The Good Fairy is a 1935 romantic comedy film written by Preston Sturges, based on the 1930 play A jó tündér by Ferenc Molnár as translated and adapted by Jane Hinton, which was produced on Broadway in 1931. The film was directed by William Wyler and stars Margaret Sullavan, Herbert Marshall, Frank Morgan and Reginald Owen. Sturges' screenplay diverges significantly from the Molnár play, and later became the basis for the book of the 1951 Broadway musical Make a Wish. Sturges wrote a scene for a movie-within-the-movie, in which the leading man responds to the leading lady's impassioned pleading with the single word "Go", delivered in varying tones. Plot Luisa Ginglebusher (Margaret Sullavan) has grown up in the Municipal Orphanage, delighting the other girls with her fairy stories. When Luisa is given a job as an usherette in a Budapest movie palace, the kindly orphanage director Dr. Schultz (Beulah Bondi), herself somewhat inexperienced, sends the young woman into the world with instructions to do a good deed every day and be friendly to everyone, as well as a little (off screen) advice about the male gender. When Luisa leaves work that evening, Joe (Cesar Romero) a handsome masher, tries to pick her up and refuses to take no for an answer, backing her into a wall and seizing her by the shoulders. She sees Detlaff (Reginald Owen), a waiter she met in the theatre, on the sidewalk, and tells Joe he is her husband. It works. Detlaff takes her out for sandwiches, and is charmed by her complete innocence. To give her a glimpse of the beautiful world he sees as a waiter in a fine establishment, he gives her an invitation to an exclusive party—and a dancing lesson, At the party, Luisa looks lovely in a dress borrowed from the theater; her complete ignorance of the world is played for gentle laughs. Thinking he is a waiter, she chides Konrad (Frank Morgan), a meat-packing millionaire, for sitting down with her. He is enchanted, but Detlaff is keeping an eye on his protégée and interferes with the attempted seduction. When Luisa finally understands Konrad's intentions (when he scoops her up in his arms in the private dining room) she uses the same ploy that worked with Joe: She tells him she is married. When he demands to know the man's identity, ostensibly in order to give him a job, she