5th Row Center 40-02-04 01 Model Princess

Summary

Podcast Summary: Harold's Old Time Radio

Episode: 5th Row Center 40-02-04 01 Model Princess
Date: September 1, 2025
Host: Harold's Old Time Radio

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Episode Overview

This episode of "Harold's Old Time Radio" presents the radio play Model Princess, a romantic comedy from 1940 starring Simone Simon. The episode immerses listeners in the glamour and intrigue of the "Golden Age of Radio," offering a tale of mistaken identity, love, and ambition set in the bustling world of a metropolitan city and European royalty. Listeners are transported to a time before television, experiencing heartfelt performances and witty dialogue live from WGN's Michigan Boulevard Playhouse.

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Key Discussion Points and Plot Highlights

1. Introduction to the Play and Cast (02:15)

• The host introduces the setting—a packed studio audience for the "gala premiere."
• Star Simone Simon is spotlighted for her screen success and her musical comedy debut in Chicago.
• Notable Quote:
  • “The best seats in the theater are always yours—in Fifth Row Center.” (02:48, Host)

2. The Premise: A Princess by Appointment (03:58 – 06:46)

• In the city’s most fashionable dress salon, Rochelle, a French model, is approached by Madame Tourney with an unusual offer: impersonate a princess for a visiting prince.
• The ruse is to convince Americans of Prince Paul’s stability and propriety.
• Notable Exchange:
  • “How would you like to be the princess?” (05:17, Madame Tourney)
  • “Oh, now you joke with me!” (05:20, Rochelle)
  • “I am being very serious. … The ambassador will pay you $10,000 if you pretend to be the princess for a few weeks.” (05:26, Madame Tourney)

3. Becoming the Princess: The Transformation (06:46 – 07:16)

• Rochelle accepts the job, prepared for anonymity and excitement.
• Makeover and anticipation of stepping into a royal role.

4. Romantic Complications: Meeting Joe Morley (07:16 – 13:36)

• Rochelle, now Princess Bebe, is given instructions before her first solo press interview.
• Joe Morley, the newspaper reporter, is both nervous and endearing; a flirtation blossoms during their interview.
• Memorable Moments:
  • “Maybe they would like to live on a farm in Vermont.” (11:07, Rochelle/Princess Bebe, subtly expressing her longing for a simpler life.)
  • The “Vermont farm” motif underscores their chemistry and mutual desire for a life beyond their façades.

5. A Night of Danger and Connection: The Dance and Fire (13:36 – 15:28)

• Joe and Rochelle’s relationship deepens during a dance, which is interrupted by a fire.
• Joe heroically rescues Rochelle, escalating their emotional bond.
• Quotable:
  • “If we get out of this inferno, we’ll get out together. Hang on, kid. Here we go.” (14:11, Joe Morley)
  • “You saved my life. And you called me darling.” (14:54, Rochelle)

6. Confrontation and Revelation: The Real Princess Appears (15:28 – 21:32)

• Rochelle wants to end the charade, conflicted over her feelings for Joe and the impact of her deception.
• Prince Paul insists she must continue for the sake of his country’s financial future.
• The real Princess Bebe arrives, exposing the entire plot and revealing Rochelle as an impostor to Joe.
• Dramatic Highlight:
  • “Now I can print the truth. Joe Morley, the world’s number one sap.” (20:08, Joe Morley, upon realizing he’s been fooled.)

7. Heartbreak and Resolution (21:32 – 25:10)

• Joe feels betrayed; Rochelle defends her intentions but is rebuffed.
• Prince Paul clarifies the arrangement was strictly business—there was no romance with Rochelle.
• Through various conversations, it becomes clear that all parties were acting from mixed motives of love, duty, and misunderstanding.

8. Happy Endings at the Dress Salon (25:10 – 28:17)

• Rochelle, devastated, returns to Madame Tourney, whom she fears she’s disgraced.
• Madame is forgiving; she advises Rochelle to let go of her dramatic pain and resume her life.
• Madame orchestrates a reunion by inviting Joe to the salon under the pretext of “personal business.”
• A shy, humorous reconciliation leads to a marriage proposal.
• Sweet Finale:
  • “I’m taking my wife.”
  • “But you are single... Are we getting married?”
  • “Sure I am.”
    (27:54 - 28:17, Joe & Rochelle)

9. Curtain Call and Interview with Simone Simon (28:45 – 30:53)

• The play concludes with acknowledgment of the cast and crew.
• The host interviews Simone Simon, discussing her American theater debut, thoughts on Chicago and American style, and her career in Paris and Hollywood.
• Notable Quotes:
  • “You see, I feel just a beginner.” (29:29, Simone Simon, on her radio acting experience)
  • “I think any kind of acting is fun. On the stage, in the movies, on the radio. I love it.” (29:37, Simone Simon)

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Memorable Quotes & Moments with Timestamps

• “I am being very serious. … The ambassador will pay you $10,000 if you pretend to be the princess for a few weeks.”
  — Madame Tourney, (05:26)

• “Maybe they would like to live on a farm in Vermont.”
  — Rochelle, (11:07)

• “You saved my life. And you called me darling.”
  — Rochelle, (14:54)

• “Now I can print the truth. Joe Morley, the world’s number one sap.”
  — Joe Morley, (20:08)

• “I was entirely to blame.”
  — Joe Morley, (23:21) (reconciliatory moment)

• “I’m offering her the life of a princess.”
  — Joe Morley, (28:12)

• “You see, I feel just a beginner.”
  — Simone Simon, (29:29)

• “I think any kind of acting is fun. On the stage, in the movies, on the radio. I love it.”
  — Simone Simon, (29:37)

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Structure and Flow

• The episode maintains a lively, warm, and classic radio tone throughout.
• Dialogues are witty, full of playful banter, and the emotional beats shift from comedic to suspenseful to romantic seamlessly.
• The interview segment at the end allows the star, Simone Simon, to reflect personally and provide a behind-the-scenes flavor.

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Conclusion

Model Princess exemplifies the charm and energy of pre-television radio drama—complete with mistaken identities, romance, class differences, and ultimate reconciliation. The episode both entertains and charms, offering modern listeners a nostalgic immersion in the storytelling style of the era.

For fans of old-time radio, classic romance, and sharp, character-driven comedy, this episode delivers a thoroughly engaging experience.

Transcript

[A]

Lowes knows you've got a job to do and we help get it done with the Myloes Pro Rewards program. Eligible members save more with volume discounts on qualifying orders through a quote of $2,000 or more. Join for free today. Lowes we help you save offer can't be combined with any other discount contract and or special pricing exclusions. More terms and restrictions apply. Details@lowe's.com terms subject to change. Fifth Row Center. It's another gala premiere today in WGN's Michigan Boulevard Playhouse as we present the charming young French star Simone Simone in a delightful romantic comedy, model princess. Ms. Simone has not only won international fame as a screen actress, but she is also appearing at present in a delightful new musical comedy, Three After Three, now playing at the Erlanger Theater in Chicago. It's a sellout house here in the studio again today, but the best seats in the theater are always yours. In fifth row center. And now the lights are dimmed. And before the first act curtain, we've just time to tell you that supporting Simone Simone in this afternoon's play is a fine cast of famous players including Olin Soleil, Louise Barkley, Brett Morrison, Renee Rodier and Willard Waterman. Our drama, Model Princess was written by Noel B. Gerson. Harold Stokes conducts the orchestra and the production is directed by Blair Wallacer. And now there's the curtain and the show. Our first scene takes place in the busy newsroom of a metropolitan newspaper in the Great American Seaport. The city editor is speaking. Marley. Go, Marley. Joe, come here. Why? I got a piece of a story for you. Another debutante drinking champagne out of. Whatever debutantes drink champagne out of. No, no, no. This is a real story. Look, take a photographer down with you and go to the docks with the president. Van Buren is Dr. His Highness, the famous Prince Paul is on board with his new bride. He's a French gal. Apparently, we don't know much about him. In fact, I didn't even know the prince was married. So it sounds like it ought to be a good yarn. Do either of them speak English or do I use sign language? Ah, you find that out for okay, sunshine. I wish I was back at police court. We could always get a story out of the judge. And maybe a free lunch, too. And now we move to the salon of Madame Tourney, one of the city's most famous dress designers. Madame Tourney is sitting in her office working when the door opens.

[B]

You called for me, Madame?

[C]

Oh, Rochelle, yes. Sit down, please. Rochelle, you have been working here as a model for A long time?

[B]

Oui, madame. For three years, ever since I came over here from Paris.

[C]

You enjoyed your work.

[B]

Oh, but I have, madam. I would rather work here and wear your wonderful clothes than anywhere else in the whole world. Oh, madam, you are not good.

[C]

Oh, no, no, Rochelle. I am not going to let my most attractive model go. I'd be a fool if I did anything as stupid as that.

[B]

I.

[C]

Well, I don't quite know how to explain this to you. I have a very unusual job for you. That is, if you care to take it.

[B]

Oh, we are going to have a side show at a restaurant or something.

[C]

No. Now, please understand, my dear, if you don't want to do this, it will be perfectly all right with me.

[B]

I understand, madam.

[C]

Well, let me begin at the beginning then. A very important ambassador is sitting in the next room.

[B]

An ambassador?

[C]

Yes. He saw your picture in one of the magazines the other day, and he thinks you can help his country. Prince Paul, who is the heir to the throne, is arriving here today on a goodwill trip.

[B]

Oh, yes, I know. I read all about him. He plays polo, and he's very handsome, and he speaks five languages. And, of course, he's very rich.

[C]

How would you like to be the princess?

[B]

I. Oh, excuse me, please, madam, but now you joke me with kidding.

[C]

I am being very serious. The prince and his advisors decided that without a wife, he would become entangled with too many romantic, young American girls, you know, wanted to marry him. And besides, a wife will help convince our businessmen that the prince is solid and serious. You are young and charming, and you are beautiful. And of course, you can wear clothes, or you would not be here at Madame Tournai's. They have already announced that the princess is with Paul. But it is not so. There is no one. And that is why they come to you. The ambassador will pay you $10,000 if you will pretend to be the princess for a few weeks. They will take you out to the ship in a special cutter, and you will start at once. Do you want to do it?

[B]

Oh, but I cannot. To be alone with a man. Oh, what will my friends think of?

[C]

There is nothing to fear. You'll be quite safe. Prince Paul is a gentleman, and this is a business agreement.

[B]

But everyone will know it was I.

[C]

Not at all. We will change your makeup, your hairstyle, your whole appearance. People who have seen your picture in the fashion magazines won't recognize you, and neither will your friends. You will be a new person. The princess Bebe.

[B]

I, Rochelle Gabi. A princess we, your highness know. Your Highness. Oh, yes. Madame, I will do it. Where is that ambassador? Your princess is coming. Prince Charming.

[A]

You're doing beautifully, Rochelle. You could not have done better if you've been born a princess.

[B]

These past three days have just been like a dream. Sometimes I can close my eyes and almost imagine that I am their princess. And when I open them and see a room as big as this one, I know I must be at least a touchy. Is this the grand ballroom of the hotel? Do they hold big meetings here?

[A]

Oh, this is just a royal suite.

[B]

I wonder, do they think kings and queens and princesses are bigger than other people? The who's are always so much larger.

[A]

This afternoon may be rather difficult for you. It'll be the first time you see a member of the press alone.

[B]

It'll be difficult for you, too. Going to start building a new embassy and making a big speech.

[A]

Well, this won't be a noble experience for me, my dear. I've had enough experience with cornerstones to be an expert stone mason by this time. I've been making speeches since I was 10 years old.

[B]

Yes. Not be very boring for you. But I am enjoying myself. And I'm going to enjoy the interview today, I hope.

[A]

Now, just remember this. If you get into difficulty, a member of the staff will be in the next room.

[B]

I will remember.

[A]

Mr. Joseph Morley of the Star Express is here by appointment to see Her Highness.

[B]

You may show him in. Are you leaving, your Highness?

[A]

Yes, I must go. And do your best.

[B]

Oh, dear. I shall try very hard. Adieu, Cole.

[A]

Adieu.

[B]

Andre.

[A]

Your Highness. I'm Joe Morley, the Star Express.

[B]

How do you do? Will you not come in?

[A]

Thanks.

[B]

Please sit down.

[A]

All right. Maybe you can tell I'm a little bit on the edgy side. You see, this is the first time I've ever interviewed a princess.

[B]

Oh, nice. We're starting together, then. This is the first time I have been interviewed alone by a newspaper reporter.

[A]

It is?

[B]

Yes. I mean, you see, the first time in your country. Oh.

[A]

Didn't quite get you there for a minute.

[B]

Well, then, shall we begin?

[A]

Mm.

[B]

Have you been a reporter very long?

[A]

Almost five years now.

[B]

Things are your work?

[A]

Yeah, pretty well. But I'd like to get away from this sort of stuff, you know. I don't like to pry into other people's lives.

[B]

Oh, what would you like to do?

[A]

Well, I own some property up in Vermont. I'd like to go up there and live. It's wonderful up there in the winter. Everything as far as you can see is all still and white and sparkling. It's cold outside and warm inside. Crisp everywhere.

[B]

That sounds enchanting.

[A]

Yeah, but that's the whole trouble. It's too good. I'll never get there.

[B]

Well, why not?

[A]

Well, I can't go up alone. I'm not married. I don't even know any girl who'd want to bury herself up in the Vermont hills with me.

[B]

I should think any girl would love living that kind of a life.

[A]

You do?

[B]

Of course I do. Why can't you find the right girl?

[A]

You tell me, Sister Deb. I beg your pardon, your highness, I.

[B]

Oh, that's all right.

[A]

Oh, really, I'm terribly sorry.

[B]

Don't apologize. I'm okay with that crack.

[A]

Hey, wait a minute. What kind of an interview is this anyway? You're asking me all the questions. Now then, what about you?

[B]

There's nothing very remarkable about me. I was born in Paris and I lived there most of my life. And here I am.

[A]

You're being rather modest.

[B]

No, that's all there is to me.

[A]

Well, it isn't every girl who marries a prince and will someday be a queen.

[B]

Not every girl wants to be a princess or a queen.

[A]

No? What do they want?

[B]

Maybe they would like to live on a farm in Vermont.

[A]

Okay, kid me if you want to, but I'm going to use that in my story. Anyway. Princess would prefer life on simple farm.

[B]

Now you are kidding me.

[A]

No, not a chance. Tell me, Princess, you don't mind my getting personal. How'd you happen to fall for his nibs? I mean, Prince Paul, I.

[B]

The prince is. Oh, I'm sorry.

[A]

Dog gone. There I go pulling another boner. Please forgive me. I imagine it's pretty hard for a girl not to fall in love with a man as good looking as Prince Paul.

[B]

There's nothing to forgive.

[A]

Well, I've taken up enough of your time, Princess. Thanks for the interview and for everything. Really swell.

[B]

Perhaps we shall meet again.

[A]

No, not much chance. We live in different worlds, Princess.

[B]

Perhaps they are not as far apart as you think. The life of a princess is not very different from that of the closed model.

[A]

Well, that's a neat way of putting it anyway. Well, so long.

[B]

Why. Why don't you come to dinner with us? Me? Why not? Well, why not meet us here at 8:00'? Clock?

[A]

Well, won't his nibs. I mean, won't the prince be sore?

[B]

Oh, I don't think so. He's very wide minded. At 8?

[A]

At 8. You dance beautiful beautifully, Princess.

[B]

I love to walk with you.

[A]

It's been a wonderful evening, your highness.

[B]

Oh, please, don't call me that. Why don't you just call me Rochelle?

[A]

I thought your name was baby.

[B]

Oh, yes. Oh, well, my friends all call me Rochelle.

[A]

Am I a friend?

[B]

I hope so.

[A]

Oh, gone. You know, I wish you weren't a princess married to a prince.

[B]

Why do we something like that?

[A]

Well, put limitations on friendship.

[B]

You mean you would like me better? Maybe if I. If I were a shop girl or an airplane stewardess or.

[A]

Or immortal Mary. You speak with an accent, Rochelle, but you sure do get the dress.

[B]

We dance together as though we had done it always.

[A]

Let's keep right on dancing.

[B]

The music is so.

[A]

It has funny. I wonder why they stop in the middle. Hey, look what's happening? It's a flame.

[B]

Oh.

[A]

Hey, this isn't so good. Look at those flames. Come on. Hey, this is a stampede. Are you all right, Rochelle? Hang on to me. I'll get you out of here.

[B]

Oh.

[A]

What's the matter?

[B]

Oh, my ankle. Oh, can't you walk? What do you going?

[A]

No, no, no. Not a chance. If we get out of this inferno, we'll get out together. Here, put your arms around my ne.

[C]

All right.

[A]

Hang on, kid. Here we go. Princess Rochelle. Are you all right? We're safe. We're out. I'll say something. Please. Are you ill or what's wrong? Oh, darling. Darling. Give her air. She's faded, buddy.

[B]

You called me darling.

[A]

Are you all right?

[B]

You saved my life. And you called me darling.

[A]

I called you? Oh, I'm sorry. All right. That was a pretty rotten thing to do. I keep forgetting you're married to the prince. I was holding you in my arms. Sort of lost track of things, I suppose. Please don't think too badly of me.

[B]

Whatever I think of you, and I shall think many things, it'll never be right, I promise you.

[A]

Our scene again changes. It is two days later. We go back to the royal suite of Prince Paul at the Hotel Ritz. The prince is reading a newspaper.

[B]

Please, sir, I want to speak to you. Paul. Your Highness.

[A]

But of course. I'm only reading the papers. We have another fine press today, thanks to you.

[B]

Oh, that's what I wish to speak to you about. I want to speak to end this silly farce at once.

[A]

You want to do what?

[B]

There's no pleasure in this game of pretending to be someone else. You've been very kind. You've been wonderful. And I cannot go on. I must stop. I must.

[A]

You cannot leave now. It is impossible.

[B]

Why not?

[A]

For there's too much at stake. If you were to walk away now we'd be the laughing stock of the world. I would have no chance at all to get the loan we need from these American bankers. And thousands of men and women and children will go hungry, all because you have suddenly found this position distasteful to you.

[B]

How can I go on pretending to be your wife when.

[A]

When you are in love with that newspaper reporter?

[B]

Yes.

[A]

I'm terribly sorry, my dear, but you must try to understand my position too. More than personal interest is at stake. The issue transcends personalities.

[B]

I understand, but what am I to do?

[A]

You.

[B]

Oh, please tell me and help me.

[A]

Simply be a little patient. In another two weeks, I hope to have the loan from these bankers, and my American visit will end. Then you can go to your friend and tell him the truth. And if he loves you as much as you do him, you will have no difficulty at all.

[B]

Very well, then. Your Highness, I will keep up this game of make believe a little longer. It is hard, but I will keep my body.

[A]

I'm deeply grateful. Hello? Hello? Hi. Yeah, this is Joe Morley. Yes, I tell you it is. Hey, who in blazers is calling me at four in the morning to find out if I'm me? I don't care if you got a story for me. I'm sleepy. Huh? What's that about the princess? What do you mean? What? Say, look, if you're trying to pull a gag, so help me, I. All right, all right. I'll be over in the morning. Sure I will. First thing in the morning. How do you do?

[C]

Please come in, Monsieur Morley.

[A]

Now, let's get to the point. What's this all about?

[C]

Monsieur Morley, I am the Princess Babel.

[A]

Oh, really? You are the princess, baby.

[C]

You may jeer if you like, but I have ample proof. Here, look at these papers before we continue this discussion any further.

[A]

Seems authentic enough, but I. What is this? I'm afraid I don't understand.

[C]

Well, the story is very simple. I was a dancer at the Fol a Bergere in Paris. I met Prince Paul there, and we fell in love. I am not of royal blood.

[B]

And so at first we thought marriage.

[C]

Was out of the question, but we decided nothing should stand in our way. And so we were secretly married at Cadantides. And we have kept the marriage secret. Paul wanted to make it public, but I was afraid in notoriety would injure him. And so we had a quarrel. And at the last moment, I did not accompany him. A theory, considering.

[B]

I decided I had been a little.

[C]

Bit hasty, and I came on the next ship. Because of the war, I Did not arrive here until yesterday. And then I discovered that a little Parisian imposter was calling herself Frances Baby and has been appearing every with my husband.

[A]

An imposter? You. Princess, you know, this is a little hard to get all in one swallow.

[C]

Let me continue, please. You have written many stories in your paper about this. This artificial princess, so I want you to know the truth. Here are some of my pictures. Now you can print the truth in your newspaper.

[A]

Yeah. So she isn't even married to him. Yeah. Now I can print the truth. Truth. All right. Joe Morley, the world's number one SAP. Yeah, that'll make a great story.

[B]

You say Mr. Morley is here, doesn't want to see me?

[A]

That is right, your highness. He insists I'm seeing Prince Paul. The ambassador telephone to say he has urgent business with me. Mr. Morley can wait. Mr. Morley can't wait. And I can tell you everything the ambassador has to say.

[B]

Joe, what are you doing?

[A]

Take a look at these pictures. Prince Paul. Do you recognize this lady, baby? Yeah, Mr. Molly. Where did you get these photos? What do you think? From the little lady herself. Not a motion picture from Baby. Then she is here. Yeah, you catch on fast, baby.

[B]

But I am, baby, am I not?

[A]

Hey, look, let's all take our hair down now and quit pretending. You've had a lot of fun with me, haven't you, Princess? I've never known anyone just like you before, but I've heard about your type a lady gigolo. I hope you get a lot of laughs out of this. I will when I get my sense of humor back. Baby. Here. Where is she, Mr. Morley? Where is she? Rochelle. Bebe is my wife.

[B]

Your wife? Oh, Joe, now I see why you're angry. But I knew nothing, Joe. Oh, please listen to me. I didn't make a fool of you. Honestly, I didn't.

[A]

You tried hard enough.

[B]

Well, don't do this to me, Jo. All I ask is that you listen to me.

[A]

No, I won't listen to you. I listen to you too much already. Star reporter Morley mixes honey with printer's ink mixture. Doesn't gel result. The ink comes off the page.

[B]

All right. Don't listen to a word I have to say. Well, there's nothing I would say to you anyway. You're mean and contemptible and unfair and suspicious and vulgar and horrible and prejudiced and hateful and terrible and.

[A]

And nasty and super nasty.

[B]

I don't know why I ever like you. I didn't. I never did like you. I hate you. I never want to talk to you again. I never wanted to see you again. My own, either. Why did I ever leave Paris? At least if men there weren't gentlemen, they still acted like gentlemen. This is a finish. Your Highness. I don't want the $10,000. I don't want anything. I'm leaving now. Goodbye.

[A]

Poor child. Hey, what was that? She said about $10,000. Were you paying her to pose as the princess? Naturally, I was paying her. This was strictly a business arrangement, nothing more. Oh, I've made a nice mistake, miss. Out of this. Rochelle. Rochelle. She's gone. You're a discerning young man. Well, I've got to plan her and tell her. I didn't understand. I made a terrible mistake. There are many entrances to this hotel. You'll have a difficult time. Well, do you know where I can reach her then? I do not. You mean, even if you did know, you wouldn't tell me? Correct. Why don't you place an advertisement in your newspaper? Yeah, you're a big help. Baby. Baby.

[B]

Oh, poor.

[A]

Oh, baby. Oh, I'm so glad you are here. I apologize.

[C]

No, no, it was all my fault.

[A]

I won't let you say such a thing. I was entirely to blame.

[C]

No, you were not. And I have done something to atone for my foolishness. Oh, Paul, why did you not tell me you were trying to arrange a loan from Mr. Grandy? Banker?

[A]

There's no need to bother you with such matters. How do you know Mr. Grant? What do you know about a law?

[C]

But I've known Mr. Grant for many years.

[A]

Just an old friend of the family, I suppose. You keep still. What about the loan?

[C]

The ambassador told me about it. And he said I must be very.

[B]

Quiet or we would not get the money.

[A]

So?

[C]

So I telephoned to Mr. Grant and he said that if he had known I was the princess baby, he would have given you the loan long ago. You see, M. Grand is indebted to me. I introduced him to his wife.

[A]

You're wonderful, baby. You're wonderful. Where's the. The money?

[C]

We will send you the necessary papers.

[A]

Today we will celebrate. We will go home. Oh, boy. Let's all go home. Goodbye, Mr. Moly. Oh, my darling. And so they lived happily ever after. Boy.

[B]

You are so good to take me back, madame. To me. I have disgraced you and myself. I'm such a little fool.

[C]

Nothing of the sort. Forget the whole experience, child. It was very unwise of me ever to allow you to do it.

[B]

Oh, no, madame. It was my own fault.

[C]

Nonsense. You are just allowing yourself to dramatize a Situation? You made the mistake of falling in love with a young man who obviously was not worthy of me. Madam. Forget it and go back to work. A new line of evening dresses has come in. Go try them on. And if there is one you like particularly, well, you may keep it.

[B]

Yes, madam. Thank you so much.

[C]

Hello. Get me the Star Express, please. Hello. I want to speak to Mr. Morley, please. Yes, he's one of your reporters. Yes, please. Hello? Hello, Mr. Morley? Mr. Morley. This is Madam Tourney of 3rd Street. I wondered if you might drop over here to see me on personal business. Anytime this afternoon, Mr. Morley. Thanks so much. You seem like a very presentable young man, Mr. Moley. You don't look at all like an ogre.

[A]

Now, look, you didn't ask me here, madame, to compare me with mythical animals. Now, what's this all about?

[C]

I have been hearing quite a little about you, Mr. Morley, and I wanted to see you for myself.

[A]

Who's been talking about me?

[C]

One of our models here.

[A]

I don't know any models. Maybe you got the wrong guy.

[C]

No, this one. I think her name is Rochelle.

[A]

Rochelle? Where is she? I want to see her. I've been looking all over town for her for a week. Where is she?

[C]

Suppose I have her. Come in.

[A]

Pardon my boyish enthusiasm and lack of self control, madame.

[C]

Hear me.

[B]

Please.

[C]

Ask Rochelle to come up here at once, please.

[A]

Oh, madame, how can I thank you for this?

[C]

I don't yet. Wait and see. If she'll speak to you first. I'll leave you here to wait for her alone.

[A]

Let's see now. Hello. No, that won't do. Hello there. No, I. All right.

[B]

You wanted me met up?

[A]

Oh, very much.

[B]

Go away.

[A]

Now, that's not very reasonable. I'm here and you came in. If there's any going away to be done, you're the one to do it.

[B]

How'd you get here?

[A]

Well, taxi cabs, we call them in this country. A man drives, and you tell him where you want to go and he takes you there. It's quite simple.

[B]

You're most amusing.

[A]

Thanks. You're not so bad yourself.

[B]

I am leaving.

[A]

No, no. Wait for Michelle, please.

[B]

Oh, let me go.

[A]

You walked out once before and it took me a week to find you. I'm sorry, darling. Really I am.

[B]

Did you say darling?

[A]

Darling.

[B]

Oh, I see.

[A]

Darling now I'm going away.

[B]

Going away? Where?

[A]

Vermont.

[B]

Are you going alone?

[A]

No, I'm taking my wife.

[B]

But you're a single. Are we getting married?

[A]

Sure I am.

[B]

Have you asked her to marry you yet?

[A]

Not Yet? No.

[B]

Well, then how do you know she would marry you?

[A]

I've got a sneaking idea.

[B]

You're very sure of yourself, Mrs. Jo Morley.

[A]

I'll say I am. Why? I'm offering her the life of a princess.

[B]

Then I am sure she will answer yes.

[A]

Ladies and gentlemen, you have just heard Model Princess, a radio play starring America's favorite French ingenue, Simone Simone. And presented from coast to coast over the Mutual Network from the audience studios of WGN and Chicago. And now, if Miss Simone's had a chance to catch her breath after that final romantic love scene, we'd like to ask her to step out of character for a minute. I think our audience will agree that Miss Simone gave a very beautiful performance this afternoon. Miss Simone. I understand. I understand, Miss Simone, that you're to be doubly congratulated. Am I right in saying that this is only your third time speaking before a microphone in this country?

[B]

Yes, Mr. Andre. You see, I feel just a beginner.

[A]

Well, you certainly sounded like a veteran. How do you like radioacting, Mr. Bones?

[B]

Oh, I think any kind of acting is fun. On the stage, in the movies, on the radio. I love it.

[A]

Tell us, is this your first visit to Chicago?

[B]

Yes, it is, and I hope it won't be the last. I think it's a beautiful town, and his WGM studio is one of the most beautiful I've ever seen, here or abroad.

[A]

You have another first to your credit, too. I know. Your present role in Three After Three is your first in an American stage player musical, isn't it?

[B]

Yes. Well, you see, all the work I've done in this country was in Hollywood.

[A]

Miss Simone, suppose now, for the sake of the ladies listening in, you give us the French viewpoint on American style. What do you think of our shops, for instance?

[B]

Well, a good thing we are doing a lot of rehearsing. Oh, I need to stop shopping. I've seen so many beautiful things in your Chicago shops. I'd love to buy. Well, as I said, it's a good thing with rehearsing so much.

[A]

Another thing I'd like to ask, Miss Simone, how many movies did you make in Paris before you came to Hollywood?

[B]

Quite a few. About 10.

[A]

Did you do any stage plays or musicals over there?

[B]

Yes, both. In fact, most of my work was in musical comedy.

[A]

And another question. What are your plans after the road tour? New York run of Three After Three?

[B]

Well, if business keeps on as good as it has been, that's too far off to worry about.

[A]

Well, thanks very much, Simone. Simone. And ladies and gentlemen featured in Tonight's play with Ms. Simone. Roland Soleil is Joe Morley, Louise Barkley as the Princess, Brett Morrison is Prince Paul, Renee Rodier as Madame Turney and Willard Waterman as the editor. The drama was written by Noel B. Gerson, the orchestra was conducted by Harold Stokes and the production was directed by Blair Walliser. Next Sunday, listen for Glenda Farrell, Alan Deinhardt and Lyle Talbot in Jungle Drums. Another premiere on fifth row, center pl. Andre speaking. This is the Mutual broadcast.