Old Gold Comedy Theater 44-11-19 04 Vivacious Lady

Summary

Podcast Summary: Harold's Old Time Radio — Old Gold Comedy Theater: "Vivacious Lady" (44-11-19)
Episode Date: September 11, 2025
Starring: Lee Bowman, Linda Darnell
Host/Director: Harold Lloyd

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Episode Overview

This episode of Harold's Old Time Radio features a classic broadcast of the Old Gold Comedy Theater adaptation of "Vivacious Lady,” a romantic screwball comedy. Lee Bowman and Linda Darnell star in a fast-paced tale of impulsive love, eccentric family dynamics, and the chaos that ensues when a strait-laced professor weds a vivacious nightclub singer in secret. The show is directed by famed comedian Harold Lloyd, who provides framing and context in his quintessentially warm style.

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Key Discussion Points & Plot Highlights

1. Introduction of Cast and Roles (00:17–02:36)

• Harold Lloyd introduces the show and major characters, setting up the family dynamic at the fictional Sharon University.
• Notable banter about academic etymology and the characterization of Peter Morgan III (Bowman) as a biology professor from a university dynasty, and his cousin Keith Bester, labeled the family’s "black sheep."
  • "Just a little type casting, Lee. You see, Peter is a professor of biology [...] where his grandfather, Peter I, was president [...] you, Peter III, may be president someday." — Harold Lloyd (01:41)
• Linda Darnell is introduced as Francie Brant, the nightclub singer/object of affection.

2. The New York Meet-Cute (03:01–06:03)

• Peter travels to New York to fetch his cousin Keith but instead stumbles into Francie at her club, leading to a classic comedic "meet-cute" amid social faux pas.
• Sparkling dialogue as Peter awkwardly apologizes and tries to compose himself in Francie’s presence.
  • Francie: “You mean like you’d been hit by a truck?”
    Peter: “Yes, that’s it exactly.” (04:36)
• The chemistry between Peter and Francie develops quickly, leading to them agreeing on a date.

3. Quick Marriage and Return to Sharon (07:37–10:43)

• An energetic montage is narrated: From bus rides to dawn breakfasts, their NYC whirlwind romance results in an impulsive wedding.
  • Peter (to Keith): “I’m married. Good, huh? To whom? To a girl.” (08:11)
• The couple heads back to Sharon, concealing their marriage from Peter’s conservative family.

4. Family Antics & Social Farce (10:43–15:23)

• Upon arrival, confusion peaks: Peter’s father is strict and unapproachable; Helen, Peter’s intended fiancée (per his family's wishes), comes into play; and Francie is introduced as a “cousin.”
• A memorable comedic brawl erupts between Francie and Helen at the university prom.
  • Helen: “Are you going to leave town or are you going to force me to scratch your eyes out?”
    Francie: “Look, will you stop being a dope?” (14:02)
  • [Slapstick fight with hair-pulling and shrieks; family shock and Mrs. Morgan's fainting spell.]

5. Efforts to Confess & Obstacles (15:23–20:09)

• Repeated attempts by Peter to disclose the marriage to his father fail, interrupted by family crises and mishaps.
• Francie feels isolated, contemplating returning to New York.
• Intimate exchange in Francie’s apartment reveals their emotional strain.
  • Francie: “Anybody’d think I wasn’t your wife, including me. If ever a girl felt unmarried, I do.” (15:27)

6. Secret Revealed and Parental Confrontation (18:22–24:54)

• Finally, Peter confesses to his father:
  • Peter: “Francie, that girl, she’s not Keith’s girl. She’s my wife.” (19:06)
  • Peter’s Father: “Are you mad, Peter?”
    Peter: “Completely. I hope it’s a permanent condition.” (19:14)
• The father threatens Peter’s career; his mother tries to smooth the tensions. A heartwarming moment reveals Mrs. Morgan’s “heart trouble” is mostly for dramatic effect.
  • Mrs. Morgan: “I only have heart trouble when it’s convenient.” (23:15)

7. Reconciliation and Happy Ending (25:08–28:38)

• Francie and Mrs. Morgan bond, both preparing to leave Sharon, but clearly heartbroken.
• A train collision conveniently shakes up the arrangements, giving the family a chance to reunite and reassess priorities.
• Peter encourages his father to remember his own youthful love and honeymoon.
  • Peter: “You weren’t always like this. It looks to me like when you grow up, you’re apt to turn into a crab.” (26:40)
• The episode concludes with both the young couple and Peter’s parents choosing love and happiness over social conformity.

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Notable Quotes and Memorable Moments

• Peter: “We saw one another and our chemicals started to work. I finally came to the conclusion that she was the most wonderful girl in the world. Poor cathode.” (08:21)
• Helen: “Well, Ms. Brent, it’s quite a pose. But I wouldn’t try it in a high wind. You might take off.” (13:27)
• Mrs. Morgan: “Thirty years I’ve had of it—all for good old Sharon, our alma mater. Laugh when you want to cry. If you love red, don’t wear a red dress. It’s too conspicuous. Love old Sharon, love it even when it’s breaking your son’s heart.” (24:28)

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Key Timestamps

• 00:17–02:36 — Cast introductions; setup of family-dynasty plot
• 03:01–04:50 — Peter and Francie's comedic first meeting
• 08:11–10:43 — Revelation of the secret marriage; return to Sharon
• 13:27–14:39 — Comic confrontation and catfight between Francie and Helen
• 19:06–19:14 — ‘The Big Reveal’—Peter confesses to his father
• 23:03–23:17 — Mrs. Morgan's confession about her "convenient" heart trouble
• 26:30–26:54 — Peter challenges his father to remember his own romance
• 27:24–28:38 — Emotional resolution and “everyone retires”—happy ending

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Tone and Style

The episode has a lively, witty tone consistent with screwball comedies of the golden radio age. Banter, social satire, and physical comedy (via dialogue cues) are intertwined with heartfelt moments about love and family.

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For listeners who missed the episode:
This fast-paced radio comedy captures the charm of golden-age Hollywood with its sparkling cast and zany plot, blending mistaken identities, quick marriages, family showdowns, and ultimately, the triumph of love. The interplay between Harold Lloyd’s warm direction and the spirited performances of Linda Darnell and Lee Bowman makes for a thoroughly enjoyable listening experience.

Transcript

[A]

From Hollywood, California, the bakers of Old Gold Cigarettes present the Comedy Theater, the only radio program that brings you every week the greatest stars in the greatest comedies. Tonight's play, Vivacious lady, starring Lee Bowman and Linda Darnell. And here is the director of the Old gold comedy theater, Mr. Harold Lloy.

[B]

Good evening, ladies and gentlemen. All right, cast on stage, everybody. Everyone here? Fine. Now, let me see. Do any of you boys know what leptosporangiate means?

[C]

I can't even. Certainly breaking down the etymology of the word, we have lepto, meaning delicate, spora, meaning seed, angiot, a case or vessel that is leptosporangiate, a seed case which forms from a single delicate cell.

[B]

Oh, fine. Good for you. Lee Bowman, you play Peter Morgan iii.

[C]

That's well, Harold, but what has leptosporangio got to do with it? And why Peter Morgan iii?

[B]

Just a little tight casting, Lee. You see, Peter is a professor of biology at old Sharon University, where his grandfather, Peter I, was president, and where his father, Peter ii, is now president. And where you, Peter iii, may be present someday.

[A]

Wow.

[C]

A dynasty.

[B]

And how Now, Jack Edwards Jr. You play Peter's cousin, Keith Bester.

[C]

Thank you, Mr. Lloyd.

[A]

Is he a professor, too?

[B]

Oh, no. He's the black sheep of the family.

[C]

Oh, more typecasting, huh?

[B]

Well, no, he's not really bad. He just has a couple of bad habits.

[C]

He has?

[B]

Yes. He likes whiskey and pretty girls.

[A]

I do.

[C]

So.

[B]

About twice a year he runs off to New York and goes on a spree. That's where you come in, Lee. Your father, President Morgan ii, sends you to New York to bring Keith back to old Sharon.

[C]

Is there a girl?

[B]

Is there? Oh, boy. Take a look.

[C]

She's wonderful. Who is she?

[B]

Francie Brant, a nightclub singer played by Linda Darnell.

[D]

Oh, Harold, I think Lee's wonderful, too.

[B]

You see, Peter, you've been all over New York for Keith and finally you find him in the nightclub where Francie sings.

[C]

Excuse me, mister.

[E]

That's okay, bud.

[C]

Excuse me. A waiter. Where did Mr. Bester go? In there. He said for you to sit down at his table and wait. Oh, thanks. Excuse me, sir. Can I get through here? Oh, I'm sorry. What happened? You knocked over the wine cooler. I'm awfully sorry. That's Mr. Bester's table. Thank you.

[D]

That ain't good. Well, hello.

[C]

Huh? Oh. Oh, how do you do?

[D]

Well, I was doing all right until you came in. Where's Keith?

[C]

Why, he'll be right back.

[D]

What's the matter?

[C]

Nothing. Nothing at all. You're the girl he.

[D]

That's right. Do you mind if I sit down?

[C]

No, no.

[D]

Well, thanks. Say, just what was the idea of trying to kill my song?

[C]

Oh. Oh, you're the girl who was singing. I'm sorry. You see, I knocked over the wine cooler.

[D]

Oh, well, that's okay. Some drunk does it every night.

[C]

Oh, I'm not intoxicated.

[D]

No kidding.

[C]

No, it's only that, well, when I was small, my father was driving along one day and he didn't see me in the street. He's a bit absent minded about small details. And he ran over me. It wasn't serious, but it was a blow. Well, that's the way I feel now.

[D]

You mean like you'd been hit by a truck?

[C]

Yes, that's it exactly.

[D]

Are. Are you and Keith good friends?

[C]

No, I'm his cousin. My name is Morgan, Peter Morgan.

[D]

I'm Francie Brent. How do you do?

[C]

How do you do, Mr. Morgan? Mr. Bester told me to tell you he'd gone back to the hotel to pack and he'd meet you there.

[D]

Oh, he did, did he? Fine.

[C]

Oh, I'm awfully sorry, but. But maybe. Well, what I mean is, are you by any chance hungry?

[D]

Oh, I'm starved.

[C]

Well, then, will you. I mean. Well, would you?

[D]

Yes, but not here. Confidentially, the food's terrible.

[C]

And then. I mean, I don't come to New York often, so maybe afterwards I can take you around and show you the town.

[D]

Well, swell. Let's get going.

[C]

Going already, Francie?

[D]

Yes, I'm going out to see.

[A]

To see.

[C]

Hey, waiter. Waiter. Has the guy at my table gone? Oh, yes, Mr. Bester.

[A]

He's gone all right.

[E]

Good work.

[C]

Did we ever get rid of him? Oh, boy. Where's Francie? She went with him. Oh, boy. Huh? Yeah, he's showing her New York. Oh, boy.

[B]

Well, it certainly sounds as though Peter and Francie may be in for a bit of surprise when they reach old Sharon.

[A]

Well, Mr. Lloyd, I know what happens. You see, I saw a vivacious lady in the movies and if I remember correctly.

[B]

Just a moment, Bob. Are you one of those who gives the story away in advance?

[A]

Well, maybe I am acting like one of those preview pests. You know the type. Friends, just as you're all set to see a certain movie, you meet someone who's seen it before you and what does he do but tell you all about it from beginning to end. You try to change the subject, but no use. The pest keeps on blabbering and you're about to pick up A nice heavy rock and slam in one.

[C]

Listen. Why be irritated? Light an Old Gold.

[A]

Yes, smokers, there's many a time when you're grateful for the comfort and pleasure of a cigarette. But there's no pleasure in a cigarette that's dry and harsh.

[C]

So to help prevent cigarette dryness, Old Gold's fine tobaccos are conditioned with apple honey. The special conditioning process helps hold in the natural moisture.

[A]

And there's more pleasure in the taste of Old Gold, too. Its unique blend of many choice tobaccos is enriched with costly imported Latakia tobacco added for extra flavor.

[C]

Extra flavor, extra pleasure. Plus apple honey, which helps guard against cigarette dryness. That's Old Gold.

[A]

So when pesky people begin to plague you, why be irritated? Light an Old Gold. Yes, light an Old Gold and see for yourself why they've tripled in popularity.

[B]

Yes, this is Harold Lloyd again. Peter Morgan iii, a professor of biology at Old Sharon University, went to New York to rescue his cousin Keith from the clutches of a nightclub singer and ended up taking her out to show her New York. And how he showed her New York. He took her for a long ride on the top of a Fifth Avenue bus. Then they went for a long walk in the park. When they got home, it was dawn, so he took her out to breakfast. Now it's the next night at good old Penn Station, and the train for Old Sharon is just pulling out. And Peter is with Keith in the smoking room.

[C]

Keith, wake up. Listen to me. I'm married. Good, huh? To whom? To a girl.

[D]

Well, that's nice.

[C]

Some people would say it's a miracle, but I know it's just chemistry. Of course, anodes attract cathodes. Hmm. How cozy. We saw one another and our chemicals started to work. I finally came to the conclusion that she was the most wonderful girl in the world. Poor Catholic.

[D]

Poor.

[C]

What a name for a girl. Her name's Francie. And look, you'll have to sleep here. We're using your drawing room. I'm taking your ticket. Good night. All right. Hey, Francie. That's my girl. Hey, wait a minute, boss.

[E]

Wait a minute. Take it easy. Lots of other fish in the sea.

[C]

I don't want any fish.

[E]

I want a girl.

[C]

You. Drawing room A. Here it is. Frightened, darling?

[D]

No. I'm never going to be frightened again. I've got you to lean on.

[C]

Well, I've always tried to be a strong man. In a conservative way, of course.

[D]

Going to carry me over the threshold?

[C]

Of course, my darling. Easy does it. Here we are.

[D]

Yes, yes. Here you are.

[C]

Oh, huh? Oh, I beg your pardon. That's all right, buddy. I know just how it is.

[D]

Just how is it?

[C]

Oh, shut up.

[D]

Isn't this drawing room A?

[C]

That's right. But our tickets say we have drawing room A. And so do ours. Here, take a look.

[D]

Well, George, aren't you going to do something about this traffic?

[C]

Now, look, dear, why don't you be a nice girl and keep quiet before I pin your big ears back.

[D]

You hear that? You're a witness.

[C]

I wish you had a mother to go back to.

[D]

Say, I'll bet when you grow up, you're going to be a nasty old man.

[C]

Hey, you. What are you doing? I'm getting undressed so I can go to bed. Oh, well, then, come on, Francie. We'll sleep in the lounge car.

[D]

By all means.

[C]

Well, here we are, all off roll. Sharon. Uh. Oh, there's your father, Peter. Hey, he looks kind of calm. I thought he'd be a little bit excited when he heard you were married. I haven't told him yet. Oh, fine. Well, save me two seats on the 50 yard line. Well, I. I thought I ought to prepare him a little. You know how excitable he is on the telephone. Oh, I limit him. He throws a fit almost any place.

[D]

Uh oh. Sounds like I've walked into something.

[C]

You're bound to be a bit of a shock to him, darling. And he's so excitable sometimes, I thought I ought to break it to him kind of gently. Don't you see?

[D]

I understand.

[C]

Keith will take you over to the Martha Gregory Apartments and find you a place to stay. Then tonight he can bring you to the prom, dress up and be just as beautiful as you are. When they see you, they're bound to fall in love with you. Then we can tell them everything.

[D]

Yes, darling. Only I don't know why I should be such a shock. Do you, Keith?

[C]

You don't know Peter's father. You run along with Keith, darling. I'll be over to see you later. You get off first.

[D]

All right, dear. Come along, Keith. Well, say, the old man doesn't look so ferocious. Who's the girl with him?

[C]

Who's, uh. Oh, that would be Helen.

[F]

Oh, there's Peter. Peter, darling.

[C]

Oh, hello, Helen.

[D]

And who is Helen?

[C]

Oh, just someone Peter's engaged to.

[D]

Engaged? Why, he's a bigamist.

[C]

Well, just in the second degree. You see, Helen's something the old man thought up. Come along.

[D]

Now, wait a minute. I've got to give her the once over. After all, I don't want my Husband engaged to just anyone.

[E]

I know, but I didn't expect you to allow him to bring her home.

[C]

Father, I can explain everything.

[F]

Oh, don't worry, Peter. I know it wasn't your fault. Keith's allergic to redheads. Every time he gets near one, he breaks out in a rash.

[D]

Just a minute, Keith. Will you wait here just a minute? Oh, Professor Morgan.

[C]

Yes?

[D]

I just mustn't go away without saying goodbye and thanking you for everything. I had such a wonderful time. All I have to do is think of it and I break out in goose flesh all over. Do you ever break out, Miss? Miss?

[F]

Not lately.

[D]

Well, I'll always think of you, professor, as my cousin.

[E]

Really?

[C]

Thank you, Ms. Brent.

[D]

No, thank you. Goodbye. Keith, wait for me.

[C]

I'm sorry, Francie. I saw you come in, but I couldn't get away from Helen.

[D]

Well, darling, I don't want to be old fashioned, but the way you were holding that girl while you were dancing.

[C]

As a matter of fact, she was holding me. Look, you sit right here in the patio. The folks will come in this way. That's it. Only hold up your head like you did the first time I saw you. There, that's perfect. Now you stay right there and wait.

[D]

Okay, darling, but do hurry. I've got the shakes.

[F]

Well, Ms. Brent, it's quite a pose. But I wouldn't try it in a high wind. You might take off.

[D]

Very funny. I'm in the aisle.

[F]

I wonder if you could stand the shock of my saying that I dislike you intensely.

[D]

Well, dear, when I have the time, I'll sit down and brood over it. But right now, please go away.

[F]

Not until I've had a few words with you. Peter and I are going to be married next month.

[D]

Is that so?

[F]

Yes. In the meantime, he needs protection from a certain kind of woman.

[D]

Oh, he certainly does.

[F]

Are you going to leave town or are you going to force me to scratch your eyes out?

[D]

Oh, look, will you stop being a dope?

[F]

Why, you.

[D]

Well, that was a silly thing to do. Now I'll just have to hit you right back.

[F]

Ouch. Why, you contemptible little nothing. Who do you think you are, slapping me? Oh, well, you. You do that once more and I'll tear your hair up.

[D]

It's nice at all. I'll show you.

[F]

I'll show you. Stop trishing me, you little cramp. I'll kill you for this.

[C]

Oh.

[D]

Okay, sister, you asked for it.

[F]

Ow. Let my hair go. If you think you can come in here. Ouch. And do anything you want to. Ouch. Another he's got another thing coming. And I'm just the one who can do it too. Oh, you.

[C]

You.

[D]

You stuck me, she said.

[C]

Francie. Francie. Helen.

[E]

I saw it. I saw the whole thing. Take that red head out of here.

[D]

Oh. Oh, Mr. Morgan.

[C]

Father, I can explain.

[E]

Now, please take her out of here.

[F]

I hear voices.

[C]

Mother. Mother. Darling, I'm sorry. Mother, are you all right? Mother.

[E]

Quick, someone get some smelly salts. She's painted. Come on, take her away.

[C]

Quiet, isn't it?

[D]

Very.

[C]

It's so nice to be alone.

[D]

Yes, isn't it, darling? Oh, Peter, what are we going to do? Anybody'd think I wasn't your wife, including me. If ever a girl felt unmarried, I do. Look, darling, do you think your father might be cooled off enough so that we could tell him?

[C]

I'm going to try. He's making a speech at the university tonight. I'll catch him there so he can't yell too loudly.

[D]

It's been a whole week since that fight. This is the first time we've been alone. Hey.

[F]

Hey, you two, over there.

[C]

What do you think you're doing? Why? Oh. Oh, hello, officer. Well, you better make it good. It's against the law to hold necking parties on the side of a public highway. Now, what have you got to say for yourself? Nothing. That is. Look, look, officer, wait a minute. You've got to understand. Make it good. We've never had a chance to tell anyone before, but. Well, you see, she and I are married. Oh, you are, are you? Yeah.

[F]

Then why don't you go home?

[B]

Well, Bob, does everything meet with your approval?

[A]

Oh, yes, Mr. Lloyd. But all this talk about universities and schools brings back my college days.

[B]

Really? Where did you go?

[A]

I went to Cornell.

[B]

You did?

[A]

Yes. And I was also voted the most likely to succeed.

[B]

Really?

[A]

Yes. And that made the 27th time the school was wrong.

[B]

Well, didn't that upset you?

[A]

Well, it might have, but I just held myself in check and said, why be irritated? Light an Old Gold.

[B]

What did you say?

[A]

Why be irritated? Light an Old Gold. Yes, smokers, when the gremlins start ganging up on you, that's the time to look for pleasure. The pleasure of a swell cigarette.

[C]

And Old Gold fills the bill perfectly. Its superb blend of many fine tobaccos, including a touch of costly, extra flavorful Latakia tobacco is conditioned with apple honey. This special conditioning process helps hold in the natural moisture, helps guard against cigarette dryness.

[A]

So look to Old Gold and light an Old Gold for more smoking pleasure. But remember, they've tripled in Popularity, and billions of them are going to our men and women overseas. So if your dealer was sold out today, we're extremely sorry. But do ask again for Old Gold next time. We're doing our best to keep up, and your patience will be rewarded when your dealer says Old Gold.

[C]

Here you are. Old Gold.

[A]

The cigarette conditioned with apple honey to help prevent cigarette dryness, to give you more smoking pleasure.

[B]

Yes, this is Harold Lloyd again. Peter and Francie are desperate. Imagine it yourself. Married for a whole week and never having a chance to be alone together. They made several efforts to tell Peter's father about their marriage. But every time something happens. Francie got into a fight at the prom with Helen, who had Peter's fiance. His mother had a heart attack and his father was fit to be tied. But Peter has determined to make one last effort. He goes to the university and catches his father just as he is going into the assembly hall to make a speech.

[C]

Father, you'll have to listen to me for a minute.

[E]

I tell you, I haven't got time.

[C]

Later, dad. Listen.

[E]

I said later.

[C]

Dad. You've got to listen. Francie, that girl, she's not Keith's girl. She's my wife.

[E]

What did you say?

[C]

I said that girl is my wife. And I. And I might add, she's the finest wife a man ever had.

[E]

Are you mad, Peter?

[C]

Completely. And I hope it's a permanent condition.

[E]

I won't have you throwing your life away.

[C]

It's my life.

[E]

While you're a member of my faculty, you'll do as I say.

[C]

Well, then, consider me no longer a member of your faculty.

[F]

What are you two shouting for? We can hear you in the auditorium. Father, Are you all right?

[E]

I'm all right. It's this boy.

[F]

Peter. What on earth's the matter?

[C]

I'm glad you're here, Mother. And you too, Helen.

[E]

Be quiet. You know your mother has a weak heart.

[C]

I won't be quiet. I've been quiet long enough.

[F]

Oh.

[C]

Oh.

[F]

Oh, Mr. Morgan. What's the matter?

[E]

You've done it again. Get some water. Get a doctor. Get some money.

[D]

Who is it? Who's there?

[C]

It's me, Francie.

[D]

Peter, where are you?

[C]

On the fire escape outside the window.

[D]

Let me in, Peter, for heaven's sake.

[C]

Oh, what happened? What fell?

[D]

Oh, just that Murphy bed. The maid calls it Walter because it's like her husband, always falling down. It even fell. It even fell down once when I just closed the drawer of the desk.

[C]

Here, I'll help you put it up.

[D]

Oh.

[C]

Thank you, Francie. Why couldn't you talk to me on the phone? I've got to talk to you. And that man downstairs, he wouldn't let me come up in the elevator.

[D]

Peter, it won't do any good to talk. I've made up my mind, darling. I'm going back to New York.

[C]

Well, let's stop a little while and talk it over.

[D]

Anyway, Peter, I can talk much more lucidly with you over there.

[C]

If you go, I'm going with you.

[D]

No, Peter. There. There's your work and your mother to think of. I was just ready to go. The train leaves at 4.

[C]

I can't go back down right now. There's a policeman standing down on the corner.

[D]

Well, he may have gone.

[C]

I'll look and see. There are two of them now. Oh, Walter didn't fall down that time.

[D]

No. Well, I guess you'll have to stay for a little while.

[C]

Yeah, I guess I'll have to. Where does that door go?

[D]

Closet.

[C]

Are you sure you haven't left anything? I'd better take a look. Nope. Nothing here. Walter's still up.

[D]

Try the desk drawer. I mean, I. I think I left some books in the desk. Will you return them for me?

[C]

Certainly.

[D]

I couldn't keep just one, could I, Peter?

[C]

Why not?

[D]

Well, will you autograph it for me, please?

[C]

What shall I write?

[D]

Whatever you want to. Here, let me see. Francie, darling, I love you. Please never read beyond this page. Oh, Peter. Oh, Peter. Darling, I can't go.

[C]

Oh, now you're really making sense, darling. Walter.

[D]

Walter. Shh. Who is it?

[F]

It's Mrs. Morgan. May I come in?

[C]

Mother, what'll I do?

[D]

Well, you'll have to go down the fire escape, darling. Here, Hurry.

[C]

What do you suppose she wants?

[D]

We can't wait to find out. Hurry.

[C]

All right. Goodbye, darling. I'll see you later.

[F]

Yes.

[D]

Yes.

[F]

Goodbye.

[D]

Oh, hello, Mrs. Morgan. Please come in, won't you?

[F]

Thank you. Since you know who I am, it simplifies what I have to say. I found out everything about you and Peter.

[D]

Oh, Mother, I'm so glad. You know, we've been frightened to death to tell you we were married. I. I'd begun to think I might lose him.

[F]

I. I think. If you don't mind, I'll sit down.

[D]

You. You mean you didn't know we were married?

[F]

No, I didn't. This is the first I've heard of that.

[D]

Oh, I'm so sorry. I wouldn't have blurted it out like this for anything.

[C]

Oh.

[D]

How's your heart? How do you feel?

[F]

I think I. I'm going to feel fine. But your heart, My dear. I only have heart trouble when it's convenient. When my husband. When my husband raises his voice, it save such a lot of bother.

[D]

Oh, no, that's wonderful.

[C]

Listen, I don't care who you are, even if you are the president of the university. It's against the rules for men to come up here. Besides, why aren't you in school?

[E]

I'm playing hockey.

[C]

Well.

[E]

Now, young lady. Mother, where.

[D]

It's all right, Mr. Morgan. Mother knows about Peter and me.

[E]

Oh, she does, does she? How chummy. Now, Miss Brent, you look like a practical young lady.

[F]

Father, Please don't interrupt.

[E]

Ms. Brent, just why did you marry my son?

[D]

Because I love him. I want to be his wife.

[E]

Marrying you means Peter is throwing away everything important in his life. In the end, it'll make you as unhappy as it will him. The simplest solution is a quiet divorce. If you insist upon being unreasonable, I'll be free to ask Peter for his resignation.

[F]

Father, you're not grading papers now, nor dismissing class.

[E]

Come, Mother, I have to get back to the university.

[F]

Come on, come on, come on. Come here. Go there. 30 years I've had of it all for good old Sharon, our alma mater. Laugh when you want to cry if you laugh, don't laugh too loud don't wear a red dress even though you love red. It's too conspicuous. Love old Sharon Love it even when it's breaking your son's heart.

[E]

Coming, my dear.

[F]

Coming. I'm going.

[D]

It's all right, Mr. Morgan. I am going too.

[E]

Thank you.

[F]

More tea, Francie?

[D]

Thank you. Mother.

[F]

This is wonderful. I feel so free.

[D]

Yes, doesn't one feel free?

[F]

New York's going to be so much fun. We can go where we want to do what we want to, wear what we want. No husbands to bother us or.

[D]

Oh, Mother, you. You don't. You don't feel good about leaving.

[F]

Oh, I know I don't, Francie.

[D]

Well, as a matter of fact, neither do I.

[F]

But what could I do? I just had to go through with it.

[D]

Oh, Mother, it's all my fault.

[F]

Now, don't you worry about me. You've got trouble enough of your own. Oh, heavens. What happened?

[D]

Well, I can't imagine. Just a minute. I'll find out. Porter, what happened?

[E]

You let us stay in your compartments. And don't worry, we just ran into.

[C]

A car to cross her.

[F]

Heavens. Was anyone hurt?

[C]

No, ma'. Am. There didn't seem to be nobody in it.

[D]

Oh, well, that's good. Oh, by the way, Porter, you can make up Our berths. I'm in the next compartment.

[C]

Yes, I know.

[D]

Well, good night, Mother.

[F]

Good night, darling.

[E]

I see no necessity, Peter, for placing the car across the track and having it wrecked. The porter said compartment C. Here we are.

[F]

Father.

[E]

Well, Mother, I've come to take you home. This nonsense.

[C]

All right, dad, make your mind up. Which do you want most, Mother or the university?

[E]

Don't be ridiculous, dad.

[C]

You weren't always like this. But it looks to me like when you grow up, you're apt to turn into a crab.

[E]

Well, what would you suggest?

[C]

That you forget everything but what your honeymoon was like.

[E]

All right.

[F]

Who's there?

[E]

It's I.

[F]

Go away.

[E]

I was in that wreck. The train struck me.

[F]

Oh, my heart.

[D]

My heart.

[F]

Father. Father, why didn't you tell me? He'll come inside.

[C]

Down.

[D]

What the heck is going on? Peter. Oh, Peter, how did you get here?

[C]

Now, what sort of a honeymoon would this be without me?

[D]

Oh, terrible, darling, but.

[F]

Oh.

[D]

What about your father?

[C]

He's on his honeymoon. In there.

[D]

Oh. Oh, darling.

[C]

Oh. De sign say, ma'. Am.

[E]

Quiet.

[C]

As requested for the benefit of them who has retired. We're retiring. Porter. Come on, darling. Wow.

[B]

Now, this is Harold Lloyd, Linda Darnell.

[C]

And Lee Bowman saying good night to.

[B]

You for Old Gold. And I hope you'll be with us again next Sunday when the Old Gold Comedy Theater presents Joseph Cotton in Clarence. See you then.

[A]

Vivacious lady was presented by arrangement with RKO Studios, producers of none but the Lonely Heart. We Wish to thank 20th Century Fox Film Corporation for the appearance of Linda Darnell. Ms. Darnell is currently working in the 20th Century Fox picture Hangover Square. Mr. Lee Bowman appears through arrangement with Columbia Pictures and will soon be seen. Co starred with Rita Hayworth and Janet Blair in Columbia's Technicolor production tonight and every night. Now, remember, don't let little annoyances get you down. Why be irritated? Light and old gold? It's conditioned with apple honey to help guard against cigarette dryness and gives you more smoking pleasure. And listen to Old Gold's other great new show, which is which? With Ken Murray as MC Richard Himber's orchestra and famous stars of stage, screen, screen and radio or their reasonable facsimiles. Tune in Wednesday night on another network. Consult your newspaper for time and station. This is Bob Williams saying good night for Old growth.

[C]

This is the National Broadcasting Company.