WWJ Playhouse 41-08-21 xxx Miss America of 1926

Summary

Podcast Summary: "WWJ Playhouse 41-08-21 xxx Miss America of 1926"

Podcast Information:

• Title: Harold's Old Time Radio
• Host/Author: Harold's Old Time Radio
• Episode: WWJ Playhouse 41-08-21 xxx Miss America of 1926
• Release Date: August 12, 2025

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Introduction

In this episode of Harold's Old Time Radio, titled "WWJ Playhouse 41-08-21 xxx Miss America of 1926," listeners are transported back to the Golden Age of Radio. The program presents an original drama that delves into the life of Penelope "Penny" Sims, crowned Miss America in 1926, exploring her journey, challenges, and relationships in the subsequent years.

Setting and Context

The drama is set against the backdrop of the 1920s and early 1930s, a period marked by significant historical events and cultural shifts. The narrative begins in the summer of 1926, highlighting notable figures and events of the time:

• Political Climate: Calvin Coolidge's presidency, Stanley Baldwin's tenure as the Prime Minister of England, and the early political activities of Adolf Hitler in Germany.
• Cultural Icons: Jack Dempsey as the heavyweight champion and George Yulee's achievements with the Cleveland Indians.
• Social Scene: The vibrant atmosphere of Atlantic City, with its boardwalk and entertainment shows like the Black Bottom band.

This rich historical tapestry sets the stage for Penelope Sims' story, providing listeners with a vivid sense of the era's ambiance.

Main Plot

Penelope "Penny" Sims' Rise to Fame: The drama opens with Penny's coronation as Miss America of 1926. Her father, Luther, expresses immense pride, though he harbors concerns about Penny's future and the potential distance her newfound fame might create between them.

Struggles with Fame and Career: As years pass, Penny grapples with the pressures of her career. She works at a store, dealing with demanding customers and the monotony of daily life. Despite her glamorous title, Penny feels unfulfilled and dreams of pursuing more meaningful opportunities in modeling and acting.

Encounter with Artie: Artie Fox, a local artist and former figure in Penny's life, enters the narrative. Their reunion brings back old memories, and Artie offers Penny opportunities in the modeling world. However, discussions reveal the competitive and often unaccommodating nature of the industry, leaving Penny determined to carve her own path.

Personal Conflicts and Relationships: Throughout the drama, Penny's relationship with Luther highlights the generational divide and the challenges of balancing personal ambitions with familial expectations. Concurrently, other characters, such as Jimmy and Dick, introduce romantic subplots, adding layers to Penny's personal life.

Climactic Resolution: The story culminates in a heartfelt proposal from Luther, who confesses his long-standing affection for Penny. Overcoming previous reservations, Penny accepts, symbolizing a unification of her personal happiness with her family's support.

Character Analysis

• Penelope "Penny" Sims: The protagonist, Penny embodies the struggles of maintaining personal integrity while navigating the complexities of fame and societal expectations. Her journey reflects themes of self-discovery, resilience, and the quest for genuine fulfillment.

• Luther (Penny's Father): A pragmatic and caring figure, Luther represents the traditional values and concerns of family. His evolving relationship with Penny underscores the importance of support systems in personal growth.

• Artie Fox: As an old acquaintance and potential suitor, Artie introduces elements of romance and professional opportunity. His character illustrates the intersection of personal relationships and career aspirations.

• Supporting Characters: Figures like Jimmy, Dick, and various customers add depth to the narrative, showcasing diverse perspectives and contributing to Penny's multifaceted challenges.

Key Themes and Insights

• The Price of Fame: Penny's story highlights the isolating aspects of fame, where public adoration sometimes leads to personal sacrifices and internal conflicts.

• Gender Roles and Expectations: Set in the early 20th century, the drama delves into the societal expectations placed on women, particularly those in the public eye, emphasizing the balance between professional ambitions and personal life.

• Generational Tensions: The dynamic between Penny and Luther reflects broader generational shifts, illustrating how traditional values adapt or clash with contemporary aspirations.

• Resilience and Self-Determination: Despite facing numerous obstacles, Penny's determination to pursue her dreams underscores the importance of resilience in overcoming adversity.

Notable Quotes

• Luther Expressing Pride:

  "Oh, we'll have to wait until they quiet down. Let us turn back time to the easygoing war-free days of the summer of 1926."
  (00:57)

• Penny's Determination:

  "Penny, I'll never forget you."
  (02:45)

• Artie's Supportive Offer:

  "Penelope, I. I've never had nerve enough before. I don't know that I got enough right now, but... I'm just an ordinary guy, Penny. And you. You're so beautiful and everything."
  (23:10)

• Penny's Resolve:

  "My career must come first."
  (04:07)

• Luther's Confession:

  "Penny, ever since we were in high school together, even since I first saw you, I thought you were the most beautiful girl I ever saw."
  (22:53)

Conclusion

"WWJ Playhouse 41-08-21 xxx Miss America of 1926" offers a captivating glimpse into the life of Penelope Sims, blending historical context with personal drama. Through Penny's journey, the episode explores timeless themes of ambition, love, and the quest for personal happiness amidst the pressures of fame and societal expectations. This rich narrative, enhanced by engaging dialogues and relatable characters, provides listeners with both entertainment and insightful reflections on the human experience.

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Note: This summary captures the essence of the episode, highlighting key plot points, character developments, and thematic elements to provide a comprehensive overview for those who haven't listened to the podcast.

Transcript

[A]

The WWJ Playhouse. Every Thursday evening at this time, the WWJ Playhouse brings you an original drama written especially for this program. Tonight's play is the story of a woman who was Miss America of 1926.

[B]

And now, ladies and gentlemen. And now.

[A]

Oh, we'll have to wait until they quiet down. Let us turn back time to the easygoing war free days of the summer of 1926. Calvin Coolidge, unaware of impending disaster, sits idly in the White House. Jack Dempsey is still heavyweight champion of the world. But he won't be for long. Stanley Baldwin is prime minister of a smug, satisfied and sleeping England. George Yulee is on his way to winning 27 games for the Cleveland Indians. Adolf Hitler is an obscure political agitator in Germany just recently released from prison. And of course, all America's singing, singing horses in a little Spanish town. And the Black Bottom. And Penelope Sims, radiant in a one piece bathing suit, stands on an improvised Runway near Atlantic City's boardwalk, ready to be crowned Miss America.

[B]

And now, ladies and gentlemen, if you please. And now it gives me great pleasure.

[A]

To present to you this silver loving cup, emblematic of the title of Miss America.

[B]

Now, ladies and gentlemen, meet Miss Penelope Sims, the Miss America of 1926.

[A]

Penny. Oh, Penny, my dear. This is the happiest moment of my life.

[B]

Oh, Pop, it. It's just wonderful.

[A]

Luther here is proud of you too, my dear. I owe you. I only wish your mother was here to see you. Gee, it sure is great, Penny. Sure is great.

[B]

Oh, thank you, Luther.

[A]

Only I. I suppose now you'll be traveling all over. Going on a stage, into Hollywood maybe forgetting all about us folks.

[B]

Luther, I'll never forget you.

[A]

Gosh, yes.

[B]

Penny, get Luther out of here. He's embarrassing me in front of all these people.

[A]

Ms. Hills, $1,000 for a peach down face party.

[B]

$800, Ms. Sims, for your picture in a Venus born bonus. $1500, billowy ride tires. Miss Sims, my company's prepared to give you $2,500. Really? You folks here at the Metropolitan Theater have been so wonderful to me and. And now because I know you've been so nice and.

[A]

Nervous. Miss Sims. Miss Sims. After all, a screen. Sims. Don't be nervous, Miss Sims. After all, a screen test is nothing to be frightened of. Are you ready?

[B]

Well, I guess I'm as ready as I ever will be.

[A]

Fine. Now just take it easy.

[B]

All right. Lights, camera, action.

[A]

Penelope, darling, if you'll only marry me, I promise you nothing but luxury. Palm beach in the winter, Newport in the summer.

[B]

Oh, Jimmy, you're so sweet and generous, but I must think of my career.

[A]

I have everything in the world, Penelope, my dear. Almost everything. Motor cars, estates, a yacht. If you'd only marry me, I'd have.

[B]

But, Dick, I can't think of marriage now. My career must come first.

[A]

Now, look here. My own I can place at your feet. Social position, wealth, a life of ease, whatever your heart desires.

[B]

When I was Miss America. When you were Miss America? That was in 1926. Right now, you're in the course of the cuties of 1929. I was Miss Kokomo once myself. Miss Kokomo. Why, you. Come in. Here's some flowers for one of you.

[A]

Dames that some sucker sent.

[B]

What do you mean, for one of it? Yeah, which one? It's the handwriting. And I ain't hired to figure out no codes. Maybe it says Miss Sims, and maybe it says Miss Smith. There you are, cuties. You figure it out for yourself. I'm sure they're for me. Is that so? Well, what makes you so sure? I've been expecting flowers. Oh, you have? I suppose you've been running around with an undertaker. Kitty, if there's anything around here that's ready to be embalmed, it's you. But you're just sitting here waiting for the Prince of Wales to get wise to what he's missing. Take your hands off those flowers. I will not. They're mine. Oh, they are? Hey, they're tearing the box. All the pieces. Well, I guess I have a right to. They're my flowers. There you are. And what's more, I'm going to take a. Take your filthy hands out of my hands. I'll take care of you, you Miss America of 1926.

[A]

Step right up, gents. Step right up here. See the kind of burlesque you like to see. Just the way you want to see it. Plenty of seats, folks. No waiting. The show is going on now. See the 30 gorgeous ladies of the ensemble. 30 of them, gents. Count them for yourself. What's more, is a special added attraction. This week only, we have Penelope Sims, Miss America, in person. Yes, sir. Gents, this is a real article, not a movie. Hey, what do you mean, Miss America? You heard me, brother. I said Miss America. You don't believe me? Step inside and see for yourself.

[B]

Listen, you can't kid me.

[A]

I can't, huh? Well, little boy, somebody did. She was Miss America in 1926, and this is 1933. How a smart guy, huh? Listen, boy, come on and run along your business you're bothering me. There you are, folks. Get right up. Now.

[B]

Shake away. Fred, where are you?

[A]

Oh, it's you, Ms. Sims.

[B]

Any calls or mail for me?

[A]

Well, let me. Oh, yes. There's that gentleman who called.

[B]

What gentleman?

[A]

Oh, it's the one who's been calling. There's your key and your phone call.

[B]

Oh, him.

[A]

What's the matter, Ms. Sims? Don't you like that fella?

[B]

Fred, do they pay you to be night clerk in this hotel or do you pay them?

[A]

What do you mean?

[B]

You have an awful lot of fun minding other people's business, don't you?

[A]

Well, now, miss.

[B]

Oh, I know it's not the Waldorf Astoria.

[A]

Maybe I do kind of mind other people people's business a lot more than I should, but. Well, I've never had a family.

[B]

Let's forget it. Fred, see that I'm not cold before 11, will you?

[A]

Why, yeah, I will. But Ms. Sim.

[B]

Yes, what is it?

[A]

I remember you.

[B]

What do you mean?

[A]

You used to be Miss America, didn't you?

[B]

That was a long time ago.

[A]

Oh, maybe it seems that way to you, but. Well, I'm older and it seemed just like yesterday that I used to see and all those ads.

[B]

Well, you don't see it anymore.

[A]

It didn't turn out the way you thought it was going to, did it?

[B]

I'll say it didn't.

[A]

You just thought they were going to keep on laying the world at your feet. Fur coats, trips, evening gowns, jewelry.

[B]

I'm gonna get all those things yet, Fred.

[A]

I am.

[B]

You bet I am.

[A]

You know, I've seen them come and I've seen them go.

[B]

What's that got to do with me?

[A]

Oh, don't you ever wish that you had a home of your own instead of having to put up in cheap hotels? You know, a good husband, maybe a couple of kids.

[B]

I've got my mind on only one thing, Fred.

[A]

Uh huh. What about this fellow that's been calling you up?

[B]

Well, what about him?

[A]

Oh, he's been in here a few times. Seems like a nice enough fellow to me.

[B]

Too bad you're not a woman because he's looking for a wife.

[A]

That's what I figured.

[B]

You two could get married and settle down in Oshkosh in a little white cottage with me.

[A]

Why don't you marry him? He always struck me as.

[B]

Listen, Fred, I don't know why I bother to tell you, but get this straight. Yeah, I'm going to amount to something yet. And I'm not throwing myself away on anybody. I'm sorry, madam, but I didn't mean to be rude. I don't believe you didn't mean to be, young woman. But whether you meant to be or not, you were. But I've shown you everything we have. And I've been dealing here in this store for 25 years. And in all that time, I've never, never been treated this way. All I can say is that I'm sorry. This is 1939, you know, and customers are supposed to have some rights. But, madam, I've shown you everything you asked to see. I can't see that it's my fault if the store doesn't carry exactly what it is you had in mind. That's not the point. Oh, very well. If you. What was that you said, young woman? It doesn't matter. Oh, it doesn't? Well, it weren't that. I don't like to see anybody get in trouble, even though they deserve to be. I deport you to the management. As far as I'm concerned, you can go right ahead and do it. Well, of all things, I've never been treated so outrageously in my life.

[A]

Ms. Sims, I just happen to notice this little scene.

[B]

Mr. Murdoch, that woman was enough. I know.

[A]

Nevertheless, the policy of this store is that customers must be treated with respect under all circumstances.

[B]

But I.

[A]

If you're not willing to conform to our policies, perhaps you'd better.

[B]

Oh, all right. I'm sorry.

[A]

Very good.

[B]

What was that, Ms. Sims? Oh, nothing. I was just thinking that I'm the girl who used to be Miss America.

[A]

Oh, but that was more than 10 years ago.

[B]

It was 13 years ago.

[A]

Go, then. It's high time you forgot it.

[B]

I'll get supper just as fast as I can puff.

[A]

That's all right, Penny. I can wait.

[B]

Anybody would ever build a kitchen this size is beyond me. Hardly enough room to turn around in.

[A]

What's that, Penny?

[B]

Oh, nothing. Miserable little apartment. There.

[A]

How'd things go at the store today, Penny?

[B]

Please, Pop, I don't feel like talking.

[A]

Something go wrong?

[B]

No, nothing went wrong. I stand on my feet all day, that's all. I'm tired.

[A]

Yes. I'm sorry you have to work the way you do.

[B]

Feeling sorry doesn't help matters any.

[A]

If I could just make a little more.

[B]

But you don't, so why talk about it?

[A]

I guess you're right. Why talk about it?

[B]

Give me part of the paper, will you?

[A]

Of course, my dear. What part do you want?

[B]

Oh, any part. I don't care. Just so I have something to look at.

[A]

All right. There.

[B]

Thanks. Now, who's that?

[A]

Luther, I guess.

[B]

Can't he even wait until we have supper?

[A]

You shouldn't be so hard on Luther, Benny. I'll let him in.

[B]

It'll be all right with me if Luther down ever comes here again.

[A]

Hello, Mr. Sims. Come right up, Luther. Luther's had his supper. Count on that.

[B]

Well, I certainly hope he has. He'll have enough for an extra person.

[A]

Penny, you shouldn't be that way.

[B]

After all, Luther, I know just what you're going to say. He's been waiting for me to marry him all these years. All right, let him wait.

[A]

Penny. Penny, he's coming up the hall any minute now.

[B]

I don't care what he hears. Believe me, I'm not dead and just waiting to be buried. And until I am.

[A]

Please, Penny. There he is now. And please try to be nice. Hello, Mr. Sim. How are you? Fine, my boy, fine. Come here. Guess it's a little early, but I had my supper and didn't have anything to do. Well, pull up a chair. Sure thing. Hello, Tim.

[B]

Hello, Lucy.

[A]

I just happened to be going by o' Brien's Drugstore and I remembered that you liked those chocolate covered caramels.

[B]

Just put them on the table a little bit. I don't want to spoil my supper.

[A]

Yeah, sure. It's been kind of warm today, hasn't it? Yeah, it's been pretty warm all right. How's everything at the shop? You can't complain, Mr. Sims.

[B]

Can't complain. Listen to this.

[A]

What is it, Penny?

[B]

Do you remember Arty Fox?

[A]

Arty Fox?

[B]

He's the man here in town who first got me interested in the Miss America contest.

[A]

Oh, yes, I remember. He's a fellow trying to get me off the platform at Atlantic City, isn't he?

[B]

Listen, Pop, he's got an ad in a paper. Yes, he's looking for a photographic model.

[A]

Is that so?

[B]

I'm going down to see him first thing in the morning.

[A]

Well, that's fine, but how about your job?

[B]

That job? I hate it.

[A]

But suppose you don't get anything from Fox?

[B]

Oh, I'll get something all right. You can count on that.

[A]

Hey, can I smell something burning, Penny? The pork chops.

[B]

I'll get lots of work from Artie and then I'll.

[A]

The pork chops, Penny, they're burning.

[B]

Don't you wait, both of you. I'm starting out again from scratch. And this time I'm going to get someplace. How are you?

[A]

Well, well, well. Penelope sins a long time since we've seen each other, hasn't yes, sir. Long time no see. And sweetheart, you're a sight for sore eyes.

[B]

You think so?

[A]

I certainly do. Pocketbook, beautiful self. Right here, honey, why don't you ride and get a good look at you?

[B]

Oh, thank you.

[A]

Just as lovely as ever.

[B]

Ah, you're flattering me, artist.

[A]

Oh, no, I'm not.

[B]

You're one person I can't keep my age from.

[A]

Age? What's a person's age got to do with anything? Why, you don't look a day older than you did in Atlantic City in 1924.

[B]

It was 1926.

[A]

1926? Oh, yes, 1926. Isn't that what I said?

[B]

You said 1924.

[A]

Well, I was a slip of the tongue. Just a slip of the tongue. Tell me about yourself. What have you been doing?

[B]

Oh, I've managed to keep busy. I've been in several shows. Good parts, no complaints. Arty.

[A]

Well, now, that's fine. What are you doing in town?

[B]

I've been. Well, just resting the last few months. My father's getting kind of old and, well, I wanted to spend some time with him. You know how he is.

[A]

Sure, sure. When the years start creeping up in the old folks, well, you want to be with him. I remember your old man. He's kind of a nice, clean.

[B]

Yes, popped off the street.

[A]

I suppose you're married?

[B]

No, no, I'm not married. Are you?

[A]

Well, that isn't because you haven't had the chance.

[B]

Oh, I've had loads of proposals.

[A]

I'll bet you have wor that I wasn't the marrying kind. Penelope.

[B]

It's too late, Artie.

[A]

Well, that's the way it is. Maybe that's why I'm not the marrying kind. Then you're engaged, eh?

[B]

Well, not exactly engaged.

[A]

You mean you haven't announced it?

[B]

Yes, that's it. We. We have sort of an understand it.

[A]

Well, sweetheart, I wish you lots of luck. And believe me, if any of your kids are even half as good looking as their mother, one of them will be Miss America someday.

[B]

There's nothing that would make me happier. But I shouldn't be taking up your time like this.

[A]

That's all right, honey. That's all right. My time is your time, whenever you want it.

[B]

But I came to see you about something special.

[A]

All right, go right ahead. What is it?

[B]

Well, I. I saw your ad in yesterday's paper.

[A]

Oh, yes, the one for photographic models.

[B]

You see, Artie, it isn't that I really need.

[A]

Oh, no, no, of course not, but.

[B]

Well, after you've been in harness a Long time.

[A]

I know how it is.

[B]

I was just thinking that perhaps. Well, now, perhaps just something once or twice a week. I did some posing for advertisements a few years ago.

[A]

You did?

[B]

The work isn't new to me, Artie.

[A]

No, I understand. Well, I'll tell you, honey. Suppose you drop back in a couple days of then.

[B]

You mean you haven't.

[A]

Oh, no, no, no, no. You see, the setups like this. I'm just the agent for several commercial photographers in town.

[B]

Then you don't.

[A]

I don't really hire. The girls come here and I send them out to the different studios. But you said the whole thing's up to the individual photographers. You see, right now they're looking for kids.

[B]

Oh, I see.

[A]

Oh, don't get me wrong, darling. High school kids, you know, 17, 18, 19, that's what they're looking for.

[B]

Then I really don't look the same.

[A]

Well, that's just the way things go. One month they're looking for anybody who's sort of cute. Next month it's the older that is, the more mature type they want. Real beauties like you.

[B]

I think I understand that.

[A]

Now, these high school kids, they don't care if they're good looking or not. Just so they're sort of attractive, you know, cute.

[B]

Yes, I know what you mean.

[A]

But you leave your address and phone number of the girl at the desk. I'll see you get some work, sweetheart. One of these days you'll get a call. And believe me, when some of those shutter snappers get a gander at you.

[B]

I think I'd better go now, Artie.

[A]

What? You heard, baby.

[B]

Well, I. I intended dropping in for.

[A]

Only a few minutes, but there's no rush.

[B]

I have some shopping to do and.

[A]

Well, I guess a man has no right to stand between a woman and a bargain.

[B]

I'll drop in again sometime.

[A]

Anytime. Penelope. There was swell seeing you and talking over old times.

[B]

Yes, it was nice talking over old times.

[A]

And don't forget, give your phone number to the girl.

[B]

I won't forget.

[A]

Good.

[B]

Goodbye.

[A]

Goodbye. And drop in anytime.

[B]

Thanks.

[A]

Poor kid.

[B]

Now, of course, you ladies know that the cosmetic art is very ancient. And it's this very art that this store has hired me to tell you about. For thousands of years, women in all parts of the world have used beautifying oils and ointments and different kinds of coloring on their. In order to make themselves more attractive. Yes, indeed. And why do you think they did it? Well, how do you think Cleopatra got Marc Antony? And how do you think Madame Pompadour captured the King of France, Louis xv, I believe he was. And how do you think Lady Hamilton won over Lord Nelson? And then there's the thrilling romance between our own Wally Warfield and the Duke of Windsor. Well, now, I suppose we can catch a duke if you use satin self beauty Corrine. No, madam. Satin silk cream can't go quite that far in its guarantee. After all, you must admit, madam, that a jar of satin silk beauty cream with a duke in every jar is just a little bit too much to expect for the small sum of a dollar and a half. But, and this is something of interest to every woman, you too can have a skin as soft, as smooth, as caressingly lovely as that of any duchess or any queen. And the trial jar of satin silk beauty cream, which will last you three months, is being sold specially this week and this week only for the small sum of one dollar and a half. Ladies, never again will you be able to buy this product at this price. When this week is over, the price goes back to the regular price of $2 and a half. But as I was saying, why do women want to be beautiful? There's one reason, and only one reason. A woman wants to get a husband. Suppose she already has a husband. Then she wants to hold it or get another one. Nevertheless, and in spite of this fundamental fact, most women know little or nothing about the art of making themselves beautiful. Although cosmetics have been used for centuries, almost since the time of Eve, who was the mother of us all. Very few women know how to apply makeup. Now, if you'll all step in a little closer so they can get through the aisles back there, I'll demonstrate the proper way of making up. Thank you, ladies. Well, we're all kind of cozy here, aren't we? The first thing, of course, is the use of a proper foundation cream. And that's exactly what satin silk beauty cream is. Now, after you've removed the old makeup with that stuff's ransom. I say, after you've removed the old makeup. I bought some and it was ransom. Besides, it was just fake anyway. I'm sorry, madam, but I'm sure you must be mistaken. Oh, no, I'm not. I'm sure you purchased some inferior product. You must beware, ladies, of the many imitations of satin silk beauty cream on the market. Naturally, a product so successful it was satin silk beauty cream that I bought. Very well, madam. You'll just bring back the unused portion and the jar will gladly refund your money. Perhaps you expected too much more than the claims we make. It blue hair on my face. I'm quite sure the hair was there in the first place. Place, madam? That woman doesn't. Now, as I was saying, ladies, the first step in the art of proper makeup is to remove the old makeup with fat.

[A]

Looks like there's going to be a war over there in Europe, Luther. Yep, I guess it does. I think that fella Hitler means business, all right. Looks that way. Have another chocolate, Penny.

[B]

What?

[A]

I just said, will you have another chocolate?

[B]

Oh, nothing.

[A]

Just one more won't hurt you.

[B]

You don't have to think about your figure, Luther.

[A]

Well, no, I guess I don't. Well, I guess I'd better go down to the corner and get some tobacco.

[B]

And please turn the radio off.

[A]

You like the radio, Penny? Gee, I thought that was pretty.

[B]

I'd rather have it on.

[A]

All right, I'll turn it off. Anything you want me to get you, Penny?

[B]

No.

[A]

You, Luther? I guess not, Mr. Sim.

[B]

All right.

[A]

Penny, what is it? You're kind of tired, aren't you?

[B]

What do you expect? I work all day, don't I?

[A]

Yeah, sure. That's what I meant. Besides, you and me, we've known each other a long time.

[B]

Longer than I care to think about.

[A]

Well, I'm making pretty good money now, Penny, down at the shop.

[B]

Luther, what are you trying to say?

[A]

Well, I know how much your career means to you. At least, that's the way you always put it.

[B]

My career?

[A]

Penny, ever since we were in high school together, even since I first saw you, I thought you were the most beautiful girl I ever saw.

[B]

You still think so?

[A]

Sure I do.

[B]

Well, at least somebody does.

[A]

Penny.

[B]

Yes, Luther?

[A]

Penny, I. I've never had nerve enough before. I. I don't know that I got enough right now, but. Well, what I'm trying to say is.

[B]

Are you trying to ask me to marry you?

[A]

Yeah. Yeah, that's what I'm trying to do, but. Well, I'm just an ordinary guy, Penny. And you. You're so beautiful and everything.

[B]

Don't, Luther. Don't talk so much.

[A]

Then. You mean you won't.

[B]

No, Luther, I don't mean that. I. I'll marry you.

[A]

Gee, Penny, I don't know what to say.

[B]

Can we get married soon?

[A]

Anytime you say. Just whenever you want to. And, Penny, can I kiss you?

[B]

Yeah.

[A]

I always wanted to, but somehow I just never got up enough nerves.

[B]

Be careful of my hair, Luther, and just kiss me on the cheek.

[A]

Can I. Can I just take another look at her?

[B]

No, you'll wake her up. But don't she Penny, come on in the living room.

[A]

All right.

[B]

And tiptoe.

[A]

I'm as careful as I can.

[B]

Turn the light out and do it quietly.

[A]

Uh huh.

[B]

I'll open the door. I'm afraid you make too much to.

[A]

I guess she's all right now. Gee, I can't get over the fact that Gloria Jane's such a beautiful baby. I guess she takes after her mother all right.

[B]

Uh huh.

[A]

Give me a penny, dear. And let your homely old husband put his arms around you.

[B]

Please, Luther, not now. I have so much to do.

[A]

Oh, forget that stuff. I'll help you do the job.

[B]

It's not the dishes.

[A]

Then what you got that's got to be done right away?

[B]

I want to finish this new bonnet for Gloria Jane.

[A]

You making her a new bonnet?

[B]

Yes. I just have to have it done by tomorrow morning.

[A]

You do? What for?

[B]

Oh, Luther, I told you about that prettiest baby contest they're having downtown.

[A]

Oh, yeah. Say, Gloria Jane sure ought to win that contest hands down.

[B]

Well, she doesn't. It certainly won't be my fault. Believe me, my daughter's going to amount to something.

[A]

RAM the WWJ Playhouse has presented Miss America of 1926. This of course, was an original drama written by Myron golden and directed by Ernest Rika. The original music score score for the playhouse was composed and conducted by Oli Farish. Say, if you wish to see one of these dramas in our auditorium studio, why not write, phone or call at the studios of WWJ for your tickets? There's no charge and we'd be glad to have you with us. Next week the WWJ Playhouse will bring you a comedy entitled Manners Incorporated. So won't you join us here in the studio or at your radio at 9:30 next Thursday night? The characters and situation in these dramas are purely fictional and bear no intentional relations to real people or events. This is wwj, the Detroit News.