel. That rich creamy lather leaves skin so fresh. Luxe soap care does make skin softer, smoother. Tests made by skin specialists showed three out of four complexions improved in a short time. Thanks and good luck to you, Miss Randy Stewart. I hope every woman who wants a lovelier complexion will take your beauty hint and get some fragrant white luxe toilet soap tomorrow. Here's your producer, William Keely. Our curtain rises on Act 3 of Marge starring Jean Crane as the lady in question and Glenn Langgan as Mr. Fontaine. Once again, we swing briefly back to the present where, upstairs in the attic, mother and daughter comb through the events of 20 years ago. From the album of photographs, Joyce has just taken a picture. Her mother smiled reflectively as she looks at it. Yes, Joyce, this is a picture of the 1928 high school prom. Oh, and you're not even there. Oh, gee, what an awful break. Not being able to go to the prom. Oh, but I did go. And there's my picture. See? That's you? Golly. But who brought you? Well, about 10 minutes after Mr. Fontaine had left the house, two other gentlemen arrived on our front porch. One of them was Roy Hoinkley. Well, it's you, Mr. McDuff. Good evening. Good evening, young man. Good evening. Gosh, is that your car? That long limousine? It's one of my cars, yes. Gosh, how come you're calling a Margie on Saturday? A man does not call on his daughter. Oh, Margie says you always call Wednesdays. Uh, you bring in her flowers? Yes. Hey, you're not bringing her flowers left over from a... from a... Young man, they have an expression in Nicaragua that very aptly describes a person of your real manners. It goes, oh, what am I wasting my time talking to you for? Who are you anyway? I'm Roy Hordesdale. She whizzed Mr. McDuff, don't you remember me? I was at the skating rink the afternoon Margie heard her ankle. Oh. Hasn't she told you about me? No. And either you ring that doorbell or let me. Oh, she's a wonderful girl, Mr. McDuff. I'm well aware of that fact. I was supposed to take her to the prom tonight, but... I got a cold. Then go to bed. My folks said I could come over. As long as we didn't go out, I kept warm. Does anyone believe in coming in? What is this, a convention? Oh, hello, Grandma. What are you doing here, Roy? Good evening, Mrs. McSweetie. I figured since Margie's not going to the prom... And what makes you think she's not going to the prom? Huh? Cynthia? Take Roy into the kitchen and get him some hot milk or something. Milk? On sale. Margie, he's here, honey. Now, listen, Angus, I should explain, but I haven't got time. Margie's been crying. Now, don't ask why. Just be very tactful. Tactful? Did that sniveling boy in there make her cry? Oh, no, Roy's quite innocent. Hello, Papa. Margie, well, come on down, my dear. Oh, you look beautiful. Simply beautiful. Oh, thank you. Papa, you're all dressed up. Well, you wouldn't want him to go to the prom in a business suit, would you? He's taking you. That was the big surprise. Honestly, Papa, you're taking me? Are you sure you want to? Honey, I've waited over 16 years for the privilege. Here. Orchids. Papa, three orchids. I hope you won't be disappointed, Margie. I'm not a very good dancer. Oh, Papa, I'd rather be going to the dance with you than anyone else in the whole world. Excuse me while I get my coat, Papa. Well, Angus, what are you thinking? I was thinking, Grandma, that my daughter is just as pretty and every bit as sweet as yours ever was. I'm ready, Papa. Good night, Grandma. Good night, dear. She whizzes, Margie, going out. She's gone out. Oh, she whizzes. I came here to read poetry to her. Who am I going to read poetry to now? Cynthia? Not to me, Mr. Hornsdale, and finish your milk. It's Margie and her father. How you changed, Mr. Fontaine. I beg your pardon? Come on, Papa. Did you see him, Johnny? Her father. But I want to explain what happened tonight. It doesn't matter, honey. Whatever happened was a wonderful break for me. Now, let's see if we can find a table. But how come Margie came with a romance? Well, I suppose she wanted to be sure of dancing with someone, Johnny. Hey, come to think of it. It's the first time I've ever seen Margie. Huh? And just what does that mean? I, uh, I don't know. Is this table all right, Papa? Are you sure? Oh, this is fine, dear fine. I'll get some refreshments. Good evening, Margie. Hello, Mrs. Palmer. Good evening, Margie. Good evening, Mr. McDuff. Nice party, isn't it? Oh, yes, yes, yes indeed. Who is that with Mr. Fontaine? Mrs. Palmer, our librarian. Oh, very attractive. She's well-preserved for her age. Margie, that's, uh, that's Waltz. They're playing. Oh, yes, Papa. Shall we try it? Oh, I'd love to. Do you know this is the first time that you've ever danced with me? Second time. When? When you were about three months old. Pardon, but may I come in, sir? Well, by all means, young man. By all means. Johnny. Well, you sure had them all fooled, Margie. They thought you were coming with Mr. Fontaine. Why, why, how, sir? Yeah, that's what I told them. I said, why would she want to come with some drip on the faculty when... May I cut in? Oh, for, for each sake, where did you come from? May I? Well, uh, yeah. Yeah, hiya. Well, see you later, Margie. Thanks, Johnny. Not even one little smile, Margie. I, I don't feel like smiling. Why? Oh, I mean such a fool to myself. You're just trying to be nice. You don't have to dance with me. Between you and me, Margie, I'd rather dance with you than anyone else in this room. If you only knew how I feel, if you... What did you say? I said I'd rather dance with you than anyone else in this room than I meant it. Anyone? Margie's doing all right. Oh, it's just a wall. Who wants to walk? Besides, he's just taking pity on her like, like Johnny did. Oh, I sure wish Mr. Fontaine to take pity on me. I, well, what do you know? Johnny's taking pity on her again. I did it to you, Johnny. I guess you can do it to me. I, I didn't think I'd see you so soon, Johnny. Gee whiz, Margie. Where have you been all my life? Right under your nose, I guess. Hey, you sure a smooth dancer. Um, how about doing this more often? Well, I, I think that would be just one... one... Oh, no! Margie, what's the matter? What's wrong? Oh, no. No. Not tonight. Margie, you look, you look so funny. You're, you're not gonna faint, are you? That's, that's a very good idea. Margie! Joyce, that was the last time I ever wore bloomers. I was about to throw them away a few years ago, but your father insisted I keep them. Oh, mother, the things that had happened again at the prom. How perfectly ghastly it must have been for you. Oh, it was, darling, ghastly. But what happened? Who finally got to take you home? Grandfather, who? Why, your father, of course. Hey! Hello, Daddy. Hello, sweet. We've had more fun, Daddy. Mother's been telling me all about the bows she had when she went to Central High School. Oh, she has, actually. Look at this snapshot of Johnny Green. Oh, he sounds simply terrific. Do you remember him? Yes, dear. He was a drip. A drip of the first water. Ralph, dear, that doesn't sound so well, coming from the principal of Central High School. You heard me. I said drip, darling. But where is he now? What does he do? He's a plumber. He lives over in Glenley, I think. He works for a fellow named Roy Hornsdale. You don't say. Oh, look, Daddy, all these old phonograph records. Listen to this one. Can he jive? Well, I can't exactly say I'm good at it, but I'd sure like to try. Here we go. Hey, hey, take it easy. Where's Papa, darling? Didn't he come home with you? No, he was detained. The ambassador will be home for dinner, though. Ambassador? You mean he got it? Take a look at the evening paper. I put it right there in the trunk. Angus McDuff appointed new ambassador to make a rave court. Well, I'll be darned. And so ends the story of Margie. And for their excellent performances, our thanks to Gene Crane and Glenn Langen who returned at the footlives for a bow. Gene, since your last appearance on this stage, your chief production has been Young Paul Jr. All our heartiest congratulations. Oh, thanks, Mr. Keely. Is it your first baby, Gene? Yes, of course. Why? Well, the things the way they are now, it's a wonder you can get a new one without turning in the old one. I suppose that young man keeps you pretty busy, Gene. Oh, I should say he does. With bottles to sterilize and formulas to mix, I never get a chance to do much else. Oh, Gene, it's a shame to blame that on the baby. Oh, we're used to pinning things on the baby. I can well imagine. And I hope, Gene, you're starting him off in life with a proper appreciation of Lux's toilet soap. That isn't hard at all, Mr. Keely. Lux is the only toilet soap in our home, and I love it for complexion care. Well, if your new home matches that complexion, Gene, it must be very pleasant indeed. Thanks, Glenn. But seriously, it is. It's the first house of my own I've ever had, and I'm really crazy about it. It hasn't a single floor. No floor? What do you walk on? Oh, Glenn. Well, it sounds as if, Gene, we're walking on air these days. A new home, a new baby. Do you do your own housekeeping, Gene? I do the cooking, Mr. Keely. Come up sometime, and I'll serve you both a meal. Speaking of cooking, what are you serving up next week on Lux, Mr. Keely? Well, next Monday night, we bring our audience a thrilling, romantic, and suspenseful drama. J. Arthur ranks production, The Seventh Veil. And our stars are two great favourites of this theatre. Joseph Cotton, and Ida Lupino. The story of a talented and lovely woman in the shadow of a strange spell, The Seventh Veil is a tempestuous drama of love and emotion building to a startling climax. Oh, that ought to make a great play for your listeners, Mr. Keely. Good night. Good night, and all our thanks for Margie. Leave her brother's company, the makers of Lux's toilet soap. Join me in inviting you to be with us again next Monday evening, when the Lux Radio Theatre presents Joseph Cotton and Ida Lupino in The Seventh Veil. This is William Keely saying good night to you from Hollywood. Gene Crane and Glenn Langen appeared by arrangement with 20th Century Fox, producers of Nightmare Alley and Kiss of Death. Barbara Lawrence will soon be seen in the 20th Century Fox production, Captain from Castile. Heard in our cast tonight were Bill Johnstone as MacDuff, Gil Stratton Jr. as Roy, and Clark Gordon, Francis Robinson, Mary Lou Harrington, Lillian Randolph, William Roy, and Julie Bennett. Our music was directed by Louis Silvers. This program is rebroadcast to our servicemen and women overseas through the worldwide facilities of the Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Seventh Veil with Joseph Cotton and Ida Lupino. Yes, it's spry for pastry so tender, flaky, nut sweet, any pie filling tastes more delicious. You'll say pastry is extra delicate, better tasting with spry. Be sure to listen next Monday night to the Lux Radio Theatre presentation with Joseph Cotton and Ida Lupino. Stay tuned for my friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.