Lux Radio Theatre - Margie

Summary

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Harold's Old Time Radio — Lux Radio Theatre: “Margie”

Episode Date: July 17, 2026
Starring: Jeanne Crain (as Margie), Hugh Marlowe (as Mr. Fontaine)
Host: William Keeley

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Episode Overview

This episode of Harold’s Old Time Radio features a classic broadcast of the Lux Radio Theatre adaptation of “Margie,” a nostalgic coming-of-age comedy set in the high school days of 1928. The story revolves around Margie, a bright and awkward young girl navigating early love, family quirks, and an unforgettable case of wardrobe malfunction, all remembered from the vantage point of adulthood. The show blends humor, tenderness, and a dose of vintage Americana, filled with memorable moments, lively banter, and reflections on growing up.

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Key Discussion Points & Events

1. Setting the Stage — High School Nostalgia (00:31–02:37)

• Host William Keeley introduces the theme: the “deadly serious” romances of high school days, prompting listeners to recall their own “puppy love.”
• The story launches in the attic of Margie’s childhood home, where she and her daughter Joyce discover old memorabilia, including a phonograph and “hideous” bloomers.
  • “Mother, tell me all about the terrific things you did when you were my age.” — Joyce ([02:01])

Memorable Moment:

• Margie’s mother jokes about awkward 1920s fashion:
  • “Just an old pair of bloomers I used to wear. Gee, they're hideous.” — Margie ([02:37])

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2. Flashback to 1928 — Margie’s Teenage World (02:37–14:38)

• 21st-century flashback: Margie’s high school adventures unfold—her friendships, debates, and secret crushes.
• Notable characters:
  • Margie McDuff: Young, brainy, awkward, self-aware
  • Mary Belle: Neighbor/friend, more daring, interested in boys
  • Johnny Green: “Cool” raccoon-coat-wearing student
  • Mr. Fontaine: New, attractive French teacher
  • Roy Hornsdale: Earnest, perhaps dorky, Margie’s friend and not-quite-romantic prospect
  • Grandma (Mrs. McSweeney): Political, lively, advocates women’s rights; an ex-suffragette

Notable Exchange:

• Margie suffers a wardrobe malfunction:
  • “Did you have a safety pin, Mary Belle?...The elastic in my bloomers, it just broke.” — Margie ([04:10])
• Grandma tells Roy:
  • “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...campaigning for the right of women to vote.” — Grandma ([09:04])

Themes:

• The pressures of fitting in, embarrassment, first crushes, and family dynamics
• The contrast between Margie’s awkwardness and Mary Belle’s confidence

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3. Debate Day & Margie’s Triumph (17:43–20:18)

• Margie leads her school’s debate team in a contest against Polytechnic High.
• Lively high school politics and social maneuvering feature as subplot (Mary Belle & Johnny plan to ditch the auditorium for ice skating).

Key Speech — Notable Quote

• Margie’s passionate rebuttal about American intervention in Nicaragua:
  • “Ladies and gentlemen, would you turn in liberty for a bathtub? ... 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 freedom.” — Margie ([20:10])

Memorable Reactions:

• After her debate, Margie is lauded by classmates and, most significantly, her previously distant father attends and is moved by her speech.
  • “Mr. McDuff, your daughter's almost as good a skater as she is a debater.” — Mr. Fontaine ([22:15])

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4. The Ice Skating Rink & Another Embarrassment (22:04–26:30)

• The debate team goes ice skating; Margie gets her chance to socialize with Johnny Green.
• Disaster strikes as Margie loses her bloomers on the ice, resulting in slapstick comedy and adolescent mortification, with her family and teachers nearby.

Notable & Comic Quotes:

• “Sit on them, Margie. Sit on them… Grandma, they're gone.” — Margie ([26:06])
• “Her best embroidered ones.” — Mary Belle ([26:30])

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5. Prom Preparations & Romantic Misunderstandings (29:48–44:24)

• Back in the present-day attic, Margie confides the “bloomers” incident marked both humiliation and a secret triumph—she got to skate with her crush and her father came.
• Build-up to the prom, with romantic expectations around Mr. Fontaine and an absent Roy (down with the sniffles).
• A comic mix-up: Margie pretends Mr. Fontaine is her date, fueling gossip and confusion.

Notable Quotes:

• “When a person receives an intimate gift from a gentleman friend, she just doesn't go around bragging about what it is.” — Margie ([32:25])
• “Honestly, it's just a scream. I'm not going with Mr. Fontaine. I just pretended he was taking me, just for fun.” — Margie ([44:13])

Emotional Highlight:

• After being caught up in her own deception, Margie is left distraught and embarrassed once more, dreading prom night.

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6. At the Prom — Joy, Redemption & Growing Up (47:20–56:14)

• Margie’s father, Angus McDuff, steps in to save the night, escorting her to the prom with three orchids.
  • “I've waited over 16 years for the privilege.” — Papa ([50:43])
• At the dance, Margie’s moment comes full circle: Johnny, shown new respect, asks her to dance. The story closes on budding romance and familial love.

Touching Moment:

• “Oh, Papa, I'd rather be going to the dance with you than anyone else in the whole world.” — Margie ([50:56])

Comic Epilogue:

• In the “future” attic, Margie's daughter Joyce reflects on her mother’s misadventures and learns that Johnny and Roy both ended up in ordinary, unglamorous adult lives.

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7. Final Reflections & Legacy (56:14–end)

• The story elegantly bookends: Margie’s journey from awkward adolescence to mature womanhood, framed by humor and nostalgia.
• The present-day family shares a dance, and a final twist is revealed—Margie’s father is appointed Ambassador to Nicaragua, a callback to her passionate debate theme ([57:38]).

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Notable Quotes & Timestamps

• “Just an old pair of bloomers I used to wear. Gee, they’re hideous.”
    — Margie ([02:37])
• “Ladies and gentlemen, would you turn in liberty for a bathtub? ... 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 freedom.”
    — Margie ([20:10])
• “Sit on them, Margie. Sit on them… Grandma, they’re gone.”
    — Margie ([26:06])
• “Honestly, it’s just a scream. I’m not going with Mr. Fontaine. I just pretended he was taking me, just for fun.”
    — Margie ([44:13])
• “Oh, Papa, I’d rather be going to the dance with you than anyone else in the whole world.”
    — Margie ([50:56])
• “Ralph, dear, that doesn’t sound so well coming from the principal of Central High School.”
    — Margie ([56:43])

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Timestamps for Important Segments

| Segment | Timestamp | |---------|-----------| | High school nostalgia setup | 00:31–02:37 | | Wardrobe troubles & first crushes | 04:10–06:44 | | Debate preparation & family themes | 08:00–14:38 | | The debate & Margie’s speech | 18:35–20:10 | | Ice skating calamity | 22:04–26:30 | | Prom misadventures & rumor mill | 32:25–44:24 | | The real date: dancing with Dad | 47:20–50:56 | | Resolution: comedy & family, modern-day wrap-up | 56:14–end |

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Tone and Style

The episode shines as a blend of gentle comedy, adolescent anxiety, and golden-age Americana warmth. The dialogue is breezy, period-appropriate (“banana oil!” “gee whiz!”), with touching intergenerational dynamics and a charming blend of embarrassment and triumph.

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For New Listeners

Even if you’ve never heard the original broadcast or seen the 1946 film, this production of “Margie” will delight you with its universal themes of growing pains, family loyalty, and first love—set against the evocative, comic world of 1920s high school, complete with parental wisdom, girlhood secrets, and one memorable pair of bloomers.

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Transcript

[NHTSA Announcer]

This morning, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by NHTSA now back to your podcast.

[William Keeley]

Lux presents Hollywood. Beaver Brothers Co. The makers of Lux toilet soap bring you the Lux Radio Theater, starring Gene Crane and Hugh Marlowe in Margaret. Ladies and gentlemen, your producer, Mr. William Keeley. Greetings from Hollywood, ladies and gentlemen. If anyone in our audience graduated from high school without experiencing a severe case of puppy love, well, I'm very much surprised. But if you think back to those days right now, I imagine you'll be inclined to laugh at representing a deadly serious romance. Well, teenage romance continue to be deadly, so.

[Jean Crane as Margie]

But tonight, we're going to take you

[William Keeley]

back to those nostalgic high school days of 1928, when the trial is in

[Jean Crane as Margie]

triumph of a pretty little girl named Maggie. In her original role is an extremely

[William Keeley]

pretty girl named Jean Crane. And as her co star, talented Hugh Marlow. Yes, teenagers take life very seriously. And we're glad they do, because one of the problems they're concerned about is. Is a good complexion. And lovely mothers everywhere can recommend their own luxe toilet soap care to their daughters because they know Lux soap is a perfect beauty. Care for lovelier complexions. Now the curtain rises on Margie, starring Jean Crane in the title role. And you, Marlo as Mr. Fontaine, with Jane Darwell as Grandma. It's a rainy Saturday afternoon, and in 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 trunks and boxes. The daughter has discovered an old phonograph and a carton of records.

[Jean Crane as Margie]

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? What are they? Just an old pair of bloomers I used to wear. 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 terrific things you did when you were my age. Well, I. I went to Central High School, just like you're doing. But I'm not so sure a terrific event of 1928 will seem so terrific to you in 1951. Oh, Mother, now you're just being difficult. Well, all right, then. It's. Look at my old photograph album. Now, here, this is a picture of Johnny Green. Oh, for corn's sake. 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 Sut's Black Hawk. A what? It was a. A kind of automobile, dear. Oh, you went for him, huh? Oh, I went for him, all right. But it was Mary Bell who had him hog tied. Mary Bell, huh? She used to live next door to it. Well, anyway, one day after school was out. Hi, I'm Mary Bell. Johnny, you're terrible. If you keep me waiting like this. A girl. Banana oil.

[William Keeley]

Get in the car.

[Jean Crane as Margie]

Oh, I promise we take Margie home, too. 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. 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 don't show up in two minutes, we're gonna get. There he is. Hi, Margie. Oh, hello, Maribel. Hi, Johnny. Well, come on, McDuck. Don't just stand there. I. I can't. What do you mean you can't marry Belle? Come here a minute. Oh, please. What's the matter, Maribel? Oh, just a minute, Johnny. What are you so flustered about? Not so loud. Huh? Did it. Do you have a safety pin, Mary Bell? What do you want a safety pin for? The elastic in my bloomers, it just broke. I. I forgot it. I. 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, take him away. Here's the 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. I won't. Goodbye, Margie.

[William Keeley]

Well, where is she going?

[Jean Crane as Margie]

Margie just decided to. To wait for something.

[William Keeley]

Well, what's she waiting for, the fall?

[Jean Crane as Margie]

Oh, Johnny, you're a scream. You don't know how funny that. Here I am. Margie. Hey, Margie. Huh? Roy. Oh, gosh, I'm glad you waited for Me? How come you didn't go home with Mary Belle? Because I didn't, that's all. What's the matter, Margie? Anything wrong? Oh, no, Roy. It's just. I'm dishonored. Hey, 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. I got things to do in. In the library. Okay, I'll go with you. No. What are you walking so funny for, Margie? Anything I can do? Yes, go home and don't bother me. Gee whiz. Okay, okay. Oh, hello, Margie. Oh, hello, Ms. Palmer. I have those books for you for your debate. Oh. Oh, yes, the debate. Well, can I pick them up in a minute, Ms. Palmer? I want to go over there in the C C corner. Well, what's over there in the corner? I've got to hitch up. I. I mean, I've got to catch up on my political philosophy. Of course, dear. Run along. Thank you. Well, hello, Ralph. And how does our new French teacher like Central High so far?

[William Keeley]

Very much. You should see my classes. Standing room only, Isabel. I've never heard of such a passion

[Jean Crane as Margie]

to acquire French girls, mostly. I suppose the girls think you're just too darling for words.

[William Keeley]

Oh, come on now, Isabelle. Cut it out. Say, this is quite a nice library you've got here.

[Jean Crane as Margie]

Well, would you like a book?

[William Keeley]

Yes. Yes, I would.

[Jean Crane as Margie]

Help yourself, Ralph. We still talk the Bible.

[William Keeley]

Thank you. Oh, hello. What's the matter?

[Jean Crane as Margie]

Nothing. I just didn't know you were there.

[William Keeley]

Well, I didn't know you were there either, till I took these books off the shelf. Then I saw you on the other side of the wreck. Do you like poetry, too?

[Jean Crane as Margie]

Poetry?

[William Keeley]

Yes. Isn't there poetry on your side?

[Jean Crane as Margie]

Uh. Uh, political philosophy.

[William Keeley]

Oh, I see.

[Jean Crane as Margie]

Oh, but. But I'm all finished with what I came in here for. Goodbye, Mr. Fontaine.

[William Keeley]

Wait a minute. You're. You're in one of my classes, aren't you?

[Jean Crane as Margie]

Yes, Mr. Fontaine. Do you two know each other?

[William Keeley]

Oh, yes. Isabel. Oh, I call Ms. Palmer Isabel. We've been good friends for some time.

[Jean Crane as Margie]

Margie's our champion debater. Oh, we're very proud of her. Why, she's the youngest student in the class.

[William Keeley]

Well, that's fine. As a matter of fact, Margie, the principal asked me to be the chairman of the next debate. That's Wednesday, isn't it?

[Jean Crane as Margie]

Yes, Mr. Fontaine.

[William Keeley]

Well. Well, if you'll excuse me now. I'm. I'm trying to find a certain volume of Work.

[Jean Crane as Margie]

Well, why the long face, Margie? Why did you have to tell him that I'm a debater and younger than other people? Golly, 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 you 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, Ms. Palmer. You're glad I waited for you, Margie. I figured if I sat there long enough, you'd come out sometimes. Well, 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? Well, he merely happened to open the door for me. I don't trust Frenchmen. He isn't French. Well, then why does he teach it? Oh, Roy, sometimes you act just like. Well, that's Papa. Huh? Papa. Papa.

[William Keeley]

Papa.

[Jean Crane as Margie]

Oh, golly, that's awful.

[William Keeley]

What's awful?

[Jean Crane as Margie]

That car that just went by, that was my father. I miss seeing him. You know, Margie, I've been to your house several times now, and I've never even met your father. Well, he. He doesn't live with us. Huh? Why doesn't he? I mean, are your folks divorced or something? Of course not. My. My mother died when I was a baby and, well, ever since I lived with my grandmother. Well, doesn't your grandmother like your father or something? Of course she does. It's only. Oh, well, for goodness sake, Roy. I don't see how it's any of your business. Okay, okay. Just that Papa was all broken up when my mother died and he went away for. For a long time. And then when he came back, he just started living by himself and. Oh, it's better that way, too, because, well, after all, what does a businessman know about girls? Oh, Pop is 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 afternoons. Oh, of course, he pays for everything, but. Well, I mean, Papa's a widower. Yeah, he would be. I mean, if you're a mother. Yeah, of course. I see what you mean. Well, come on, Roy. I gotta get home sometimes. Well, thanks a lot for walking home with me, Roy. I Guess you'd better be going now, huh? Goodbye. Oh, I'm in no hurry. Oh, well, would you like to come in and say hello to my grandmother? Oh, sure. Why not? Okay. We're here on the porch a second. Pretty late, Aunt Margie. I know, Grandma, but I couldn't help it. You see, I was standing there. Yes, I know. Mary Belle stopped by and told me. I told you a dozen times to fix those rumors. Naturally, they sail down. Grandma, please. He's on the porch. Who's on the porch? You can come in, Roy. Hello, Mrs. McSweeney. Come on in, Roy. Thanks, Mrs. McSweeney. You know, I've 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 there in the mantel. 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. Gee whiz, what for? For a very noble cause, 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. 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. First woman president of the United States. Oh, Grandma, please. Well, Roy, I. I know you're in a dreadful hurry to get home. It's so frightfully late. Well, goodbye, Roy. Call her up again, young man. Yeah. Well, goodbye, Mrs. McSweeney. Margie, I'm sorry you have to rush off. Well, I don't have to go yet. Well, thanks again, Roy. Thanks again. 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. Well, for heaven's sakes, why not? Not even if you paid me. And I wish you wouldn't keep telling that to people. Oh, now, now, honey. What's wrong? Well, first Ms. 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, he'll probably never come back. I better. Cookie phoned you right after dinner. You think so? Grandma, in your opinion, is Roy's Adam's apple very Noticeable? Why, no, dear. Oh, 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. Oh, well, now, you wouldn't want a silly Zane conceited boy like Johnny Green for a bowl, would you, Johnny? Oh, yes. Yes, Grandma, I certainly would. Come in. Oh, hello, Cynthia. Still working on that debate, Miss Margie? Or you should just listen to that phonograph of yours. Oh, I'm working, Cynthia. Your grandma says a sign you was in bed. Why are you waving your arms around like that for? I'm rehearsing my gestures. You ain't rehearsing, honey. You shadow boxing. Cynthia, do you know anything about Frenchmen? All I know they eat frog legs and snails. Oh, I'm sure Mr. Farnham wouldn't eat snails. Oh, every girl in school's got a crush on him already, including you. Oh, 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 daughter. She's got seven kids. Don't seem to trouble her none.

[William Keeley]

Oh, come over here at the window, Ms. Margin.

[Jean Crane as Margie]

Look down there. What?

[William Keeley]

They're on Maribel's porch.

[Jean Crane as Margie]

She and that raccoon coat boy. My, my, the kidneys couple. Been 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. Well, good night, Ms. Martin. Good night, Cynthia. It's really not so noticeable. Not when Roy wears a high collar. Oh, well. Hey, Margie, I'll be out in a sec, Roy. Oh, look, Grandma. His father let Roy have his Model T today. Well, that's fine. Oh, golly, I almost forgot. Huh? Why ice skates? 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'd mean is going to the high school instead of here and. And he could hear me debate. I think it's a wonderful idea. Then ask him, Grandma. Call him up. Now, I'll do nothing of the sort. You stop by his office and ask him yourself. But I don't think Papa likes having me stop in 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. Gosh, you. You sure Quiet, Margie.

[William Keeley]

Golly.

[Jean Crane as Margie]

Don't worry about your father. You 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 what's so funny about it? Well, I. Well, I'm sure it's a very interesting business. And I'll bet it's a good business too. I mean, gee, Liz, people are always dying. He can't help being in the business he's in. Oh, it's all right. I don't mind, honest. Yes, you do. Everybody minds. I mind. I'd give anything on earth if he was just a bricklayer or something. Well, Margie, do you suppose he'll come over to the school and hear you debate? How do I know? Papa can hardly keep plan anything. It's just like you said. People are always dying.

[NHTSA Announcer]

This morning, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by nhtsa. Now back to your podcast.

[William Keeley]

All new drinks are now at McDonald's with refreshers like the Strawberry Watermelon Refresher and the Mango Pineapple Refresher with Popping Boba. To crafted sodas like the Sprite Berry Blast with berry flavors and cold foam. Who knew ice cold drinks could be so fire six? All new drinks are here now at McDonald's. Refreshers contain caffeine. Ladies and gentlemen, you have just heard Ms. Margie McDuck, captain of the Central High debating team. Now, the next speaker for the negative is Mr. Arnold Harrison of Polytechnic High School.

[Jean Crane as Margie]

Mr. Chairman, Honorable Judges, worthy opponents, and ladies and gentlemen, my worthy opponents. The Central High orders have spoken to you of the high cost of keeping the marine. The Nicaragua. The cost.

[William Keeley]

Boy, oh boy, Mary Belle.

[Jean Crane as Margie]

I had about all of this I can stand. But where'll we go, Johnny?

[William Keeley]

Ice skating.

[Jean Crane as Margie]

But we can't. We're supposed to stay in the auditorium and listen.

[William Keeley]

Well, not me.

[Jean Crane as Margie]

Anyway. The orchestra doesn't start at the skating rink till 4:00'. Clock.

[William Keeley]

Well, we'll just stand here in the corridor. Then if I go back in that auditorium, I'll fall asleep.

[Jean Crane as Margie]

Somebody's coming.

[William Keeley]

I beg your pardon. Deserve debate going on in there and how. Thank you, young man. Thank you very much. Can you imagine somebody wanting to hear that stuff?

[Jean Crane as Margie]

Johnny, do you know who that was?

[William Keeley]

Who?

[Jean Crane as Margie]

Margie's father, Mr. Angus McDuff. He's an undertaker.

[William Keeley]

Poor Margie. A grandmother who's nuts and an undertaker for a father.

[Jean Crane as Margie]

Oh, you. Let me compare now the record 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, late.

[William Keeley]

And now, once again, in rebuttal, Ms. Margie McDuffie.

[Jean Crane as Margie]

Ladies and gentlemen, the strongest argument that our opponents have been able to advance this afternoon is that American occupation will raise the standard of living of the Nicaraguans and enable them to buy American plumbing. Ladies and gentlemen, would you turn in liberty for a bathtub? Would you? Where is the conscience in 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 freedom. 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. Me? Always. But never plumbing. Thank you. Gosh, Margie, you were wonderful. Janie, he's here. My father's here. Where, Margie? Where? In the fourth row with my grandma and. And Mr. Fontaine. You know, Angus, sitting here and watching those children ice skate. I don't mind to rent a pair myself. Well, are you glad you came, Mr. Fontaine?

[William Keeley]

I wouldn't have missed it for anything. And I might easily have, Mr. McSweeney, if you hadn't introduced yourself at school.

[Jean Crane as Margie]

I had to introduce myself. Margie's got a crush on you.

[William Keeley]

Well, Mr. McDuff, your daughter's almost as good as a skater. She is a debater. You know, Margie would look awfully nice in a skating outfit like Maribel Tenor. Well, by Owen. Grandma buy you one? Just send me the bill.

[Jean Crane as Margie]

You approve of a young girl exposing her bare legs, Mr. Fontaine?

[William Keeley]

I certainly do. Always keep in mind, Mrs. McSweeney, that I studied in Paris, France. She's right. She's right. The child's right.

[Jean Crane as Margie]

Agnes. What are you mumbling about?

[William Keeley]

We should take the Marines out of Nicaragua. He's absolutely right. Yes, sir. I write my congressman about it. Good. Why did we send the marines down there in the first place? You tell me that, sir. You just tell me that.

[Jean Crane as Margie]

I'm sorry I'm such a terrible ice skater, Margie. Maybe when. When they play a slower tune, I'll do better. You're doing beautifully. Isn't it fun? No. Look. Look at Mary Bell and Johnny. Oh, they do skate divinely.

[William Keeley]

Couple of show offs.

[Jean Crane as Margie]

Gosh, Margie, that sure was a swell speech you made this afternoon. Why, thank you, Rory. And you look. Well, you look so sort of intense and full of fire. Golly, I did. Hi, Margie. Hello, Roy. Hello, Mary Bell. Is Mia divine? Oh, hello, Johnny.

[William Keeley]

Hi.

[Jean Crane as Margie]

I m. Well, I won't be long. Johnny.

[William Keeley]

Where's she going? She's got to get another lace for a shoot.

[Jean Crane as Margie]

Oh, well, just don't stand there, Johnny. Can't you see Margie wants you to skate with her? Oh, don't be silly, Roy. Why? Why? He doesn't want to skate with me. I don't mind.

[William Keeley]

Come on, McDuff.

[Jean Crane as Margie]

Why, Johnny,

[William Keeley]

That girl's right. Rank imperialism, that's what it is. Why don't we let the Nicaraguans mind their own business?

[Jean Crane as Margie]

Oh, forget it, Angus. Look at your daughter. She's skating with that Johnny Green.

[William Keeley]

She's waving at us.

[Jean Crane as Margie]

Hi, Margie. Oh, you're doing fine.

[William Keeley]

Wait a minute. They've stopped skating. Something's wrong with Margie.

[Jean Crane as Margie]

She's holding her stomach. Oh, I bet it was so hot, girl. She and Roy. But.

[William Keeley]

What's the matter, Margie?

[Jean Crane as Margie]

You sick or something? No, just go away, Johnny, please.

[William Keeley]

But if you don't feel good, you better hang on to me. Hey, Mary Belle.

[Jean Crane as Margie]

I'm coming. I've got to sit down here on the ice. I've got to. And go away.

[William Keeley]

Well, she will.

[Jean Crane as Margie]

Okay. Mary Belle. Mary, don't stand in front of me. Oh, please. My kids. Mary, you're losing something. I know. I never did fix them. What do I do? Gosh, I don't know. Look, they're coming. Your grandma and your father and Mr. Fontaine. Mr. Fontaine. Gee, are you lucky.

[William Keeley]

Hey, what happened? Is she badly hurt?

[Jean Crane as Margie]

It looks like something fell down. I mean, she fell down, I guess. Sit on them, Margie. Sit on him. I'm trying to.

[William Keeley]

Oh, it's probably her ankle.

[Jean Crane as Margie]

Get out of here, everybody. Shoo, shoo. Grandma. Grandma. It is my ankle.

[William Keeley]

My.

[Jean Crane as Margie]

My ankle hurts.

[William Keeley]

I'll get it out here.

[Jean Crane as Margie]

Now, just relax, Angus.

[William Keeley]

I've got a muffler. I can bind her ankle temporarily, at least.

[Jean Crane as Margie]

Margie, stop squirming. What are you looking for? Come here. Grandma. Well, Grandma. My bloomers. Your flock, Grandma. Where are they? I'm sitting on them, I think. But if I get up, then, for Helen's sake, maybe While Daddy and Mr. Fontaine are fixing my ankle, I can sort of slip him into your coat. Hurry up. Get ready. Grandma, I. Grandma, they're gone.

[William Keeley]

Gone? What do you know?

[Jean Crane as Margie]

Angus, I. I think you and Mr. Fontaine better get a doctor after all. I'll stay right here with Margie while you go. Johnny, wasn't it awful? But I can't figure out what happened to her.

[William Keeley]

Maribel? She was skating fine, and all of a sudden she kind of lost her equilibrium.

[Jean Crane as Margie]

You said it, Johnny. Her best embroidered ones.

[NHTSA Announcer]

This morning. Someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by NHTSA now back to your podcast.

[William Keeley]

In just a few moments, we'll return with Act 2 of Margie. And now, here's our Hollywood Reporter, Libby Collins, with the Lux movie news of the week.

[Jean Crane as Margie]

Tonight, John, it's 20th Century Fox's lively new comedy Love Nest. Take an ex GI who wants to be a writer, put him and his wife into a rundown rooming house she has purchased, and love ness turns into a nest of riotous trouble.

[William Keeley]

Put in two comedy players like William Lundigan and June Haver as the GI and his wife, and you've got a riot of laughs.

[Jean Crane as Margie]

Oh, the picture is just that. William Logan is beset by rent dodging tenants and plumbing bills piling up, when suddenly a former army buddy arrives. She's Miss Marilyn Monroe. A whack.

[William Keeley]

Oh, not the pun. But the situation must get very wacky,

[Jean Crane as Margie]

especially with Frank Fay, also present as an elderly Casanova pursuing wealthy widows. The picture is one to see. Ms. Haver is splendid in her first straight comedy role.

[William Keeley]

Two gorgeous blondes like June and Marilyn in one picture are certainly a treat for moviegoers.

[Jean Crane as Margie]

Ah, yes, they're two of Hollywood's prettiest Lux girls, Both of them with really lux, lovely complexions.

[William Keeley]

Naturally, Nine out of ten scream stars depend on this gentle complexion soap for the care their skin needs.

[Jean Crane as Margie]

And Lux in the big bath size is a Hollywood favorite, too. It makes such a luxurious beauty bath. As June Haver says, luxe fragrance is so delicate and it clings so long.

[William Keeley]

Yes, the rich, fragrant lather makes you sure of skin that's sweet fresh all over. Now, here's a tip right from Hollywood. Why don't you try the generous satin smooth basket cake. Even in hardest water, the lather is quick, rich and creamy. And lux lather is active, gentle, but so thorough it leaves your skin softer and smoother. Lux lovely all over. Discover why nine out of ten screen stars use Lux toilet soap. Now, Mr. William Keeley, our producer, Act 2 of Margie, starring Jean Crane as Margie and you, Marlow, as Mr. Fontaine. Well, let's leave 1928 for a moment and return to the attic in a pleasant little house where the young Bobby Foxer continues to press her mother for the secrets of her youth.

[Jean Crane as Margie]

Holy cow, mothers. You mean to say you lost your bloomers and catacombs? All those people at the skating rink? I'm afraid I did, darling. But I was hoping desperately that no one besides Grandma and Maribel knew the awful truth. The others had a vague idea that I'd sprained my ankle or something. Apart from the bloomers, I had had a very happy day. Well, Margie, you certainly had a big day. Oh, a wonderful day, Grandma. You call losing your best bloomers wonderful? Scrolling. No, but I did get to skate with Johnny Green. And Papa came to the debate and Mr. Fontaine and Papa stayed for dinner and kissed me good night twice. I'm afraid you've got your father all worked up over Nicaragua. He seems very interested. I still wonder what happened to your bloomers. They couldn't have walked away. Oh, Grandma, please, let's not talk about it. I'll explain. Be able to face anyone again. Now, who on earth it couldn't be Roy? Oh, maybe it's just Mary Bell. Who is he, Cynthia? It's that pleasant Ms. McQueen. It's Ms. Fontaine. Oh, no, no. Oh, Grandma, just look at me in my bathroom. Well, come on in, Mr. Fontaine. I'll bet he saw. I mean, this afternoon. My, but. Well, how nice of you to stop by.

[William Keeley]

Good evening, Mrs. McSweeney. Hello, Marjorie. I just happened to be taking a walk and it occurred to me to drop in and see how the invalid was getting along. Well, how is your ankle, Margie?

[Jean Crane as Margie]

Oh, it's fine. It hardly hurts at all.

[William Keeley]

Well, I'M delighted. After all, it would certainly be a shame not to be able to go to the prom next week because of a sprained ankle.

[Jean Crane as Margie]

Have a chair, Mr. Fontaine.

[William Keeley]

Oh, thank you.

[Jean Crane as Margie]

Margie, if your foot's really better, why don't you 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.

[William Keeley]

Oh, Margie, just a minute. Here.

[Jean Crane as Margie]

A package. For me?

[William Keeley]

Yes. In the excitement this afternoon, I believe you. I believe you lost your handkerchief.

[Jean Crane as Margie]

Oh, uh huh. I. I'll get your muslin handkerchiefs, Mr. Fontaine. Well, that was very tactful.

[William Keeley]

Thank you. Remember, Mrs. McSweeney, I studied in Paris. Trial.

[Jean Crane as Margie]

Margie. Hey, Margie. Oh, hello, Mary Belle. I just saw the light go on in your room. What did Mr. Fontaine want? That was him, wasn't it? Oh, he. He just came to call on me. But aren't you excited? I mean, gosh, Mr. Fontaine, did he bring you anything? I mean, candy or flowers? Oh, yes, he. He brought me a lovely gift. Margie. What? Mary Belle, when. When a person receives an intimate gift from a gentleman friend, she just doesn't go around bribing about what it is. Intimate, Margie, what do you mean? Oh, something. Margie, do you suppose Mr. Fontaine is going to invite you to the prom? The promise? Oh, I really don't know what Mr. Fontaine's motives are. Excuse me. Mary Belle. Men hate to be kept waiting, you know. The prom? Oh, as if anyone else would ask me but Roy Hornsdale. But what if he does? Mr. Fontaine. Oh, gosh, Marty. I'm coming. Grandma, take it easy. Mr. Fontaine just laughed. He. He laughed. He said you could bring his muffler to school tomorrow. Margie, did you hear me? Yes, Grandma, I heard. Margie, 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. Oh, he's got the sniffles again. It's as Tom folks this time. His folks won't let him go. Oh, well, it doesn't matter. I just as soon 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 along even to come home from school. Look out the window. She's coming here. Who? Mary belle? Margie. 20 years from now, you look at Johnny Green and you wonder what she ever saw. In him. 20 years from now, I'll be an old woman and it won't matter. I'm coming, Mary Bell. Oh, she'll just gloat over you. Don't you dare tell her what happened to Roy. Well, it's true, isn't it? You could pretend, couldn't you? Hello, Mary Bell. Margie, I just simply had to come over. Look, Johnny sent them. Imagine. Two orchids. Oh. Oh, hello, Mrs. McSweeney. Hello. You flapper or kid? Well, I suppose you'll be going with Roy, huh? No, his cold's worse, Margie. But I'm still going. You are? But who is? 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 gonna take a bubble bath in a simply terrific perfume I have, which absolutely is guaranteed to intoxicate men by its fragrance. Goodbye, Margie. Goodbye, Mary Belle. Mr. Fontaine. Gosh. I'm going up to my room, Grandma.

[NHTSA Announcer]

This morning, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by nhtsa now back to your podcast.

[Jean Crane as Margie]

Yes, dear. I'll get the phone. Hello?

[William Keeley]

Hello, Grandma? This is Angus.

[Jean Crane as Margie]

What's on your mind, Angus?

[William Keeley]

Why, nothing, Grandma, nothing. Just wondering how everyone is. Oh, incidentally, you'll be very interested to know I just threw a salesman out of my office.

[Jean Crane as Margie]

You died? Why?

[William Keeley]

Tried to sell me a gross of hand dipped candles made in Nicaragua. Oh, I told him a thing or two. Don't talk to me about candles, I said, until you can bring me word that our marines have been withdrawn.

[Jean Crane as Margie]

Sir, were the candles any good?

[William Keeley]

What do I care? Nothing is good, madam, if it betrays the heart and conscience of America.

[Jean Crane as Margie]

Angus, have you anything special to do tonight?

[William Keeley]

We Americans 1476 in. What do you mean, have I anything to do?

[Jean Crane as Margie]

Well, have you?

[William Keeley]

Well, Mr. Van Buren of the Forest Acres Mortician Service was coming over to discuss a merger of our interests.

[Jean Crane as Margie]

Well, how about merging your interest with Margie's? 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.

[William Keeley]

That's a little out of my line, Grandma. Haven't been to a dance in 20 years.

[Jean Crane as Margie]

Oh, well, who cares? Now, don't be later than 8 o'. Clock. And don't you dare show up without a corsage.

[William Keeley]

Well, Margie. Margie likes gardenias, doesn't she?

[Jean Crane as Margie]

Oh, gardenias, my foot. Orchids. Three orchids.

[William Keeley]

Yes, Grandma. Eight o' clock with three orchids.

[Jean Crane as Margie]

Thanks, Angus. Goodbye, Margie. Margie, come down here. Got news for you. I simply don't understand, Grandma. Who is coming to take me to the prom? Now stop asking questions and get into your farming. Grandma, if you call someone and made him take me, I'll never forgive you. He called me big 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 plenty. Grandma, do you remember that bubble bath I gave you for Christmas?

[William Keeley]

Of course.

[Jean Crane as Margie]

Would you let me use a little? Mary Belle's taking a bubble bath? And she says it simply intoxicates them with its exotic fragrance. And. And so I thought. Oh, help yourself, honey, but hurry up. If you don't hold still, Ms. Marchie, I'll never see get you hooked up. I'm sorry, Cynthia. Grandma, do you think I look sophisticated? Well, yes. For your. A doorbell. Yeah, I'll go down. Grandma. Who is it? You simply got to tell me. Oh, you find out. He's on time anyway.

[William Keeley]

Don't worry, honey.

[Jean Crane as Margie]

Soon as she's downstairs, I'll go down too and take a peek. I'll tell you who it

[William Keeley]

is.

[Jean Crane as Margie]

Well, this is quite a surprise, Mr. Fontaine.

[William Keeley]

I hope you'll excuse me, but I was driving by so.

[Jean Crane as Margie]

I look so nice in your tuxedo, Mr. Fontaine.

[William Keeley]

Oh, thank you.

[Jean Crane as Margie]

And that corsage is lovely.

[William Keeley]

Well, I'm about to call for Ms. Palmer. You know, the school librarian. I'm taking her to the prom tonight. I just thought I'd leave this for Margie. It's a French theme. She was anxious to know what grade I'd given her.

[Jean Crane as Margie]

What grade did you give her?

[William Keeley]

Oh, eh. Of course. Marge is an exceptionally bright child, Mrs. McSweeney. An enchanting child, I might add.

[Jean Crane as Margie]

Child, indeed. Oh, I doubt if you're eight years older.

[William Keeley]

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?

[Jean Crane as Margie]

Her father.

[William Keeley]

Well, just between us, I wish I were. You know, it's a very strange thing. I've never seen her. It's him, Miss Margie. That Frenchman.

[Jean Crane as Margie]

My, my, is he dressed up. And with flowers too. But it can't be Mr. Fontaine. Cynthia, dear, suppose Grandma bribed in this. Take me out of cun. I didn't have anyone else.

[William Keeley]

Oh, he don't need no bribe, honey.

[Jean Crane as Margie]

He's a young man, ain't he? And you're a pretty girl, ain't you, child? I've been telling 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.

[William Keeley]

Well, it looks like a two way crush to me, honey.

[Jean Crane as Margie]

Now go on, get on down there. Go on.

[William Keeley]

Well, good evening. And how pretty you look.

[Jean Crane as Margie]

Thank you. You look very pretty too. I mean, you may excuse me. The telephone. Oh, what a beautiful corsage. Why, how perfectly lovely of you to bring me flowers, Margie.

[William Keeley]

I. I don't think.

[Jean Crane as Margie]

Oh, they're just beautiful, Margie.

[William Keeley]

This French theme of yours, you'll be glad to know that.

[Jean Crane as Margie]

Well, as a matter of fact, it's Helen Bailey. Oh, excuse me a second, Mr. Fontaine. Oh, I know. I'm gonna wake up and find out this is all just a dream.

[William Keeley]

Margie, you. You don't understand.

[Jean Crane as Margie]

No, Helen.

[William Keeley]

Mrs. McSweeney, you don't have to tell me.

[Jean Crane as Margie]

I know she thinks you're taking her.

[William Keeley]

What am I going to do?

[Jean Crane as Margie]

Well, it's all my fault. You've simply got to think of something. And mine is Neil. Ms. Helen. Oh, that's a bit gorgeous. Look, Helen, I have to fly now. Mr. Fantine's waiting for me. Uh huh. Okay. I'll see you at the prom. Goodbye, Helen. Thought I couldn't go to the prom. Grandma and I counter Roy's tonsils. Oh, when I told her you were taking me, Mr. Fontaine, why, she was just. Just speechless. Oh, this card. This card on my corsage, Margie. I'm gonna put it in my scrapbook and keep it forever. What? The card. It says Ms. Palmer.

[William Keeley]

I'm sorry, Margie. That's what I was trying to explain. I stopped by. Merely leave your French theme. It. It's excellent. Thank you, Margie. Let her go. Oh, this is terrible. I'll call Miss Palmer up and explain. She'll understand.

[Jean Crane as Margie]

No, you just run along, Mr. Fantine. Margie wouldn't go with you. Now In a million. Margie. Hey, Margie. Margie. Hello, Mary Belle. Margie, Helen just phoned and said Mr. Fontaine was over at your house. Now? Absolutely. He's here. Well, aren't you thrilled to dance? Margie, listen, why don't you and Mr. Fontaine sit with us tonight? Well, it's okay. Okay by me. But he's probably made other. Other arrangements. Gosh, Margie, how'd you ever do it? Oh, honestly, Mary Bell, you're so funny. Claude. Well, you're so gullible. Just as bad as Helen. She fell for it, too. Fell for what? Honestly, it's just a scream. 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 prom with a T? But didn't he bring you a corsage? Helen said that? Oh, that was absolutely priceless. 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 from. To keep. To keep from bursting out laughing. Honestly, Mary Bell, he was a scream. Margie. Margie McDuff, I just don't understand you. Oh, I wish I were dead. I wish I were dead.

[William Keeley]

In a few moments, we'll return with Act 3 of Margie. Now, let me introduce my guest for tonight, Ms. Eileen Christie. She's petite, she's blonde, and she has a glorious singing voice.

[Jean Crane as Margie]

Well, thank you, Mr. Keeley. I've studied singing and drama since I was a child in San Francisco.

[William Keeley]

You've appeared in Civic Opera there, and you won, I understand, first place in the National Atwater Kent auditions.

[Jean Crane as Margie]

But I've never once sung in pictures. My screen roles have all been dramatic, you know. As a student of drama, I'm tremendously impressed by. With James Mason's performance in the Desert Fox. That's the documentary film 20th Century Fox has just released. The story of German Field Marshal Rommel, the man who defied Hitler.

[William Keeley]

Yes, indeed. I saw the picture, and I was fascinated, watching the wily Desert Fox from the time of his North African defeat up to his murder for the plot to assassinate Hitler. Cedric Hardwick also is excellent as another of the conspirators.

[Jean Crane as Margie]

Yes, and Jessica Tandy is Romo's wife. The only woman in the cast comes in for plenty of attention.

[William Keeley]

Well, Ms. Tandy always commands attention, you know. She's such a natural beauty with a complexion. Well, it certainly looks lovely.

[Jean Crane as Margie]

Yes, she's a real Lux girl. And her enthusiasm for Lux is one I certainly share.

[William Keeley]

You're very wise, Eileen. Girls with lux lovely complexions seem to get ahead in Hollywood.

[Jean Crane as Margie]

Any girl anywhere, Mr. Kennedy, should learn what luxe soap facials can do for skin. And they're so easy. You simply cream the rich lather well in, then rinse with warm water and splash with cold pat with a soft towel to dry. And you'll love the way your skin feels so soft and so smooth.

[William Keeley]

Thank you, Eileen. Christie. Ladies, Luxe active lather is thorough but gentle. Naturally, this daily care really makes skin lovelier. Try using Hollywood's own beauty soap. Tomorrow you'll discover you can be Lux lovely. You'll know why 9 out of 10 screen stars use fragrant white luxe toilet soap. We pause now for station identification. This is the CBS Radio Network. The curtain rises on Act 3 of Margie, starring Gene Crane as Margie and you, Marlow as Mr. Fontaine. With Jane Darwell as Grandma.

[NHTSA Announcer]

This morning, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by NHTSA now back to your podcast.

[William Keeley]

Once again, we swing briefly back to the present time, where upstairs in the attic, mother and daughter comb through events of 20 years ago. From the album, a photograph. Laugh. Joyce has just taken a picture. Her mother smiles reflectively as she looks at it.

[Jean Crane as Margie]

Yes, Joyce, this is a picture of the 1928 high school prom. Oh, and you're not even there. 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 you. Golly. But. But who bought 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 Hornsdale.

[William Keeley]

Why, it's you, Mr. McDuff. Good evening. Good evening, young man. Good evening. Gosh, is that your car? That log, Black libertine? It's one of my cars, yes. Gosh, how come your calling on Margie on Saturday? A man does not call on his daughter. And I'd like to know what business it is of yours. What day of the week I come here. Poor Margie says you always call weddies. You bringing her flowers? Yes. Hey, you're not bringing her flowers. Left over from the young man. They have an expression in Nicaragua that very aptly describes a person of your ill manners. What am I wasting my time talking to you for? Who are you, anyway? I'm Roy Hornsdale. She was, Mr. McDuff. Don't you remember me? I was at the skating rink the afternoon that Margie hurt 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 and I kept warm.

[Jean Crane as Margie]

Doesn't anyone believe in coming in? What is this, a convention?

[William Keeley]

Hello, Grandma.

[Jean Crane as Margie]

What are you doing here? Roy.

[William Keeley]

Good evening, Mrs. McSweeney. I figured since Margie's not going to the prom that I'd come over here and sort of.

[Jean Crane as Margie]

What makes you think she's not going

[William Keeley]

to the prom, huh?

[Jean Crane as Margie]

Cynthia, take Roy into the kitchen. Get him some hot milk or something.

[William Keeley]

Milk.

[Jean Crane as Margie]

Milk. Get in here, Miss. Margie. Margie. Margie is here, honey. Listen, Angus, I should explain, but I haven't got time. Margie's been crying. Now, don't ask why. Just be very tactful.

[William Keeley]

Tactful?

[Jean Crane as Margie]

Yes.

[William Keeley]

Did that sniveling boy in there make her cry? Oh, no, no.

[Jean Crane as Margie]

Roy's quite innocent. Hello, Papa. Margie.

[William Keeley]

Well, come on down. Well, my dear, you. You look beautiful. Simply beautiful.

[Jean Crane as Margie]

Why, thank you, Papa. You're. You're all dressed up. Well, you wouldn't want him to go to the prom in the business suit, would you? He's taking you? That's the big surprise. Honestly, Papa, you are taking me. Are you sure you want to?

[William Keeley]

Honey, I've waited over 16 years for the privilege. Here, orchids.

[Jean Crane as Margie]

Oh, Papa, three orchids.

[William Keeley]

I hope you won't be disappointed. Margie, I'm not a very good dancer.

[Jean Crane as Margie]

Oh, Papa, I'd rather be be going to the dance with you than anyone else in the whole world. Excuse me while I get my coat. Well, Angus, what are you thinking?

[William Keeley]

I was thinking, Grandma, that my daughter is just as pretty and every bit as sweet as yours ever was.

[Jean Crane as Margie]

I'm ready, Papa. Good night, Grandma. Good night, dear.

[William Keeley]

She wins. Is Margie going out?

[Jean Crane as Margie]

She's gone out.

[William Keeley]

Hey, Wen. I came here to read poetry to her. Who am I going to read poetry to now, Cynthia?

[Jean Crane as Margie]

Not to me.

[William Keeley]

Ain't Mr. Hornsby.

[Jean Crane as Margie]

And finish your milk. Helen. Helen, look. Look Where? Mary Beth. It's Margie and her father. How you've changed, Mr. Fontaine.

[William Keeley]

I beg your pardon?

[Jean Crane as Margie]

Come on, Carla. Did you see him? Johnny? Her father. But I want to explain what happened.

[William Keeley]

Oh, it doesn't matter, honey. Whatever happened was a wonderful rate for me. Now, let's see if we can find a tape. But how come Margie came with her old man slice?

[Jean Crane as Margie]

Oh, she wanted to be sure of dancing with someone. Johnny.

[William Keeley]

Hey, G. Come to think of it, it's the first time I've ever seen Margie.

[Jean Crane as Margie]

Huh? Then just what does that mean?

[William Keeley]

I. I don't know, babe. Me.

[Jean Crane as Margie]

Is this baby all right, poppet? Are you sure?

[William Keeley]

Oh, this is fine, dear friend.

[Jean Crane as Margie]

Margie. Oh, hello, Ms. Palmer.

[William Keeley]

Good evening, Margie. Good evening, Mr. McDuff. Nice party, isn't it? Oh, oh, yes, indeed, yes. Who Was that with Mr. Fontaine?

[Jean Crane as Margie]

Ms. Palmer, our. Our librarian.

[William Keeley]

Oh, very attractive.

[Jean Crane as Margie]

She's well preserved for her age.

[William Keeley]

Margie, that's the waltz they're playing.

[Jean Crane as Margie]

Yes, Papa.

[William Keeley]

Shall we try it?

[Jean Crane as Margie]

Oh, I'd love to.

[William Keeley]

I beg your pardon, but may I cut in, sir? Oh, well, yes, by all means, young man. By all means.

[Jean Crane as Margie]

Johnny.

[William Keeley]

Well, you sure had them all fooled, Margie. They thought you were coming with Mr. Fontaine.

[Jean Crane as Margie]

Why, why, how absurd.

[William Keeley]

Yeah, that's what I told him. I said, why would she want to come with some drip from the faculty? May I cut in, Pete?

[Jean Crane as Margie]

Jake, where'd you come from?

[William Keeley]

May I? Well, yeah, yeah. See you later, Margie.

[Jean Crane as Margie]

Thanks, Johnny.

[William Keeley]

Not even one little smile?

[Jean Crane as Margie]

Margie, I. I don't feel like smiling. Why, I mean, such a fool of myself. You're just trying to be nice. You don't have to dance with me.

[William Keeley]

Between you and me, Margie, I'd rather dance with you than anyone else in this room.

[Jean Crane as Margie]

If you only knew how I feel. If you. What did you say?

[William Keeley]

I said I'd rather dance with you than anyone else in this room. And I mean it.

[Jean Crane as Margie]

Anyone.

[William Keeley]

Anyone.

[Jean Crane as Margie]

Oh, Look, Mary Belle. Margie's doing all right. Oh, it's just a wall. Who wants to wall? Besides, he's just taking pity on her like Johnny did. I sure wish Mr. Fontaine would take pity on me. I. Well, what do you know? Johnny's taking pity on her again.

[William Keeley]

May I cut in, sir? Well, I did it to you, Johnny. I. I guess you can do it to me.

[Jean Crane as Margie]

I. I didn't think I'd see you again so soon, Johnny. Gee whiz, Margie. Where you been all My life right under your nose, I guess.

[William Keeley]

You're sure a smooth dancer. How.

[Jean Crane as Margie]

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 so. So funny.

[William Keeley]

You're not gonna fade, are you?

[Jean Crane as Margie]

That's a. That's a very good idea, Margaret. Well, Joyce, that was the last time I ever wore those bloomers. I was about to throw them away a few years ago but your father insisted that I keep them. Oh, Mother, to think that it happened again at the prom. Oh, how perfectly ghastly it must have been for you. Oh, it was, darling, ghastly. But what happened? Who finally got to take you home? Grandpa or who? Why, your father, of course.

[William Keeley]

Hey, where is everybody?

[Jean Crane as Margie]

We're up here, Daddy, in the attic.

[William Keeley]

Hello, honey. Please.

[Jean Crane as Margie]

Hello, Daddy.

[William Keeley]

Well, what have you two been doing up here?

[Jean Crane as Margie]

Oh, we've had more fun, Daddy. Mother's been telling me all about the bow she had when she went to Central High School.

[William Keeley]

Oh, she has, has she?

[Jean Crane as Margie]

Look at this snapshot of Johnny Green. Oh, he sounds simply terrific. Do you remember him?

[William Keeley]

Yes, dear. He was a drip. Drip was the first water.

[Jean Crane as Margie]

Ralph, dear, that doesn't sound so well coming from the principal of Central High School.

[William Keeley]

You heard me. I said drip.

[Jean Crane as Margie]

But where is he now? What does he do?

[William Keeley]

He's a plumber. Lives over in Dale Hurst, I think. Works for a fellow named Roy Hornsdale.

[Jean Crane as Margie]

You don't say. Oh, look, Daddy. All these old phonograph records. Listen to this one. How about it, Pop? Can you jive?

[William Keeley]

Well, I can't exactly say I'm good at it, but I sure like to try.

[Jean Crane as Margie]

Well, here we go.

[William Keeley]

Hey, take it easy.

[Jean Crane as Margie]

Where's Papa, darling? Didn't he come home with you?

[William Keeley]

No, he was betrayed. The ambassador will be home for dinner, though.

[Jean Crane as Margie]

Ambassador? You mean he finally got it?

[William Keeley]

Take a look at that evening paper. I put it right there on the trunk.

[Jean Crane as Margie]

Angus McDuff appointed ambassador to Nicaragua. Well, I'll be darned.

[William Keeley]

In just a moment. We want you to meet our stars in person. And Mr. Keely will tell you about next week's show. But first, here's what glamorous, fascinating Ruth Hussey says about complexion care. I've been a Lux girl for years, she says, because I've found there's nothing quite like luxe active lather facials. They really do wonders for the skin. Why don't you take Ruth Hussey's tip? Lux has active lather that cleanses gently but thoroughly. You'll find daily facials with fragrant white luxe toilet soap are simple but so effective. They leave skin softer, smoother. Give it quick new beauty. That's why nine out of 10 screen stars use luxe toilet soap. They know it's a beauty care that works. So get Hollywood's favorite beauty soap tomorrow. Discover for yourself. It's easy to be lux. Lovely. Now here's Mr. Keeley with our stars. And here they are coming forward to the footlights for a well deserved curtain call. Gene Crane. And you, Marlow. That was certainly a charming story. And you know, Gene, it's hard to believe that you're not still a high school girl. Yes, Gene, with three small boys to manage, how do you stay so young? Well, you know, I think Lux turn toilet soap helps Jean to look like a teenager. Just look at that beautiful complexion.

[Jean Crane as Margie]

Thank you, Bill. I certainly am devoted to luxe toilet soap facials. I never miss them.

[William Keeley]

Then you'll be able to go on playing high school girls for years to come.

[Jean Crane as Margie]

Oh, but I don't want to. I'd like to play somebody very wicked for a change.

[William Keeley]

Who did you have in mind? Creweloo?

[Jean Crane as Margie]

No, but I envy Jean Peters who just made a picture at 20th Century Fox called Anne of the Indies in

[William Keeley]

which Anne plays a lady pirate. She's a pirate, but she's no lady. Isn't she supposed to be the adopted daughter of the famous Blackbeard?

[Jean Crane as Margie]

Yes, and he teaches her to be a cutthroat pirate too. Jean has a wonderful time fighting duels, making men walk the plank.

[William Keeley]

Yes, just the kind of girl you'd like to introduce to your mother. Good night.

[Jean Crane as Margie]

Good night.

[William Keeley]

Good night. And all our day.

[NHTSA Announcer]

This morning, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by NHTSA now back to your podcast.