SOUND:

TONE

ANNOUNCER:

Remember, a Hallmark Card -- when you care enough to send the very best.

MUSIC:

THEME UP AND UNDER

ANNOUNCER:

Tonight from Hollywood, the makers of Hallmark Greeting Cards bring you an exciting dramatization of an unforgettable story on THE HALLMARK PLAYHOUSE.

MUSIC:

UP AND OUT

ANNOUNCER:

Tonight's story was chosen from the world of fiction by one of the world's best-known authors. Hallmark is proud to present the distinguished novelist, Mr. James Hilton.

SOUND:

APPLAUSE

HILTON:

Good evening, ladies and gentlemen. Tonight on our HALLMARK PLAYHOUSE, we present a dramatization of Phil Stong's excellent novel, "State Fair." I suppose even its title alone will conjure up something of its flavor, for it is indeed the story of days that have an especially warm place in many Americans' hearts, those few days of the annual state fair which are looked forward to with excitement and remembered with affection. Almost a century ago, Mr. Stong's grandfather was one of the founders of the Iowa State Fair, so that state fairs, you might say, run in the family. Anyhow, the story we are presenting tonight handles this rich material with simple effectiveness, and Mr. Stong's characters might well be the next-door neighbors to millions of us living in America today. I suppose you could say, if you wanted to be funny, that the real hero of "State Fair" is a pig. But a pig is a very wonderful animal, especially with pork at its present price. So here now is our "State Fair," a first-rate story with no message except that America is a pretty good country, and its state fairs are pretty good places to go to. But before we begin, Frank Goss has a message from the people who bring you these stories.

ANNOUNCER:

There are Hallmark Cards for every memorable occasion on your calendar. For birthdays, anniversaries, holidays. Yes, for every occasion that calls for remembrance -- for a friendly greeting, a word of good cheer, an expression of sympathy -- there is a Hallmark Card that says just what you want to say, the way you want to say it. And that identifying name on the back, Hallmark-- Well, that says you cared enough to send the very best. And now, "State Fair" on the HALLMARK PLAYHOUSE.

MUSIC:

AN INTRODUCTION ... THEN UNDER--

ABEL:

(EXUBERANT) All right, all right. You take Virginia ham. Sure, it's famous, but it's made from ordinary razorback. Not like we have here in Iowa. You give a Hampshire hog the same opportunity as a piece of Virginia razorback gets, and you'd have manna. Yes, sir, manna! Look at my Blue Boy. Now, there's a hog. There's a-- Hi, Ira!

IRA:

(OFF) Hi, Abel!

ABEL:

How's the corn this year? Gonna win a prize?

MUSIC:

UP FOR A TRANSITION ... THEN A LILTING "THE FARMER IN THE DELL" BEHIND HILTON--

HILTON:

Thus held forth Abel Frake in the stock pavilion of the Des Moines State Fair. Abel Frake, farmer of Brunswick, Iowa, here at the fair with his great Hampshire hog, Blue Boy, to win a prize or forever hold his peace. With Abel were the three other Frakes -- Margy, Wayne, and his competent wife, Melissa, who had made up her mind to win a prize for pickles. While Abel Frake was defending the good name of the Hampshire hog, his son Wayne was listening with scorn and grimness to a hard-faced concession barker who had taken him aside for some bitter and threatening talk.

MUSIC:

UP FOR AN ACCENT AND OUT

SOUND:

FAIR BACKGROUND ... CROWD NOISE, CALLIOPE MUSIC, ET CETERA

BARKER:

You know what I'm talkin' about, all right! Ruinin' my business, crabbing the act! What's the big idea?

WAYNE:

Listen, it isn't my fault all the stuff I won on your hoop-la game was phony.

BARKER:

You made a fool out of me in front of that crowd.

WAYNE:

Maybe, but I didn't make a crook out of ya.

BARKER:

What's that you say?

WAYNE:

You heard me.

BARKER:

You know, I could go to the state fair board and have you put in jail for libel! Criminal libel!

WAYNE:

Ha!

BARKER:

You'll spend the night in jail, at least.

EMILY:

Oh, what do you know?

BARKER:

(SURPRISED) Hey-- What's that?

EMILY:

My father's an inspector of detectives. And I say this young man wouldn't spend the night in jail. You would.

BARKER:

Hey, how did you get into this?

EMILY:

You just keep on askin' fool questions. I'm looking for a policeman.

WAYNE:

I can fight my own battle.

BARKER:

(A LITTLE NERVOUS) Hey, just a minute, little girl. The kid was ruinin' me. You were out there. You saw.

EMILY:

Why don't you hire him to stay away from your game, then?

BARKER:

What?

EMILY:

Ten dollars and he won't pitch any more hoops at your stand.

WAYNE:

I won't take it.

EMILY:

He hasn't offered it yet.

BARKER:

And I won't!

EMILY:

(WISELY) Hmm, but he will, sonny boy. He will.

MUSIC:

UP FOR A BRIDGE

SOUND:

STEPS TO TRAILER DOOR, WHICH UNLOCKS AND OPENS ... THEIR STEPS IN, IN BG--

EMILY:

I live in here.

WAYNE:

An auto trailer?

EMILY:

I live here with my father.

SOUND:

TRAILER DOOR CLOSES

WAYNE:

Huh. I've never been in a classy trailer like this.

EMILY:

You want a drink of anything from the refrigerator?

WAYNE:

It's got a refrigerator?

EMILY:

It's got everything.

WAYNE:

(UNCERTAIN) Well, where's your mother?

EMILY:

(BEAT, AWKWARDLY) It hasn't got that.

WAYNE:

(REALIZES, TAKEN ABACK) Oh.

EMILY:

And you won't see much of my dad either.

WAYNE:

(LIGHTLY) It's a lucky thing for me he's an inspector of detectives.

EMILY:

(DRY) He inspects detectives to see if they're after him.

WAYNE:

Hm?

EMILY:

(CHUCKLES, LIGHTLY) Mostly father plays the horses and runs the numbers racket.

WAYNE:

(REALIZES, TAKEN ABACK) Ohhhh.

EMILY:

Is that bad for me -- with you?

WAYNE:

I - I never met anybody like you.

EMILY:

(DARKLY) I bet you think my skirt's too short.

WAYNE:

(BEAT, AGREES) Mm-hmm.

EMILY:

(UNHAPPY) You don't like me.

WAYNE:

(QUICKLY REASSURING) Oh - oh, yes, yes, I do.

EMILY:

Well, in that case, my name is Emily.

WAYNE:

My name is Wayne Frake.

EMILY:

I liked you the minute I saw you.

WAYNE:

(REALIZES, UNCERTAIN) Oh.

EMILY:

(BEAT) Is that all? Are you glad or don't you care?

WAYNE:

(SLOWLY) Well, uh, you see, uh, I have a girl back in Brunswick.

EMILY:

(DISAPPOINTED) Oh.

WAYNE:

(QUICKLY) But I'm glad you like me.

EMILY:

(PLEASED) Where do you live?

WAYNE:

Tent City on Campers Hill, like all the fair visitors.

EMILY:

What's her name?

WAYNE:

Who?

EMILY:

The girl back in Brunswick.

WAYNE:

Eleanor.

EMILY:

Why are you here? Is your time your own? I mean, my father gets me into the horse races free. Want to come with me tomorrow afternoon?

WAYNE:

(APPREHENSIVE) Uh, horse races?

EMILY:

Oh, you don't have to bet; I'll do that. You can just watch.

WAYNE:

(BEAT, SHRUGS) All right.

EMILY:

I've got two tickets for "Blossom Time" in Des Moines night after next. You can take me to that, too. Because we like each other.

MUSIC:

BRIDGE ... QUOTES ROMBERG'S "SONG OF LOVE" FROM BLOSSOM TIME ... THEN BEHIND HILTON--

HILTON:

We come now to Margy. For sister Margy the fair was so far a dreary matter. She wished heartily that her suitor Harry were here so she could at least quarrel with him. She was therefore in a correctly receptive mood when the young man seated himself beside her on the roller coaster, flashing a press card at the concessionaire. The press -- the fourth estate, with hair like corn tassels! -- sitting beside Margy Frake and grinning at her smugly as the roller coaster started rolling.

SOUND:

ROLLER COASTER ... THEN IN AGREEMENT WITH FOLLOWING, IN BG--

PAT:

Well, here we go, to coin a praise. (BEAT) They say the first plunge is a so-and-so.

MARGY:

(NERVOUS) Oh. Is it?

PAT:

(SHRUGS) Ah, can't get out now.

MARGY:

(WORRIED) I - I didn't know it was high.

PAT:

Well, here's where you find out firsthand.

MARGY:

(UNHAPPY) Oh.

PAT:

(BEAT) All right, here we go.

MARGY:

(SCARED) Oh!

PAT:

Hold on to me.

MARGY:

No.

PAT:

I'm a great comfort in roller coasters.

SOUND:

COASTER PLUNGES DOWN NOISILY

MARGY:

(SCREAMS) Ah!

MUSIC:

BRIDGE

SOUND:

NOCTURNAL BACKGROUND (CRICKETS, ET CETERA)

MARGY: This is where I live, Pat. Campers Hill.

PAT:

I'll walk up with you, but don't go yet.

MARGY:

Oh, I've got to. I'm late for supper now.

PAT:

Supper? (CHUCKLES) You mean dinner.

MARGY:

Oh-- Well, we country people call the last meal supper.

PAT:

Okay, supper.

MARGY:

I'm only a farm girl.

PAT:

(POINTEDLY) Well, I am a newspaper man. We are taught that time is short, space is costly, and talk is far from cheap. So I won't beat around the bush. You're beautiful.

MARGY:

(EXHALES, MODESTLY) Oh, no.

PAT:

All right, then. You're pretty. Tomorrow may I call you beautiful?

MARGY:

How do you know I'll even see you tomorrow?

PAT:

You don't have to. I'll see you. I'll be looking for you, --- pretty girl.

MUSIC:

ROMANTIC BRIDGE ... QUOTES 1920 pop song "MARGIE"

ABEL:

Well, another morning, another day -- and then tomorrow.

WAYNE:

Tomorrow's when they judge Blue Boy, isn't it, Dad?

ABEL:

Tomorrow's when ham really gets dignity. Yeah.

WAYNE:

(CHUCKLES) Well, what do you think?

ABEL:

Blue Boy'll win, I gravely hope.

WAYNE:

Well, Ma's pickles ought to get a ribbon or something today anyhow.

ABEL:

What time?

WAYNE:

Four o'clock.

ABEL:

We all better be there or your mother'll never forgive us.

WAYNE:

Oh, I - I'll be there, all right. I, er, might be a little late.

ABEL:

Yeah?

WAYNE:

Gonna have a look at the horse racing.

ABEL:

(SCANDALIZED) Horse racing?!

WAYNE:

Well, just looking, Dad. No bets. Just looking is all.

MUSIC:

BRIDGE ... QUOTES "SONG OF LOVE" ... THEN A BUGLE PLAYS "THE CALL TO THE POST"

SOUND:

RACETRACK CROWD ... VERY NOISY ... CONTINUES IN BG--

EMILY:

Wayne honey, I can't see over the crowd!

WAYNE:

Just make your elbows stiff at your side. I'll lift you up, Emily.

EMILY:

For the whole race? I'm too heavy.

WAYNE:

You? (LAUGHS) Stiffen your elbows.

EMILY:

I've got ten dollars on King's Henchmen.

WAYNE:

Ready?

EMILY:

Ready!

WAYNE:

Up you go!

EMILY:

Oh, you're so strong.

WAYNE:

Ha! You're a feather.

SOUND:

CROWD ROARS AND CHEERS AS THE RACE BEGINS

MUSIC:

BRIDGE ... INITIALLY EXCITING FOR THE RACE, THEN CHANGES TO JAUNTY CALLIOPE PLAYING "MARGIE", THEN IN BG--

MARGY:

Oh, no, Pat. Really, I must get up to the exhibition hall now.

PAT:

Why must you?

MARGY:

I told you. Mother's pickles are being judged.

PAT:

(DRY) Oh, don't worry. They'll probably get off with a light fine.

MARGY:

I've got to be there.

PAT:

All right, I'll go with you.

MARGY:

Oh, no.

PAT:

Why not?

MARGY:

I'll have an awful time explaining you.

PAT:

Oh? Why? Because of Harry, your Brunswick swain?

MARGY:

(MILDLY OFFENDED) He happens to be very nice.

PAT:

(CHUCKLES) All right, all right. Tell me, when do you think they'll have all those pickles sentenced?

MARGY:

About four o'clock.

PAT:

All right. See you at four-oh-one, ... pretty girl.

MUSIC:

UP FOR BRIDGE ... QUOTES "FARMER IN THE DELL" ... THEN OUT

PAT:

Hi.

MARGY:

Hi!

PAT:

Four-oh-one, as stipulated, on the front steps of the hall.

MARGY:

Four-oh-won and so did Mother. (CHUCKLES) Every ribbon in the hall, plus a bronze plaque.

PAT:

"Four-oh-won and so did Mother"? Whew! You certainly are from the Iowa corn.

MARGY:

What's that?

PAT:

Never mind. Come along, pretty gal. The day and the night are before us.

MUSIC:

BRIDGE ... CHANGES TO CALLIOPE PLAYING ROSAS' "OVER THE WAVES" ... CONTINUES IN BG--

SOUND:

OF CHUGGING FERRIS WHEEL ENGINE, IN BG--

MARGY:

I've never been up in a ferris wheel at night like this.

PAT:

They've got night navigation down to a science now.

MARGY:

So pretty up here. The lights below and the stars above.

PAT:

"The night hath a thousand eyes." Here, let me put my protecting arm around you.

MARGY:

(FIRMLY) No.

PAT:

(DRY) The night it hath a thousand "nays" also. (EXHALES, MORE SERIOUS) Are you having fun?

MARGY:

Oh, Pat, such a lot of fun.

PAT:

Good, good.

MARGY:

Thank you, Pat.

SOUND:

FERRIS WHEEL SLOWS DOWN

PAT:

Well, end of ride. Could we go someplace where it's quiet and private? Campers Hill fills the bill.

MUSIC:

UP FOR ROMANTIC BRIDGE, QUOTES "MARGIE"

SOUND:

NOCTURNAL BACKGROUND (CRICKETS, ET CETERA) ... PAT AND MARGY SPEAK SLOWLY AND DELIBERATELY

PAT:

(SERIOUS, SLOWLY) Margy, I want to know. Do you love this - this Harry back in Brunswick?

MARGY:

Oh, I - I don't think you ought to ask me that.

PAT:

That's right. Harry is none of my business. But I am. So, do you love me then?

MARGY:

Well-- Well, how would I know that after just two days?

PAT:

I know it after just two days. I love you.

MARGY:

Oh, it - it takes me longer to find out. I haven't been in love as often as you have.

PAT:

Margy, do you think this doesn't mean anything to me?

MARGY:

I just know you've been in love with other women.

PAT:

Look, are you blaming me because there were other women?

MARGY:

I'm blaming myself because I was next.

PAT:

(BEAT) I - I might have made love to them, but I never told them this. I tell you. (BEAT) I love you.

MARGY:

Did you - kiss the others?

PAT:

Probably.

MARGY:

Oh. (BEAT) Pat? I want you to kiss me anyhow.

MUSIC:

BEAT, FOR THE KISS ... THEN "MARGIE" CURTAIN

SOUND:

BRIEF APPLAUSE

ANNOUNCER:

In just a moment, we'll return to the second act of tonight's story. But during the intermission, I'd like to tell you about one of the greatest actresses of all time, the Divine Sarah. The story is told about the great French actress Sarah Bernhardt after one of her memorable performances of "Camille." In the lobby of the theater, one of her admirers was heard to remark, "She's magnificent. For three hours, she wasn't Bernhardt at all. She was Camille!" A noted critic of the time turned to the enthusiastic speaker and said, "That's why she is unique. Others act their parts. Only Bernhardt lives hers." There is the key to great art, the ability to put into a part -- a speech, a phrase -- warmth and understanding. Those who make Hallmark Cards believe that anything as personal as a greeting card should contain that extra measure of friendliness and understanding. That's why you'll notice that Hallmark Cards always seem to say just what you want to say, the way you want to say it. So it's no wonder that Hallmark Cards are chosen with such pride, received with such pleasure. For when your friends turn the card over, as you did, and see the name Hallmark, they'll know you cared enough to send the very best. Now we continue with the second act of the story James Hilton has chosen for tonight, Phil Stong's "State Fair."

MUSIC:

A JOYOUS FANFARE ... THEN IN BG--

ABEL:

(ECSTATIC) The best hog in the state! That means Blue Boy is the best hog in the United States! That means in the world! I'm the best hog-raiser in the whole world!

MUSIC:

UP FOR AN ACCENT ... THEN IN BG--

HILTON:

In this awestruck manner did Abel Frake contemplate the honors that had been heaped upon his giant Hampshire hog that afternoon in the Stock Pavilion. Blue Boy was the most and the most exalted ham that had ever happened in the state of Iowa. And after his father's triumph, young Wayne, in blue jacket and white flannels, felt easier about going off that night with Emily, a dream in a boat-necked evening gown, to see "Blossom Time" in Des Moines.

MUSIC:

UP FOR A BIG THEATRICAL FINALE OF ROMBERG'S "SONG OF LOVE" FROM BLOSSOM TIME ... THEN QUIETLY ROMANTIC, IN BG ... THEN GENTLY OUT WHEN THE TRAILER DOOR CLOSES BELOW--

SOUND:

STEPS TO TRAILER DOOR

EMILY:

Father isn't home as usual.

SOUND:

TRAILER DOOR UNLOCKS AND OPENS

WAYNE:

(RELUCTANT) Well, Emily--

EMILY:

Oh, come in.

WAYNE:

Come in?

EMILY:

Well, it's still early.

WAYNE:

Well, all right.

SOUND:

THEIR STEPS IN ... TRAILER DOOR CLOSES

WAYNE:

(AWKWARD) I, uh-- I want to tell ya, Emily--

EMILY:

Yes, Wayne?

WAYNE:

I want to tell ya-- I had one wonderful time at the show tonight. Please thank your dad for the tickets.

EMILY:

I'm glad you enjoyed it.

WAYNE:

You were so beautiful in that gown. And me in my flannels. Why, a king would have felt out of place with you tonight.

EMILY:

You're sweet.

WAYNE:

I just know I never felt so proud being with a girl.

EMILY:

What about - Eleanor?

WAYNE:

She's - different from you, Emily.

EMILY:

Yes, but is that good or bad for my side?

WAYNE:

Well, how do you mean?

EMILY:

Well, I don't know about farms, or pickling things, or raising prize hogs.

WAYNE:

Well--

EMILY:

Eleanor does.

WAYNE:

Eleanor has to.

EMILY:

That's what I mean. She had to know those things to be worthy of being a farmer's wife. Girl, I mean. I'm just at a fair for farmers because of the gambling. Because of my dad.

WAYNE:

Well, you go where your dad goes.

EMILY:

I've won a hundred and forty dollars on the horses so far. (BEAT) I thought that's something you ought to know.

WAYNE:

Why?

EMILY:

I think it's all right for the wrong girl to fall in love with the right boy -- just so he doesn't fall in love with her.

WAYNE:

Emily, how do you know I'm not in love with you?

EMILY:

Are you?

WAYNE:

Suppose I am.

EMILY:

That'd be wonderful for me, but awful for you.

WAYNE:

You're the most beautiful, exciting thing I ever knew. And I'm going to kiss you.

EMILY:

(LIGHTLY) A girl always appreciates fair warning. (BEAT) Well?

WAYNE:

Well? Does this prove I love you? (KISSES HER, EXHALES)

EMILY:

(EXHALES) That's nice. (BEAT, CAREFULLY) It's a nice note for saying goodbye.

WAYNE:

Good night, you mean.

EMILY:

No. Goodbye.

WAYNE:

Oh, no. Well-- Gee, what's the matter with you? Don't you love me?

EMILY:

I didn't say that.

WAYNE:

Then you've got to marry me.

EMILY:

I love you, Wayne. But I wouldn't marry you for anything in the world.

WAYNE:

Emily, please. Quit all this mysterious stuff and tell me what you're thinking.

EMILY:

I've loved you. Why? Because you were fine and straight and different. And sweet. And because you deserved it. But can you imagine me on the farm milking the cows?

WAYNE:

That's all you know about it. The hired hand milks the cows.

EMILY:

That is all I know about it. That's what I mean. A farmer's wife has to be useful, not ornamental. Oh, no, Wayne. The minute I saw you, I wanted you. But I knew I'd rather die than marry you. I'm afraid of what would happen to us.

WAYNE:

It's-- It's a queer way to end something that's been so nice.

EMILY:

Wayne, your parents don't know about me, I'll bet.

WAYNE:

No.

EMILY:

You see? Oh, Wayne, dear, you came to the state fair and you found a girl who at least did you no harm. Let it go at that.

WAYNE:

What--? What'll become of you?

EMILY:

You'll find your kind. I'll find mine. And we'll both be happy.

WAYNE:

(SLOWLY) I hope so. I hope so.

EMILY:

I'm older than my age. I'm wise. Really, I'm wise. And I know. (WITH FINALITY) Goodbye, Wayne. It's been sweet.

WAYNE:

G-- Goodbye.

EMILY:

This way, you'll always love me. [X] You'll love me, but you'll be happier with somebody else. If that seems sinful, blame it on a girl you met at the state fair long ago. I won't mind, dear. I won't mind.

MUSIC:

SAD ... SNEAKS IN ABOVE AT [X] ... THEN UP FOR THOUGHTFUL BRIDGE

SOUND:

PAT AND MARGY'S STEPS BRIEFLY ... THEN OUT BEHIND--

MARGY:

Oh, Pat, wait. Here's the industrial building.

PAT:

(DRY) "Rah" for industrial buildings, I always say.

MARGY:

I haven't seen the exhibit from the Des Moines Register.

PAT:

(BEAT, SURPRISED) Let me understand you. You want to see a newspaper exhibit?

MARGY:

Yes.

PAT:

Why?

MARGY:

Well, there's some wonderful line-o-graph machines to look at, for one thing.

PAT:

(AMUSED) Line-o-graph?

MARGY:

No?

PAT:

(CORRECTS HER) Type. Linotype.

MARGY:

Oh, well, I'd like to see them.

PAT:

(RELUCTANT) Margy, I'd love for you to see them, but most of the boys in there know me. Er, what I mean to say is that--

MARGY:

(INTERRUPTS) No, Pat, wait a minute. You said what you meant to say.

PAT:

No, no, Margy.

MARGY:

You don't want them to see the city sophisticate with a country girl.

PAT:

Margy, I'd rather be seen with you than with anybody else in this world. But not until you promise me one thing.

MARGY:

What is it?

PAT:

Promise you'll marry me.

MARGY:

Marry you?

PAT:

Tomorrow. Tonight. As soon as I can scare up the county clerk, huh?

MARGY:

Well, what's marrying you got to do with it?

PAT:

Well, just this. It never does a girl much good to be seen with me by those hard-boiled newspaper men. They - they know my-- Well, my reputation with women, and they'd make some fast, hard judgment about you.

MARGY:

Oh. You want to make a good woman of me in advance.

PAT:

Ohh, that's no way to put it.

MARGY:

Pat, we'd better sit down on Campers Hill and talk about this.

PAT:

Nothing to talk about. All you have to do is say yes. Come on, though. Campers Hill will fill the bill.

MUSIC:

SAD BRIDGE

SOUND:

NOCTURNAL BACKGROUND (CRICKETS, ET CETERA)

PAT:

There. Comfortable?

MARGY:

Comfortable.

PAT:

Cold?

MARGY:

Comfortable.

PAT:

The night it hath a thousand eyes. I hope for the thousand and first "aye" tonight. Say me not nay, Margy, huh?

MARGY:

Pat, have you thought that if I marry you, I'll tie you to a town you won't like? And to one woman all your life? Because I wouldn't stand for other women. And you'll hate Brunswick, and I wouldn't like the city, I know it. And you'd like other women. You can't help it.

PAT:

But - I'd love you.

MARGY:

You'd get tired of my qualities. I can run a house, and I understand a farm, and I love the life. I'd want four or five children, and they'd grow up to bring more land into the family.

PAT:

Margy--? Who's children?

MARGY:

Why, I - I suppose Harry's.

PAT:

Oh, Margy, you don't love that farmer, do you?

MARGY:

I know that he loves me, and that I love his kind of life. I'd never have to be afraid of anyone else. He'd always love me because I'm right for him. Maybe that's what perfect love is, after all. Being exactly right for someone.

PAT:

(GRABS HER) I won't give you up, Margy. I love you.

MARGY:

Don't, Pat. Let me go.

PAT:

I love you. I want you.

MARGY:

No, Pat. No.

PAT:

(EXHALES, RELEASES HER) I'm sorry. You--? You don't think you could ever be happy with me?

MARGY:

No.

PAT:

(EXHALES) You may be right.

MARGY:

I am right.

PAT:

I'll walk you up the hill to your tent.

MARGY:

No. No, I'd rather finish the episode alone, Pat.

PAT:

(EXHALES) Farm girl.

MARGY:

That's right. Now and forever.

PAT:

(POINTEDLY, WITH RESPECT) The girls in Des Moines are yokels next to you.

MARGY:

Goodbye, Pat.

PAT:

(WHISPERS) Goodbye, ... pretty girl.

MUSIC:

MOURNFUL BRIDGE ... CHANGES TO SPRIGHTLY "THE FARMER'S IN THE DELL"

SOUND:

TRUCK ENGINE ... THEN IN BG-- TRUCK HORN HONKS TWICE, THEN TWO GRUNTS FROM A PRIZE HOG

WAYNE:

Quiet, Blue Boy! (LAUGHS)

MARGY:

(LAUGHS)

WAYNE:

(SIGHS) Nice fair while it lasted, Marge.

MARGY:

Yes.

MUSIC:

REFLECTIVE ... UNOBTRUSIVE CHIMES AND STRINGS ... IN BG--

WAYNE:

Our family took away practically all the prizes.

MARGY:

Practically all.

WAYNE:

You say that funny.

MARGY:

Oh, I didn't mean anything.

WAYNE:

You, er, stayed out pretty late these last few nights at the fair.

MARGY:

So did you.

WAYNE:

Who did you meet?

MUSIC:

A HINT OF GENTLE CITY JAZZ ... A SMOOTH SOLO TRUMPET ... IN BG--

MARGY:

Who did you?

MUSIC:

THEN REFLECTIVE CHIMES AND STRINGS AGAIN ... IN BG--

WAYNE:

(EXHALES) Look at it this way. We came to the state fair and met-- Met somebody who at least did us no harm. Let it go at that.

MARGY:

Did us no harm and maybe did us a lot of good.

MUSIC:

GENTLY OUT

WAYNE:

Maybe.

MARGY:

Oh, it's going to be good to get back to the farm.

WAYNE:

Until the next state fair.

SOUND:

TRUCK HORN HONKS TWICE, THEN TWO GRUNTS FROM A PRIZE HOG ... REPEAT

MUSIC:

UP, FOR A GRAND FINISH

SOUND:

APPLAUSE

ANNOUNCER:

In a moment, James Hilton will return to tell you about next week's story. Meantime, I'd like to remind you that there's nothing like one of those colorful Hallmark Dolls from the Land of Make-Believe to make a child's eyes light up with joy. There are sixteen dolls in all, Little Miss Muffet, Cinderella, Little Boy Blue, and thirteen other childhood favorites. Each one wears a hat topped off by a jaunty plume that's a real feather. Each doll stands up by itself, and each one has a clever rhymed story about the doll inside. Children really love them. Grown-ups do, too, because Hallmark Dolls are the perfect answer on many an occasion. A children's party, for instance. You couldn't ask for nicer favors or more appropriate place cards than these unique Hallmark Dolls. Or as rewards for good behavior. Children will be as good as good can be when they know that the reward for faithfully following your instructions will be a new and different Hallmark Doll to add to their collection. And remember, these colorful feather-hatted Hallmark Dolls are just as grand for children who live far away from you as for those in your own home. Hallmark Dolls, you see, are just as easy to send as any Hallmark Greeting Card, and they cost only twenty-five cents each. See all sixteen of the charming and colorful Hallmark Dolls tomorrow at the store where you buy your Hallmark Greeting Cards. Now here again is James Hilton.

HILTON:

Before I tell you about next week's story, I think you should know who the very fine performers were in our cast tonight. They were Barbara Eiler, Barbara Fuller, Sam Edwards, Tony Barrett, Earle Ross, and Peter Leeds. Next week we shall present on our HALLMARK PLAYHOUSE "To Marry With Love" by Richard Sherman. It's a tale of faith, romance, and loyalty set against the colorful background of New York City in the 1920s. And a week after that, we shall have a grand story by one of America's finest storytellers, "Cimarron," by Edna Ferber. And as a special treat, we shall also have as our guest on the HALLMARK PLAYHOUSE, Miss Irene Dunne. So plan to be listening these Thursday nights. Oh, and just one more thing. Remember when you are driving, ladies and gentlemen, do drive carefully. The life you save may be your own. And so until next week at this time, this is James Hilton saying goodnight.

MUSIC:

CLOSING THEME ... THEN IN BG--

SOUND:

BRIEF APPLAUSE

ANNOUNCER:

Tonight's story was adapted for radio by Milton Geiger. Our music was arranged and conducted by Lyn Murray. Look for Hallmark Cards that are sold only in stores that have been carefully selected to give you expert and friendly service. Remember Hallmark Cards -- when you care enough to send the very best. Now this is Frank Goss saying goodnight to you all until next week at the same time when James Hilton returns to present "To Marry With Love." This program came to you from the Hallmark Playhouse. This is CBS, the Columbia Broadcasting System.

SOUND:

BRIEF APPLAUSE

MUSIC:

OUT

LOCAL ANNCR:

This is KMBC, Kansas City, Missouri. Erle Smith on the news after this announcement.