June 16, 2024 • 59 mins
The first episode of The Campbell Playhouse, titled “Rebecca,” is a radio drama adaptation of Daphne du Maurier’s novel. Directed by and starring Orson Welles, this series aired on CBS from 1938 to 1941. The episode brings the suspenseful and atmospheric story of “Rebecca” to life through innovative use of sound effects and Welles’ captivating voice.
The Campbell Playhouse was a radio drama series that aired on CBS from 1938 to 1941. Here's a breakdown of what made it interesting:
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The Campbell Playhouse was a radio drama series that aired on CBS from 1938 to 1941. Here's a breakdown of what made it interesting:
- Star Power: It was directed by and starred the legendary Orson Welles, known for his innovative use of sound effects and captivating voice.
- Classic Adaptations: During its first two seasons (1938-1940), the show focused on hour-long adaptations of classic plays, novels, and even some popular movies. Think "The Count of Monte Cristo" or "Rebecca" brought to life through radio.
- Shifting Format: After Welles left, the show continued for a season with a shorter format (30 minutes) and a focus on lighter fare, often featuring Hollywood actors.
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Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
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The makers of Campbell's Soups present theCampbell Playhouse, Arson Wells Producers. Good
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evening everyone, This is Edwin C. Hill and I bring you exciting news
tonight. Arson Wells takes over thedirection of the Campbell Playhouse and offers you
as his first production America's best sellerDeafnely the MORI is Rebecca with a great
star Margaret Sullivan. Exciting news indeed, for I am here to welcome the
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White Hope of the American stage asthe director and starred the Campbell Playhouse,
who writes his own radio scripts anddirects them and makes them live and breathe
with the warmth of his genius.There is no time to adventure into the
story of his life. And that'stoo bad, because it is a tale
that combines the best features of BaronMunchausen and Alice in Wonderland. If ever
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a boy was born for an actor, he was. At thirteen, he
was directing the Troopers in the ToddSchool for Boys at Woodstock, Illinois,
where he produced thirty plays. Atsixteen, he was playing leading parts in
Dublin at the famous Gates and Peacockand Abbey Theaters. His American career is
really too recent and too well knownto recount here. He's been the leading
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man with Catherine Connell, with JohnHouseman. He founded the Mercury Theater and
has operated it with magical success.He had four hits last year on Broadway,
which beats Noel Cowles record From Hereto Kalamazoo. And he's generally recognized
today as being the most gifted stagedirector and actor of our time. His
radio productions have attracted universal attention.His broadcastedly War of the Worlds last month,
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which I dare say you remember,made radio history and a national sensation.
Why did a fantastic story of anutterly imaginary invasion from Mars produced this
totally unexpected result? The result misterWells, of course greatly regretted. It
was because, as in all hisradio productions, Orson Wells is a master
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of realism over the air in radiounique exciting. He shocked you, he
sent the cold shivers racing up yourspine. But that is not the thing
he does best, or best likesto do. He loves to tell a
story, a great human story,welling up from the heart, brimming with
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deep and sincere emotions, and livelywith comedy, and such are the stories
thrilling, delightful, amusing he willbring to the Campbell Playhouse. Because of
all his gifts, his genius atplaywriting, his ambition, his dynamic direction
is amazing, character active. Hehas been selected by Campbell's as the ideal
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man to conduct the Campbell Playhouse.And so to night Austen Wells makes his
bows the outstanding programme directed the air, and I have the very great pleasure
presenting him now, mister Austin wellThank you, mister Hill. It's a
great big chance for me and agreat big challenge. I faith in radio,
and the makers of Campbell's soups haveenough confidence in me to give me
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the direction of the Campbell Playhouse.Let's hope nobody is mistaken. Mister Wells,
Could you tell us something of youraims, perhaps something of the kind
of thing you hope to do withthe Campbell Playhouse. While everybody likes a
good story, and I think radiois just about the best story teller there
is. The Campbell Playhouse is dedicatedto the radio production of good stories,
stories from everywhere, from the stage, from moving pictures, and from literature.
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Next week, REGs and were doinga comedy Call It a Day,
and then and then Campbell's annual ChristmasPresent to America Lionel Barrymore in Dickens's Immortal
a Christmas Carol. And after thatthere'll be Counselor at Law, A very
Human Portrait of present day people,Aerosmith by Saint Clair Lewis with Helen Hayes,
William march Is the Green Goddess,Hector MacArthur's Hilarious Twentieth Century. In
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other words, all kinds of stories, mostly modern, and all of them
chosen for their suitability to this medium. That's about all, except I'm going
to try to tell them just aswell as I know how Oh, I
know you'll ring the bell. Youknow. The makers of Campbell's soups don't
believe in all this talk about theradio audience having the average mentality of an
eight year old child. They thinkthe radio listeners are the same people that
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go to the pictures in the theaterand read books. They reason that even
the most popular radio entertainment should beaddressed to the adult citizenry of America.
I can only hope that what Ido with the Campbell Playhouse will prove how
much they mean it, and howright they are. I I know it
will. And now, just beforeyou ring up the curtain on the first
act, will you give us aword or two about the play? Gladly,
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mister Holbet, if you'll pardon me. It's not a play, it's
a story, you see. Ithink that radio broadcasting is different from motion
pictures and the theater, and I'dlike to keep it that way. The
Campbell Playhouse is situated in a regularstudio, not a theater. We have
no curtain, reel or imaginer,and as you see, no audience.
There's only one illusion. I'd liketo create the illusion of the story.
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But the star, too, isimportant, mister Wells, Is that not
so? Yes? Indeed, AndI'd like to say how very fortunate I
am in having with me to nightthe loveliness and the magic gift of Miss
Margaret Sullivan. For Miss Sullivan ismy first choice for a great part,
and a great part it is,too, the most coveted of the season.
The Scarlet O'Hara of nineteen thirty eight, the heroine of Daphne Dumoria's best
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selling novel, Rebecca. Rebecca isgoing to be made into a movie by
David Stelznick. It ought to beone of the ten best. It's this
year's contender for the five foot Chelf, your best bet for anything from a
weekend to a desert island. Andit's a book you should read, the
ideal Christmas gift to yourself. MisterMoyer has flattered me with her confidence in
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permitting the Campbell Playhouse the great privilegeof making for radio the first dramatization of
her book. I'm meeting her forthe first time tonight, before this broadcast
is over. By special shortwave communications, she'll speak to us from London.
So, ladies and gentlemen, andmister Moyer, the Campbell Playhouse is obediently
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yours. The Campbell Playhouse presents Rebecca, starring Margaret Sullivan and Awson. Well,
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we can never go back to Mandalalayagain. The purse is still too
close to us. The things wehave tried to forget and put behind us
would stir once more. But sometimesin my dreams I go to Manderley again.
I see the house, the graystone, shining in the moonlight of
my dream. The terrace slopes tothe lawns, and the lawns stretched to
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the sea like a sheet of silverunder the moon light comes from the windows.
The curtains blow softly in the nightair. And there in the library
the door stands half open, asif we had left it, with my
handkerchief on the table, beside thebowl of autumn roses, and the charred
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embers of our log fire still smolderingagainst the morning. I will what my
life would be today if Missus vanHoppa hadn't been a snob. Madly,
my dear, why even you musthave heard of Mandally. That's Maxy wi
Her at the table next to us, the man who owns Mandally. They
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say he can't get over his wife'sdeath, an appalling tragedy. The papers
were full of it, of course. They say he never talks about it,
never mentioned her name. She wasdrowned, you know, in a
bay near Mandala. I know hecan hear nonsense, My dear, Go
up to my room quickly and findthat letter from my nephew, you know,
the one written on his honeymoon witha snapshot. Bring it down to
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me right away, hopa, Idon't go, my dear, wits you're
told, don't dark hurry. WhenI came down, she had him sitting
beside her on the sofa. Youlook like no other man I'd ever seen
a man out of a long distantpass. Oh there you are, my
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dear. This is mister Dewinter.Mister Dewinter is having coffee with it.
You know I recognize you, misterde Winter, just as soon as you
walked into the restaurant, and Ithought, why there's mister de Winter,
Billy's friend. I simply must showin those snapshots of Billy and his bride
taking on their honeymoon. Look,here are the snaps. Here they are
sunbathing at Palm Beach. He mether at that party where I first met
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you at carriages in London. ButI dare say you don't remember an old
woman like me on the country.I remember you very well. Excellent snapshots,
but it's very pretty. I don'tthink I should care for Palm Beach
well, of course, if onehad a home like Mandally. I'm told
Manderly's like fairyland. There's no otherword for it. I wonder you can
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ever bear to leave it. Misterde Winter is so modest he won't admit
it, but he has one ofthe loveliest homes in England. They say
that the minstrel gallery at Mandeley isa gem, and the gardens is simply
the most perfect. Next morning,Missus van Hopper woke up with a sore
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throat and the temperature. At noon, I went down to the restaurant alone.
I expected it to be empty.Nobody lunched generally. Before one o'clock.
He was sitting at the table nextto ours. I sat down,
looking straight before me. I unfoldedmy napkin and knocked over the vase of
flowers on my table. You can'tsiderit a wet tableclock, Come on,
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get up water. They don't havelunch with me? No, no,
I couldn't possibly. Why not?Well, you being polite with real not
being polite. I'd like you tohave lunch with me. You are very
kind. I don't believe me.Oh, never mind, come on to
that. We needn't talk to eachother unless we feel like it. Have
your friend she seems a good dealolder than you. What is she a
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relation? Have you known a law? Oh? She isn't really a friend.
She's an employer. You see.I'm what's called a companion. She
paid me ninety pounds a year.I didn't know one could buy companionship.
What do you do it for?Ninety pounds is a lot of money.
How old are you nineteen? You'renot afraid of the future. No am
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Johnny family, No, they aredead. Then we've got a bond in
common, you and I. We'reboth alone in the world. I have
no companion. I shall have tocongratulate missus van Hopper. You're cheap at
ninety pounds a year. You forgetyou have a home and I have none.
An empty house, my dear,can be as lonely as a full
hotel. The trouble is that it'sless impersonal. I remember the feel of
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the leather seats in his car aswe drove in the afternoons along the Mediterranean.
I remember still in my ill fittingflannel suit, and now the skirt
was lighter than the coat. Iremember now glancing at my watch, I
think to myself, this moment now, now, at twenty minutes past three,
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this must never be lost. NeverYou're a very silent companion. What
are you thinking? I wish,I wish I were a woman of about
thirty six, dressed in black satinwith a string of pearl It wouldn't be
in this car with me. Ifyou would listen to Winter, You're going
to think me impertinent mood, Idare say, but I would like to
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know why you asked me to comeout in the car day after day.
You're being kind, that's obvious,But why do you choose me for your
charity? Cause you are not dressedin black satin with a string of pearls,
nor are you thirty six? Youknow it's not fair. You know
everything there is to know about me. That's not much, I admit,
because I haven't been alive very longand nothing very much has happened to me
except people dying. But you,I know nothing more about you than I
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didn't mean what You know them wellthat you lived at Mandalay and that you
had lost your wife. Yes,my memories are bitter. I prefer to
ignore them. Something happened to mea year ago that altered my whole life,
and I want to forget my existenceup to that time. Those days
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are finished, that blotted out.How you want to begin living all over
again. I'm so sorry you beenso kind to me. I didn't mean
to remind your puritanical, tight lippedlittle speeches and talk about kindness and charity.
I asked you to come with mebecause I want you and your company.
And if you don't believe me,you can leave the car now and
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find your own way home. Gone, open the door and get out.
Well, what are you going todo about it? Please drive me home?
Well, I suppose you're young enoughto be my daughter. I don't
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know how to deal with you.Forget all I said to you. Just
now, that's all finished and donewith. Don't let's ever think of it
again. My family used to callme Maxim. I'd like you to do
the same. You've been formal longenough. What do you want? Something?
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The matter? I've come to saygood bye. We're going this morning.
Come in, shut the door.What are you talking about? It's
true, we're leaving today. Iwas afraid I wouldn't see you. I
felt I must see you again tothank you. Why didn't you tell me
this before? When missus van Happaonly decided today her daughter sails from New
York on Saturday, and we're goingwith us. She's taking you with her
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to New York. Yes, andI don't want to go. I shall
hate it. I shall be miserable. Fine EM's name gold sit down with
me when I eat my breakfast ifyou had yours? Yes, Oh,
I really haven't time. I oughtto be downstairs now getting the tickets.
It will sit with me for fiveminutes. I shouldn't so. Missus van
Hopper's had enough of Monte Carlo andnow she wants to go home, and
so do I. She to NewYork Ida, Mandally, which would you
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prefer? Take your choice? Please, don't make a joke about It's unfair.
You think I'm one of those peoplewho tries to be funny before breakfast.
You're wrong. I repeat. Thechoice is open to you. Either
you go to America with Missus vanHopper you come home to Mandally with me.
Do you mean what a secretary issomething? No, I'm asking you
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to marry me, you little fool. I don't understand. I'm not the
sort of person man marry. That'sthe devil. Do you mean? I'm
not sure? I don't think Iknow how to explain. I don't belong
to your sort of world. Whatis my world? Well, Mandally,
you know what I mean. Youthink I'm asking you to marry me for
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the same reason you thought I tookyou out in the car to be kind.
Yes, one day you may realizethat philanthropy is not one of my
strongest qualities. Are you going tomarry me? My suggestion doesn't seem to
have gone too well. I'm sorry. I rather thought you loved me.
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I do love you. I loveyou dreadfully. I've been crying all morning
because I thought I should never seeyou again. So that's settled. Then,
instead of being companion to missus vanHopper, you become mine, and
your duties will be honest, exactlythe same. I also like new library
books and flowers in the drawing room, and some of to pour my tea.
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I'm being rather a brute, youaren't I This isn't your idea of
a proposal. We are to bein a conservatory with you in a white
frock, with a rose in yourhand and a violin playing a waltz in
the distance. Poor darling, whata shame. Never mind, I'll take
you to for our honeymoon and we'llhold hands in a gondola, but we
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won't stay too long because I wantto show you mandally mandally. Now then,
am I going to break the newsto missus van Hopper or are you?
Oh? No, you tell her, she'll be so angry. I'm
not afraid. You wait for mehere. When he had gone, I
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looked around his room. There wasa book on the table near his bed.
I picked it up. On thetitle page was a dedication Max from
Rebeccah May seventeen, written in acurious slanting hand. The ink had run
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too thick, so that the nameRebecca stood out black and strong. Rebecca,
Rebecca. We paused on our Campbellplay House presentation of Rebecca, and
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just a moment we will resume thestory. But first, here is my
associate of long standing, Ernest Chappel, with an important message. Thank you,
mister Hill. The time was,and it was not so long ago,
when chicken was a rare and specialtreat. What magic the words chicken
for dinner conjured up in our youngminds, and how we looked forward to
these great events with proud gusto.Father would dexterously separate wings and legs,
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and then carved tender white slices fromthe breast, while each of us silently
prayed to be granted his special favoritepart. And then on the second day
there came another treat. The remainingmeat and the carcasse went into mother's soup
kettles to be simmered slowly, seasonedgently, and served forth as a supper
time delight to day. If youhave wistful memories of that glorious old home
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chicken soup, then Campbell's Chicken soupis just made for you, because Campbell's
chefs follow faithfully the good home recipe, only changing it to make an even
better soup. They use, forexample, all the good meat of the
chickens, fine pump chickens. Theyare too, such as you'd choose proudly
for your own table. Such chickensoup with snowy rice and tender chicken pieces
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is a special treat, indeed,but one you may enjoy on any day.
Your grocer has Campbell's chicken soup,and it's yours for the asking.
Remember Campbell's Chicken Soup. Now wereturn to the Campbell play House presentation of
Rebecca with Margaret Sullivan and Orson Wells. We came to Mandily an early May.
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There it was the Mandoly I hadexpected, lovelier than I'd ever dreamed.
Built in its hollow of smooth grasslandand mossy lawns, the terrace is
sloping to the gardens, and thegardens to the sea. A servant was
standing on the steps, waiting,O man with a kind face. Where
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we are felling well? Yes,thank you, sir, glad to see
your home, sad and hope you'vebeen keeping well. And Madam too,
Yes, I'm both well, thankyou for I'm a tired from the dry
running our tea. Hello, dressfulman. Who are these people? All
the servants? I didn't expect this, Missus Denvers order, Sir Danvers,
I might have guessed it. Comeon, darling. Missus Danvers was Rebecca's
housekeeper. She's simply a daughter.They're all curious to see what you like.
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You won't mind when you're soon tobe over, my dear. This
is Missus Danvers. Missus Danvers tookme to my room. She was tall,
gaunt woman, dressed in black,with prominent cheek bones and great hollow
eyes. It gave us skulls faceparchment white, sat on a skeleton's frame.
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Her eyes never left mine. Mandallyis a big place, Madam,
not so big as some, ofcourse, but big enough, and the
show place. Mister de Winter letsthe publican to see it once a month.
You can't see the sea from here, can you. No, not
from this room. You can't evenhear it. You did not know the
sea was anywhere near, Not fromthis room. I'm sorry about that.
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I like to see. Mister deWinter gave special orders in his letter that
you would have this room, madam. Oh, then this was not his
room originally. No, Madam,he's never used the rooms in this wing
before. Oh, he didn't tellme that. I I suppose you've been
at Mandally for many years, MissusDanvers, longer than anyone else. I
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came here when the first Missus deWinter was a bride. Missus Danvers.
Well, you must have patience withme, because this sort of life is
new to me. You must justgo on running things they always have been
run. I shan't want to makeany changes. You will be here to
carry out your orders, Madam.I hope I shall do everything to your
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satisfaction. Can I do anything morefor you now? Oh? No,
thank you? No, I amsure I have everything. I should be
very comfortable here. You've made therooms so charm I only followed out mister
de Winter's instructions. Of course,the most beautiful rooms are in the west
wing overlooking the sea. Bedroom istwice as large as this, and the
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windows look down across the lawns intothe sea. I suppose Missus de Winter
keeps the most beautiful rooms to showto the public. Those rooms are never
shown to the public. They usedto live in those rooms when Missus de
Winter was alive. That big roomI was telling you about that looks down
to see that was Missus de Winter'sroom. Next morning, there was a
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heavy mist poured in through the openwindow. When I came down to breakfast,
Maxim had already gone out, MissWinter. Yes, Frith, mister
de Winter told me to tell you, Madam, that he'd gone out with
mister Crawley. Mister Frank Crawley ismister de Winter's friend who manages the estate.
Mister de Winter said to tell youthey'd be back for luncheon at one.
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Thank you, oh Frith, Yes, madam, it seems rather cold
this morning. I wonder if you'dplease like to find the library for me.
Fair in the library is not usuallylit until the afternoon, Madam.
Missus de Winter always used the morningroom. She always did her telephoning and
correspondence in there. After breakfast there'sa good fire in there. If you
should wish to have a fad inthe library as well, I wouldn't dream
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of it. I'll go into themorning room. Thank you, I will
love, and Madam, I'll assuredyou a way. This was a woman's
room, graceful, fragile, theroom of someone who had chosen every particle
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of furniture with great care. Thata strange and startling kind of perfection.
I opened the word hazard and therewas a letter addressed to Missus m de
Winter, Missus de Winter, Missusde Winter. Who is it? What
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do you want? Missus de Winter. I'm afraid you've made a mistake.
Missus de Winter has been dead forover a year. It's Missus Danvers,
Madam, Missus Danvers. I'm speakingto you on the house telephone. It's
about the menu. It's Missus Danversspeaking Madam. After lunch it was still
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raining. Frank Crawley and Maxim inthe library working. I got a raincoat
out of the flower room and startedout across the garden down towards the sea.
Soon I was in the woods.The door ran on ahead. The
woods came right down to the water. At the fringe was a long,
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low building, half cottage, halfboat house. There was a boy anchor
bear in the coal, but noboat. And there was Jasper wagging his
tail at a solitary figure on thebeach. Zadrea. I saw that the
figure on the beach was a manwith the small slit eyes of an idiot
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and a red wet mouth. TheyDaddy, I'm afraid it's not very nice
weather. Jasper Jeffer come here diggingfor shell. No shell here. He's
been digging all day. I'm sorryyou can't find it, I say,
no shell here. Come on,Jasper, good dog, Come on.
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He won't go. Why not?He ain't good dog? No, he's
mister the Winter's dog. I wantto take him back to the house.
Come on, Jess, come along, good dog. She hain't been here
lately. The yellow one. You'renot like the other one. What do
you mean? What other one?Tall and dark? She was. She
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give me the feeling of a snake. By night. She come down to
covid seeing. I looked in ather once here in the boat house,
and she turned on me, shedid, If I catch you looking at
me through the windows, shall puttingasilum, She said. I won't say
you to the man my child andtouch my cap like it's here. She's
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gone now, ain't she. Idon't know what do you mean? She's
gone in the sea and she shewon't come back no more. No,
she'll not come back. You won'tput me in a sylum, will you.
I never said nothing, did I? I never said nothing, ma'am?
I never said nothing. Where didyou get that piece of string?
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I got it for Jess, butyou ran away. I found it in
the cottage on the beach of thedoor open. I pushed it open.
The string was in the other roomwhere the sales were. I see that
cottage're supposed to be locked. Thedoor has no business to be open.
Did Ben tay the door was open? Then? No? Never mind,
Maxim? Yes, what is it? I'm sorry I went down to the
cove if you didn't want me togo? What makes you think I didn't
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want you to go down there?Maxim? How should I know? I'm
not a thought reader. I knowyou didn't want me to go. That's
all I could see in your face. See what in my face I've already
told you. I can see thatyou didn't want me to go. That's
right. I did not want youto go down to the cove. Will
that please you? I never goanother place you had my memories, you
wouldn't want to go there either,or talk about it, or even think
about it. Yeah, I hopethat's satisfied Youil Please make them please,
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what's the matter. I don't wantyou to look like that. Please,
Maxim, let's forget all we said. I'm sorry, darling, Please let
everything be all right. We oughtto have stayed in Italy. We ought
never to come back to Mandally.I was a fool to come back.
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Whether that may was wet and cold. From the terrace, I could hear
the murmur of the sea below me, low and sullen, and every morning
a heavy fog would come rolling infrom the sea. I could not forget
that cottage on the beach and thefight lost look in Maxim's eyes. Somewhere
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at the back of my mind afrightened, furtive seed of curiosity grew slowly
and stealthily. Frank Crawley was inthe library taking tea with me, waiting
for Maxim to get home. Therewere things that I had to know.
You were down then, Miss Frank. Frank in that cottage down there are
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those all Rebecca's things? Yes,I wondered, why is the boy there
in the little harbor place? Uh? The boat used to be moored there?
What boat? Her boat? Oh? What happened to it? Oh?
Was that the boat she was sailingwhen she was drowned? Yes,
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it capsized and sank. She waswashed overboard. Couldn't someone have got out
to her? Nobody saw the accident, Nobody knew she'd gone, she often
said alone night. How long afterwardswas if they found her? About two
months? Where did they find her? New Edgecombe? Not forty miles of
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channel? How did they know itwas she? After two months? How
could they tell? Maxim went upto Edgecomb too identify her? Oh,
Frank, I know what you're thinking. You can't understand why I ask all
these questions. Just now you thinkI mean morbid and curious. But it's
not that, I promise you.Only when I go to call on all
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these people, his friends, Iknow they are looking me up and down
and thinking, what on earth isMaxim seeing her? Always? I know
that whenever I meet anyone new,they say how different she is from Rebecca?
Frank, Yes, it's just onemore thing. One question I must
ask you. Will you promise toanswer it quite truthfully? I'll do my
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best. Tell me was Rebecca verybeautiful? Yes? Yes, I suppose
she was the most beautiful creature Iever saw in my life. Here it
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is, madam, This is it. One moment while I turn on the
light, Come in, madam.Was this her room, missus Danvers?
Yes, ma'am, this is herroom. Now you're here, let me
show you everything. I know youwant to see it all you've wanted to
for a long time. It's alovely room, isn't it the loveliest room
(31:51):
you've ever seen. I haven't toucheda thing. There are flowers on the
dressing table at her bed. It'sbeautiful bed, isn't it. Here's her
night dress. This was the nightdress she was wearing for the last time
before she died. Would you liketo touch it? Feel it? Hold
(32:13):
it? I did everything for her. You know you look after me better
than any one, Dennis. Sheused to say, I wouldn't have any
one, but you see here's herwardrobe. What's the matter, madam?
Aren't you feeling well? I'm allright. I just I didn't expet to
(32:34):
see all the things this way.I believe mister de Winter liked her to
wear silver mostly, but of courseshe could wear anything. She looked beautiful
in this velvet. Put it againstyour face. It's soft, isn't it.
Scent is still as fresh as thoughshe'd just taken it off. These
are her slippers. Put your handsinside the slippers. They're quite small and
(32:59):
now, Carrol, aren't they whenthey've found her? Her rocks had battered
her to bits so no one couldrecognize her. You know now why mister
de Winter doesn't use these rooms anymore. He hasn't used these rooms since
the night she was drowned. Icome up every day and dust them myself.
(33:20):
If you want to come again,you have only to tell me.
Sometimes, when mister de Winter isaway and you feel lonely, you might
like to come up to these roomsand sit here. They're such beautiful rooms.
You wouldn't think she'd been gone nowfor so long, would you.
You'd think she'd just gone out fora little while and would be back in
(33:42):
the evening. Do you think shecan see us talking to one another?
Now? Do you think the deadcome back and watch the living? I
don't know why I don't Sometimes Iwonder if she comes back to Mandally and
watches you and mister de Winter,You sitting in her chair in the library
(34:04):
before the fire, stroking her dog, talking to her husband, and stop
it. Stuff. It's no use, is it. You can't do it.
You'll never get the better of her. She's still mistress here even if
she is dead. She's the realMissus de Winter, not you. It's
you that's the shadow and the ghost. It's you that's forgotten and not wanted
(34:27):
and pushed aside. Well, whydon't you leave Mandally to her? Why
don't you go? Why don't yougo? We none of us want you.
He doesn't want you, he neverdid. You can't forget her.
He wants to be alone in thehouse again with her. It's you who
ought to be dead, not Missusde Winter. Come here now to the
window. Let me show you something. When the windows open, you can
(34:51):
hear the sea down there. Lookdown there, look let me go.
Don't be afraid. I won't pushyou. There's not much for you to
live for. We are here atMandolin. Why don't you jump now and
have done with it? Then youwon't be unhappy anymore. Why don't you
try go on, go on,don't be afraid, go on, go
on, go on, go on, go on. And so we end
(35:19):
the second part of our presentation ofDaphey de Morier's best selling book Rebecca,
with Margaret Sullivan and Orson Welles.In a few moments we shall return you
to the Campbell Playhouse. This isthe Columbia Broadcasting System. This is Edwin
(35:52):
C. Hill again bidding you welcometo the Campbell Playhouse on behalf of the
makers of those fine Campbell suits.In a moment or two, we we
shall resume our presentation of Rebecca,the best selling novel by adapted de Marier
and starring, as I have said, Margaret Sullivan and Orson Wells. And
also we shall hear from miss toMarie herself direct by short way from London.
(36:15):
But first I bring you a message. For many years I've been interested
in the human side of the newsas a newspaper reporter. For all those
years, I've found that there isa very human side to business, and
that is what I want to speakabout. For just to mumber or so.
All of us are familiar with businesseswhich provide us with something to wheat
or drink or wear. Or webuy a radio, or a suit of
(36:36):
clothes, or a can of soup. But the actual thing we buy is
about the only contact we ever havewith the people make such goods. But
the character of those people is ofvital importance. If the manufacturer of a
product is honorable in the conduct ofhis business, his product will be as
trustworthy as its word or In business, as in every walk of life,
(36:57):
honesty pays real dividends. Honestand ofprize is the only kind which has a
chance to win and to hold thepatronage of intelligent and discriminating buyers, whether
it's a matter of a piano ora spool of fred orer trip to Europe,
or a can of soup. Andthat, as I see it,
is the human side of business,of the products that last over the years,
that serve you well and merit yourcontinents. I know the Campbell kitchens,
(37:22):
the Campbell men, the Campbell soup. The fact that these soups are
used more and more every year inmost homes and are sold in more than
four hundred and sixty thousand grocery storesthroughout the land is no accident. Believe
me. It's due to the humanside of this business, its aims,
its policies, and its character.And now to the Campbell Playhouse, where
(37:45):
we resume our story. Rebecca,why don't you jump now and have done
with it? Why don't you try? Go on? Go on? Don't
you say jump? Go on?We's go on. The denvers was close
behind me, now, her handon my arm, and before me was
(38:06):
the open window and the white mistcoming in from the sea. Go on,
I shut my eyes. The mistslay upon my lips, rank and
sun. My head began to swim, and some of the mists had parted.
There was a flash and a shyship. Late I went down to
(38:45):
the beach. There was a largeship on the reef half a mile off
shore, with her boughs pointed towardsthe cliff. There were a number of
small boats around her, and thecoast guard cutter lying along side the foss
told them what pos throught the window. It looked like your Dutchman, I
say, German of Dutch. Onething. There's no sea running a shallow
(39:07):
water. Seasons I don't know yet. Let's a diver come over from ket.
He'd be going down to see ifshe's broken her back. He's all
right, she's gonna you see misterWinter. Mister yes, ma'am. He
was one of the first down hereafter the rockets. You were known by
the cow and the dog. Wouldn'tyou know where he is now? He
went after Carrot twenty minutes ago withone of the crow the burringers. Thank
(39:30):
you, good day, good mom, good damon. I went back to
Mandola a long way through the woods. The fog get cleared. I looked
down and saw the stranded ship offshore. The diver must have come up
(39:51):
well. I saw a little groupof people on the deck of the boat
alongside, leaning over, staring intothe water. There's a man waiting to
see you, madam. He says, it's important. He asked for mister
de Winter first and then for you. He's in the library. Who is
it, Frith, He says.His name's Captain Sirl Madam, the Harven
(40:15):
Master from Kenneth. Oh, yes, I'll go in and talk to him.
Yes, madam, missus de Winter, I'm sorry. My husband isn't
back yet. I know I can'tget hold of mister Crawley either. The
fact is I've got some news formister de Winter, and I hardly know
how to break it to him.What sort of news captain? So well,
(40:36):
Missus de Winter, it isn't verypleasant for me to tell you either.
We're all very fond of mister deWinter around here. It's hard on
him and hard on you that wecan't at the first like quiet, yes,
go on. Well, you knowwe sent the diver down to inspect
that ship there on the reef.Well, while he was down there,
he came across something else, thehull of a little sailing boat lying on
her side, not broken up atall. He recognized it at once.
(41:01):
That boat belonged to the late Missusde Winter. Oh, I'm so sorry.
Is it necessary to tell mister deWinter? Couldn't the boat be left
there as it is? It's notdoing anybody any harm, is it.
The cabin door was tightly closed andthe ports were closed to The iver broken
of the windows with a stone fromthe seabed and looked into the cabin.
(41:23):
And then he got the fright ofhis life. There was a body in
there, lying on the cabin floor. Now you understand why I have to
see your husband, Missus de Winter. It's all over. Now the thing
(41:53):
has happened. The thing I've alwaysforeseen the thing I've dreamt of about day
after day, night after night.We're not meant for happiness. You and
I. What are you trying totell me? Rebecca has won? I
remember her eyes as she looked atme before she died. I remember that
(42:16):
slow, treacherous smile. She knewthis would happen. Even then, she
knew she'd win in the end.Maxim, what are you saying? What
are you trying to tell me?Her? Both they found it. The
diver found it this afternoon. Iknow Captain solerz here and he told me
you're thinking about the body, thebody that iver found in the cabin.
Yes, it means she wasn't alone. Means it was someone out sailing with
(42:39):
Rebecca at the time, and you'llhave to find out who it was.
There was no one with Rebecca.She was alone. It's Rebecca's body lying
there on the cabin floor. Thewoman I identified wasn't Rebecca. There never
was an accident. Rebecca was notdrowned at all. I killed her.
(43:01):
I shot Rebecca and the cottage downin the cove. I carried her body
to the cabin and took the boatand sunk it there. But they found
it to day. It's Rebecca who'slying dead there on the cabin floor.
Will you look into my eyes andtell me that you love me? Now?
(43:30):
Oh, darling, you can't loseeach other. Now. We've got
to be together always, with nosecrets, no shadows. Please, darling,
there's no time. We may havea few hours, a few days.
How can we be together now thatthis has happened. I've told you
they found the boat, they foundRebeccah, what'll you do? I don't
know, I don't know. Doesany one know any one at all?
(43:52):
No? No one but you andme, No one but you and me.
Oh, why didn't you tell me? Why didn't you tell me?
The time we wasted when we mighthave been together all these weeks, all
days. You were so aloof younever came to me like this. You
were strange with me, awkward,shy. How could I come to you
when I knew you were thinking aboutRebecca? How could I ask you to
(44:15):
love me? When I knew youloved Rebecca? Still and ever who spoke
to me? You looked at me. I felt you were saying to yourself
this I did with Rebecca, andthis and this? What are you talking
about? What do you mean itwas true, wasn't it. You thought
I loved Rebecca, You thought Ikilled her loving her. I tell you
(44:38):
I hated her. Our manager wasa fast from the very first. She
was vicious, damnable, rotten throughand through. We never loved each other.
We never had one moment of happinesstogether. Rebecca was incapable of love,
of tenderness, of decency. Sheknew how I loved Mandally. She
(45:00):
knew how to hurt me most.She stood there that night in the cottage,
in the cove, smiling at me. I'm going to have a child,
she said. It will grow uphere at Mandally bearing your name.
That's a joke, isn't it.And when you die, Mandally will be
his. You can't prevent it.Have you ever thought how hard it would
(45:22):
be for you to make a caseagainst me in a court of law?
I mean, if you wanted todivorce me. We've acted the parts of
a loving husband and wife rather toowell, haven't we. They'll be happy,
won't they, all those smug friendsof yours or your blasted tenants,
thinking it's your child, It's whatwe've always hoped for, missus de Winter.
(45:43):
They'll say, I'll be the perfectmother, Max, just as I've
never been the perfect wife. Andnone of them will ever guess, none
of them will ever know. Sheturned and faced me, smiling. Then
I killed her. She was smilingstill. I fired at her heart.
(46:08):
She didn't fall at once. Shestood there looking at me, that slow
smile on her face, her eyeswide open. You have heard all the
(46:37):
testimony in this case, gentlemen.You have heard how the body of the
deceased was found in the cabin ofher boat. You have heard the testimony
of the boat builder. You haveheard mister de Winter's story. You have
heard how on the night of thetreasured day, Missus de Winter went down
(46:58):
to the cottage. How do youfight? Sorry, fiden that you see
(47:20):
he's a jet. It was almostdark when he started for Manday. He
held my hand in his. Hedidn't speak for a long time. I
(47:45):
must have dozed. W I workedsuddenly with a start, he heard the
first sound of thunder in the air. The air was hot against my face.
The rain fell. What is it? Donning maxim maximum rise? So
first I want to get home.I'm worried. I have a premonition of
(48:08):
disaster. When everything's over, Idon't understand. I want to get home.
I want to get back to Mandally. What time is it? Almost
nine? It's funny and it's almostas though the sun were still sitting over
there beyond those hills. Can't bethough, it's too late, the wrong
(48:30):
direction. You're looking east. Whyit's funny, isn't it It's in winter.
You see the northern lights. Isn'tit not in summer? That's not
the northern light you're looking at.That's Mandally, Maxim, Maxim, what
(48:50):
is it? I don't know,Maxim, look a fire, Maxim,
it's Mandally. It's running. Wehave both known fear and loneliness and very
(49:20):
great distress, but we have comethrough our crisis. Of course, we
have our moments of depression. Butthere are other moments too, when time,
unmeasured by the clock, runs oninto eternity, and catching Maxim's smile,
I know we are together at last, no barrier between us. We
(49:53):
can never go back to Mandeley again. The past is still too close to
But sometimes in my dreams I goto Mandolin. I see the gray stone
shining in the moonlight. Light comesfrom the windows. The curtains blow softly
(50:15):
in the night air, and inthe library the door stands half open,
as if we had left it,with my handkerchief on the table beside the
bowl of autumn roses, and thecharred ends of our log fire still smoldering
against the morning. So ends ourstory. The Campbell Playhouse presentation of Dafty
(50:52):
de Murray's novel Rebecca. In amoment, I shall bring you Margaret Sullivan,
an Arson Wells in person, andDaphney de Murray on the long distance
phone from London. In the meantime, here's a man with a message worth
hearing, a man who keeps oneeye on the dining table and the other
on the pantry. Ladies and gentlemen, my friend Ernest Chappell, thank you,
mister Hill. May I remind youonce again of that grand dish,
(51:15):
Campbell's chicken Soup. Remember what Itold you about it, and make it
a point to try it soon,because until you taste your first glorious spoonful,
you're really missing something. Imagine arich golden broth slowly simmered from plump
and perfect chickens, simmered with allthe patience and skill of the most particular
home cook. And imagine an abundanceof selective rice, white and fluffy,
(51:38):
drifting all through the broth, everygrain saturated with its delicious flavor. Then
add tender pieces of chicken meat,each a delight to your taste, and
you have a picture of Campbell's chickensoup. But only tasting can really tell
you how good it is. Whynot plan to have Campbell's Chicken soup tomorrow.
You will please the family and incidentallymake a busy day a little easier
(52:02):
for yourself. And now here's ArsonWells, ladies and gentlemen. The star
of Rebecca is standing beside me atthe microphone. I'd like to tell her
(52:22):
that one of my favorite characters inmodern fiction was Tonight forever endowed with the
personality of miss Margaret Sullivan. Thankyou, mister Wells. I hope the
novelist approved of me too. Iwant you to know how much I've appreciated
playing once more with the Campbell playHouse Tonight, especially in this story,
which is one of my favorites.It is a grand story, and I
(52:44):
do believe the most important factor ofradio entertainment is a good story. I
quite agree too. You know twothings I like very much. A good
stories, and good soup. Andwhen I tell you, my dear of
a great soup is Campbell's chicken soup, that, mister Wells, is no
story. I'm glad you feel thatway. Nice of you to say so.
Oh, by the way, aswell, that I ask you a
question, very kind of you.Can you tell me the name of the
(53:07):
character? Will you repeat that question? What is the name of the character
I just played? Well, that'sthe major literary mystery of the year.
Seriously, she hasn't any name,and our audience, Miss Sullivan, is
probably just as curious as you are, and I haven't the answer. Well,
mister Murrier must know it. She'sphoning us from London in a few
(53:28):
minutes till we'll ask her. Youknow, miss Sullivan has a question I'd
like to ask you. Yes,mister Wells, until rehearsal started for to
night's performance, I had never,to put it very bluntly, had the
pleasure of your acquaintance. Yes,Oh, now, in six and one
half minutes, Miss Sullivan, youwill have gone out of my life.
The point is point is I amthe director of the theater, the er
(53:52):
the Mercury, Dear the Mercury Theater. Thanks what I started to say was
that I'd like to know you better. What are you doing next year?
Are you speaking as a director,yes, missus Hayward as a theater director.
If you can be tempted, haveyou a script from me? I'll
bring it you tomorrow. Excuse me, ladies and gentlemen. I'm sure you'll
(54:12):
forgive me for trying to date upone of the nations. Thank you very
much, Miss Sullivan, and thankyou, mister Wilds for your production of
Rebecca. It's been very nice speakingof you both well, Miss Sullivan.
I'm afraid that doesn't answer your question. Hello, mister Moyer, mister Moyer,
mister Moyer, London, offiar,mister Chappler, Yes it is,
(54:36):
mister Worlds. Pardon me, MissSullivan. But all we can salvage from
the silence overseas is this cryptogram justbrought in to mister Chapper by carrier pigeon.
Would you care to read it?And office memo from Dartne to Marier
to Margaret Sullivan. The name ofthe heroine of Rebecca is Missus Max de
(54:57):
Winter. Thank you, Miss Sullivan, Thank you, Miss Wells. Next
week, Miss Beatrice. Lily interruptsher rehearsals of Noah Coward's new musical To
Be My Wife and Call it aDay. This is a discreet account by
Miss Doughtie Smith of some indiscretions committedone bonny day in April by a nice
family who might just as well beliving next door to you, and you
(55:21):
and you. It is a compositecase history in three stages and six symptoms
of that perilous and delightful malady knownso well to you and you and you
and me as spring fever. Untilthen, my sponsor and I and all
(55:43):
of us in the Campbell Playhouse remainmost gifted and attractive young actresses. I'm
sure you sympathize, and I hopeMiss Sullivan understands. We are ready with
London. Mister Weller, Thanks,are you ready London? Good evening,
mister Wells, Good evening, misterMoyer. Nearly three o'clock here in London.
(56:06):
It's not often that an alfer hasthe chance of hearing the voice of
her own characters speaking to her fromacross the Atlantic Ocean. I've enjoyed it
enormously. Thank you, and misterMoyer. May I present Miss Sullivan.
How do you do Miss Sullivan,I'd like to thank you and mister Wells
your splendid interpretations of mister and Missusthe winter. Thank it's been a great
(56:30):
privilege. Mister Murrier. There aretwo questions I'd like to ask you.
Your descriptions of Mandala are so vivid. Lamerica is curious to know if there
is anywhere in England a house ona state like Mandalay. When you next
come to London, Miss Sullivan,get into your train of Saddington Station and
travel west. When you've been twohundred and fifty miles, get out of
(56:53):
that train and walk southeast for halfan hour. You'll come to some l
gates on march on a narrow,twisting drive. If you ever find your
way to the end of that drive, you may discover Mandally. One thing
more, mister Maria, can youtell us the name of the heroine of
(57:13):
Rebecca you haven't named ron obediently yours. Tonight's broadcast was Rebecca by Daphney de
(57:40):
Marier, starring Margaret Sullivan and OrsonWells. Featured were Mildred Natwick as Missus
Danvers, Ray Collins as Frank Crawley, and the George Coloris as Captain Cearle.
Frank Reddick was heard as the idiot, Alfred Shirley as Friz, Eustace
Wyatt as the coroner, and AgnesMoorehead as missus van Hopper. Music for
(58:04):
the Campbell Playhouse is composed and conductedby Bernard Hermann. The makers of Campbell's
Soups invite you to join us againnext Friday evening at this same time,
(58:28):
when Orson Wells will present his productionof Dough Dismess delightful excursion into the private
lives of a typical suburban family,Call It a Day, one of the
most successful comedies of its type,which was originally presented on Broadway by the
Theater Guild. Our guest on thisprogram will be the always charming and amusing
Beatrice Lilly, with Jane Ware,a young lady who is marching quite swiftly
(58:52):
along the road to motion picture fameout in Hollywood, and Jeane Dante,
who created the part of Anne inthe original New York production. I call
it today. This is Edmond C. Hill speaking for Campbell Suits. I
thank you and good night. Thisis the Columbia Broadcasting System
The makers of Campbell's Soups present theCampbell Playhouse, Arson Wells Producers. Good
(00:42):
evening everyone, This is Edwin C. Hill and I bring you exciting news
tonight. Arson Wells takes over thedirection of the Campbell Playhouse and offers you
as his first production America's best sellerDeafnely the MORI is Rebecca with a great
star Margaret Sullivan. Exciting news indeed, for I am here to welcome the
(01:02):
White Hope of the American stage asthe director and starred the Campbell Playhouse,
who writes his own radio scripts anddirects them and makes them live and breathe
with the warmth of his genius.There is no time to adventure into the
story of his life. And that'stoo bad, because it is a tale
that combines the best features of BaronMunchausen and Alice in Wonderland. If ever
(01:23):
a boy was born for an actor, he was. At thirteen, he
was directing the Troopers in the ToddSchool for Boys at Woodstock, Illinois,
where he produced thirty plays. Atsixteen, he was playing leading parts in
Dublin at the famous Gates and Peacockand Abbey Theaters. His American career is
really too recent and too well knownto recount here. He's been the leading
(01:46):
man with Catherine Connell, with JohnHouseman. He founded the Mercury Theater and
has operated it with magical success.He had four hits last year on Broadway,
which beats Noel Cowles record From Hereto Kalamazoo. And he's generally recognized
today as being the most gifted stagedirector and actor of our time. His
radio productions have attracted universal attention.His broadcastedly War of the Worlds last month,
(02:12):
which I dare say you remember,made radio history and a national sensation.
Why did a fantastic story of anutterly imaginary invasion from Mars produced this
totally unexpected result? The result misterWells, of course greatly regretted. It
was because, as in all hisradio productions, Orson Wells is a master
(02:32):
of realism over the air in radiounique exciting. He shocked you, he
sent the cold shivers racing up yourspine. But that is not the thing
he does best, or best likesto do. He loves to tell a
story, a great human story,welling up from the heart, brimming with
(02:53):
deep and sincere emotions, and livelywith comedy, and such are the stories
thrilling, delightful, amusing he willbring to the Campbell Playhouse. Because of
all his gifts, his genius atplaywriting, his ambition, his dynamic direction
is amazing, character active. Hehas been selected by Campbell's as the ideal
(03:15):
man to conduct the Campbell Playhouse.And so to night Austen Wells makes his
bows the outstanding programme directed the air, and I have the very great pleasure
presenting him now, mister Austin wellThank you, mister Hill. It's a
great big chance for me and agreat big challenge. I faith in radio,
and the makers of Campbell's soups haveenough confidence in me to give me
(03:36):
the direction of the Campbell Playhouse.Let's hope nobody is mistaken. Mister Wells,
Could you tell us something of youraims, perhaps something of the kind
of thing you hope to do withthe Campbell Playhouse. While everybody likes a
good story, and I think radiois just about the best story teller there
is. The Campbell Playhouse is dedicatedto the radio production of good stories,
stories from everywhere, from the stage, from moving pictures, and from literature.
(03:59):
Next week, REGs and were doinga comedy Call It a Day,
and then and then Campbell's annual ChristmasPresent to America Lionel Barrymore in Dickens's Immortal
a Christmas Carol. And after thatthere'll be Counselor at Law, A very
Human Portrait of present day people,Aerosmith by Saint Clair Lewis with Helen Hayes,
William march Is the Green Goddess,Hector MacArthur's Hilarious Twentieth Century. In
(04:21):
other words, all kinds of stories, mostly modern, and all of them
chosen for their suitability to this medium. That's about all, except I'm going
to try to tell them just aswell as I know how Oh, I
know you'll ring the bell. Youknow. The makers of Campbell's soups don't
believe in all this talk about theradio audience having the average mentality of an
eight year old child. They thinkthe radio listeners are the same people that
(04:44):
go to the pictures in the theaterand read books. They reason that even
the most popular radio entertainment should beaddressed to the adult citizenry of America.
I can only hope that what Ido with the Campbell Playhouse will prove how
much they mean it, and howright they are. I I know it
will. And now, just beforeyou ring up the curtain on the first
act, will you give us aword or two about the play? Gladly,
(05:06):
mister Holbet, if you'll pardon me. It's not a play, it's
a story, you see. Ithink that radio broadcasting is different from motion
pictures and the theater, and I'dlike to keep it that way. The
Campbell Playhouse is situated in a regularstudio, not a theater. We have
no curtain, reel or imaginer,and as you see, no audience.
There's only one illusion. I'd liketo create the illusion of the story.
(05:27):
But the star, too, isimportant, mister Wells, Is that not
so? Yes? Indeed, AndI'd like to say how very fortunate I
am in having with me to nightthe loveliness and the magic gift of Miss
Margaret Sullivan. For Miss Sullivan ismy first choice for a great part,
and a great part it is,too, the most coveted of the season.
The Scarlet O'Hara of nineteen thirty eight, the heroine of Daphne Dumoria's best
(05:49):
selling novel, Rebecca. Rebecca isgoing to be made into a movie by
David Stelznick. It ought to beone of the ten best. It's this
year's contender for the five foot Chelf, your best bet for anything from a
weekend to a desert island. Andit's a book you should read, the
ideal Christmas gift to yourself. MisterMoyer has flattered me with her confidence in
(06:12):
permitting the Campbell Playhouse the great privilegeof making for radio the first dramatization of
her book. I'm meeting her forthe first time tonight, before this broadcast
is over. By special shortwave communications, she'll speak to us from London.
So, ladies and gentlemen, andmister Moyer, the Campbell Playhouse is obediently
(06:33):
yours. The Campbell Playhouse presents Rebecca, starring Margaret Sullivan and Awson. Well,
(07:00):
we can never go back to Mandalalayagain. The purse is still too
close to us. The things wehave tried to forget and put behind us
would stir once more. But sometimesin my dreams I go to Manderley again.
I see the house, the graystone, shining in the moonlight of
my dream. The terrace slopes tothe lawns, and the lawns stretched to
(07:26):
the sea like a sheet of silverunder the moon light comes from the windows.
The curtains blow softly in the nightair. And there in the library
the door stands half open, asif we had left it, with my
handkerchief on the table, beside thebowl of autumn roses, and the charred
(07:49):
embers of our log fire still smolderingagainst the morning. I will what my
life would be today if Missus vanHoppa hadn't been a snob. Madly,
my dear, why even you musthave heard of Mandally. That's Maxy wi
Her at the table next to us, the man who owns Mandally. They
(08:11):
say he can't get over his wife'sdeath, an appalling tragedy. The papers
were full of it, of course. They say he never talks about it,
never mentioned her name. She wasdrowned, you know, in a
bay near Mandala. I know hecan hear nonsense, My dear, Go
up to my room quickly and findthat letter from my nephew, you know,
the one written on his honeymoon witha snapshot. Bring it down to
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me right away, hopa, Idon't go, my dear, wits you're
told, don't dark hurry. WhenI came down, she had him sitting
beside her on the sofa. Youlook like no other man I'd ever seen
a man out of a long distantpass. Oh there you are, my
(08:52):
dear. This is mister Dewinter.Mister Dewinter is having coffee with it.
You know I recognize you, misterde Winter, just as soon as you
walked into the restaurant, and Ithought, why there's mister de Winter,
Billy's friend. I simply must showin those snapshots of Billy and his bride
taking on their honeymoon. Look,here are the snaps. Here they are
sunbathing at Palm Beach. He mether at that party where I first met
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you at carriages in London. ButI dare say you don't remember an old
woman like me on the country.I remember you very well. Excellent snapshots,
but it's very pretty. I don'tthink I should care for Palm Beach
well, of course, if onehad a home like Mandally. I'm told
Manderly's like fairyland. There's no otherword for it. I wonder you can
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ever bear to leave it. Misterde Winter is so modest he won't admit
it, but he has one ofthe loveliest homes in England. They say
that the minstrel gallery at Mandeley isa gem, and the gardens is simply
the most perfect. Next morning,Missus van Hopper woke up with a sore
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throat and the temperature. At noon, I went down to the restaurant alone.
I expected it to be empty.Nobody lunched generally. Before one o'clock.
He was sitting at the table nextto ours. I sat down,
looking straight before me. I unfoldedmy napkin and knocked over the vase of
flowers on my table. You can'tsiderit a wet tableclock, Come on,
(10:16):
get up water. They don't havelunch with me? No, no,
I couldn't possibly. Why not?Well, you being polite with real not
being polite. I'd like you tohave lunch with me. You are very
kind. I don't believe me.Oh, never mind, come on to
that. We needn't talk to eachother unless we feel like it. Have
your friend she seems a good dealolder than you. What is she a
(10:39):
relation? Have you known a law? Oh? She isn't really a friend.
She's an employer. You see.I'm what's called a companion. She
paid me ninety pounds a year.I didn't know one could buy companionship.
What do you do it for?Ninety pounds is a lot of money.
How old are you nineteen? You'renot afraid of the future. No am
(11:01):
Johnny family, No, they aredead. Then we've got a bond in
common, you and I. We'reboth alone in the world. I have
no companion. I shall have tocongratulate missus van Hopper. You're cheap at
ninety pounds a year. You forgetyou have a home and I have none.
An empty house, my dear,can be as lonely as a full
hotel. The trouble is that it'sless impersonal. I remember the feel of
(11:35):
the leather seats in his car aswe drove in the afternoons along the Mediterranean.
I remember still in my ill fittingflannel suit, and now the skirt
was lighter than the coat. Iremember now glancing at my watch, I
think to myself, this moment now, now, at twenty minutes past three,
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this must never be lost. NeverYou're a very silent companion. What
are you thinking? I wish,I wish I were a woman of about
thirty six, dressed in black satinwith a string of pearl It wouldn't be
in this car with me. Ifyou would listen to Winter, You're going
to think me impertinent mood, Idare say, but I would like to
(12:22):
know why you asked me to comeout in the car day after day.
You're being kind, that's obvious,But why do you choose me for your
charity? Cause you are not dressedin black satin with a string of pearls,
nor are you thirty six? Youknow it's not fair. You know
everything there is to know about me. That's not much, I admit,
because I haven't been alive very longand nothing very much has happened to me
except people dying. But you,I know nothing more about you than I
(12:46):
didn't mean what You know them wellthat you lived at Mandalay and that you
had lost your wife. Yes,my memories are bitter. I prefer to
ignore them. Something happened to mea year ago that altered my whole life,
and I want to forget my existenceup to that time. Those days
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are finished, that blotted out.How you want to begin living all over
again. I'm so sorry you beenso kind to me. I didn't mean
to remind your puritanical, tight lippedlittle speeches and talk about kindness and charity.
I asked you to come with mebecause I want you and your company.
And if you don't believe me,you can leave the car now and
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find your own way home. Gone, open the door and get out.
Well, what are you going todo about it? Please drive me home?
Well, I suppose you're young enoughto be my daughter. I don't
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know how to deal with you.Forget all I said to you. Just
now, that's all finished and donewith. Don't let's ever think of it
again. My family used to callme Maxim. I'd like you to do
the same. You've been formal longenough. What do you want? Something?
(14:24):
The matter? I've come to saygood bye. We're going this morning.
Come in, shut the door.What are you talking about? It's
true, we're leaving today. Iwas afraid I wouldn't see you. I
felt I must see you again tothank you. Why didn't you tell me
this before? When missus van Happaonly decided today her daughter sails from New
York on Saturday, and we're goingwith us. She's taking you with her
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to New York. Yes, andI don't want to go. I shall
hate it. I shall be miserable. Fine EM's name gold sit down with
me when I eat my breakfast ifyou had yours? Yes, Oh,
I really haven't time. I oughtto be downstairs now getting the tickets.
It will sit with me for fiveminutes. I shouldn't so. Missus van
Hopper's had enough of Monte Carlo andnow she wants to go home, and
so do I. She to NewYork Ida, Mandally, which would you
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prefer? Take your choice? Please, don't make a joke about It's unfair.
You think I'm one of those peoplewho tries to be funny before breakfast.
You're wrong. I repeat. Thechoice is open to you. Either
you go to America with Missus vanHopper you come home to Mandally with me.
Do you mean what a secretary issomething? No, I'm asking you
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to marry me, you little fool. I don't understand. I'm not the
sort of person man marry. That'sthe devil. Do you mean? I'm
not sure? I don't think Iknow how to explain. I don't belong
to your sort of world. Whatis my world? Well, Mandally,
you know what I mean. Youthink I'm asking you to marry me for
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the same reason you thought I tookyou out in the car to be kind.
Yes, one day you may realizethat philanthropy is not one of my
strongest qualities. Are you going tomarry me? My suggestion doesn't seem to
have gone too well. I'm sorry. I rather thought you loved me.
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I do love you. I loveyou dreadfully. I've been crying all morning
because I thought I should never seeyou again. So that's settled. Then,
instead of being companion to missus vanHopper, you become mine, and
your duties will be honest, exactlythe same. I also like new library
books and flowers in the drawing room, and some of to pour my tea.
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I'm being rather a brute, youaren't I This isn't your idea of
a proposal. We are to bein a conservatory with you in a white
frock, with a rose in yourhand and a violin playing a waltz in
the distance. Poor darling, whata shame. Never mind, I'll take
you to for our honeymoon and we'llhold hands in a gondola, but we
(17:02):
won't stay too long because I wantto show you mandally mandally. Now then,
am I going to break the newsto missus van Hopper or are you?
Oh? No, you tell her, she'll be so angry. I'm
not afraid. You wait for mehere. When he had gone, I
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looked around his room. There wasa book on the table near his bed.
I picked it up. On thetitle page was a dedication Max from
Rebeccah May seventeen, written in acurious slanting hand. The ink had run
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too thick, so that the nameRebecca stood out black and strong. Rebecca,
Rebecca. We paused on our Campbellplay House presentation of Rebecca, and
(18:18):
just a moment we will resume thestory. But first, here is my
associate of long standing, Ernest Chappel, with an important message. Thank you,
mister Hill. The time was,and it was not so long ago,
when chicken was a rare and specialtreat. What magic the words chicken
for dinner conjured up in our youngminds, and how we looked forward to
these great events with proud gusto.Father would dexterously separate wings and legs,
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and then carved tender white slices fromthe breast, while each of us silently
prayed to be granted his special favoritepart. And then on the second day
there came another treat. The remainingmeat and the carcasse went into mother's soup
kettles to be simmered slowly, seasonedgently, and served forth as a supper
time delight to day. If youhave wistful memories of that glorious old home
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chicken soup, then Campbell's Chicken soupis just made for you, because Campbell's
chefs follow faithfully the good home recipe, only changing it to make an even
better soup. They use, forexample, all the good meat of the
chickens, fine pump chickens. Theyare too, such as you'd choose proudly
for your own table. Such chickensoup with snowy rice and tender chicken pieces
(19:30):
is a special treat, indeed,but one you may enjoy on any day.
Your grocer has Campbell's chicken soup,and it's yours for the asking.
Remember Campbell's Chicken Soup. Now wereturn to the Campbell play House presentation of
Rebecca with Margaret Sullivan and Orson Wells. We came to Mandily an early May.
(20:00):
There it was the Mandoly I hadexpected, lovelier than I'd ever dreamed.
Built in its hollow of smooth grasslandand mossy lawns, the terrace is
sloping to the gardens, and thegardens to the sea. A servant was
standing on the steps, waiting,O man with a kind face. Where
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we are felling well? Yes,thank you, sir, glad to see
your home, sad and hope you'vebeen keeping well. And Madam too,
Yes, I'm both well, thankyou for I'm a tired from the dry
running our tea. Hello, dressfulman. Who are these people? All
the servants? I didn't expect this, Missus Denvers order, Sir Danvers,
I might have guessed it. Comeon, darling. Missus Danvers was Rebecca's
housekeeper. She's simply a daughter.They're all curious to see what you like.
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You won't mind when you're soon tobe over, my dear. This
is Missus Danvers. Missus Danvers tookme to my room. She was tall,
gaunt woman, dressed in black,with prominent cheek bones and great hollow
eyes. It gave us skulls faceparchment white, sat on a skeleton's frame.
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Her eyes never left mine. Mandallyis a big place, Madam,
not so big as some, ofcourse, but big enough, and the
show place. Mister de Winter letsthe publican to see it once a month.
You can't see the sea from here, can you. No, not
from this room. You can't evenhear it. You did not know the
sea was anywhere near, Not fromthis room. I'm sorry about that.
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I like to see. Mister deWinter gave special orders in his letter that
you would have this room, madam. Oh, then this was not his
room originally. No, Madam,he's never used the rooms in this wing
before. Oh, he didn't tellme that. I I suppose you've been
at Mandally for many years, MissusDanvers, longer than anyone else. I
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came here when the first Missus deWinter was a bride. Missus Danvers.
Well, you must have patience withme, because this sort of life is
new to me. You must justgo on running things they always have been
run. I shan't want to makeany changes. You will be here to
carry out your orders, Madam.I hope I shall do everything to your
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satisfaction. Can I do anything morefor you now? Oh? No,
thank you? No, I amsure I have everything. I should be
very comfortable here. You've made therooms so charm I only followed out mister
de Winter's instructions. Of course,the most beautiful rooms are in the west
wing overlooking the sea. Bedroom istwice as large as this, and the
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windows look down across the lawns intothe sea. I suppose Missus de Winter
keeps the most beautiful rooms to showto the public. Those rooms are never
shown to the public. They usedto live in those rooms when Missus de
Winter was alive. That big roomI was telling you about that looks down
to see that was Missus de Winter'sroom. Next morning, there was a
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heavy mist poured in through the openwindow. When I came down to breakfast,
Maxim had already gone out, MissWinter. Yes, Frith, mister
de Winter told me to tell you, Madam, that he'd gone out with
mister Crawley. Mister Frank Crawley ismister de Winter's friend who manages the estate.
Mister de Winter said to tell youthey'd be back for luncheon at one.
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Thank you, oh Frith, Yes, madam, it seems rather cold
this morning. I wonder if you'dplease like to find the library for me.
Fair in the library is not usuallylit until the afternoon, Madam.
Missus de Winter always used the morningroom. She always did her telephoning and
correspondence in there. After breakfast there'sa good fire in there. If you
should wish to have a fad inthe library as well, I wouldn't dream
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of it. I'll go into themorning room. Thank you, I will
love, and Madam, I'll assuredyou a way. This was a woman's
room, graceful, fragile, theroom of someone who had chosen every particle
(24:15):
of furniture with great care. Thata strange and startling kind of perfection.
I opened the word hazard and therewas a letter addressed to Missus m de
Winter, Missus de Winter, Missusde Winter. Who is it? What
(24:37):
do you want? Missus de Winter. I'm afraid you've made a mistake.
Missus de Winter has been dead forover a year. It's Missus Danvers,
Madam, Missus Danvers. I'm speakingto you on the house telephone. It's
about the menu. It's Missus Danversspeaking Madam. After lunch it was still
(25:08):
raining. Frank Crawley and Maxim inthe library working. I got a raincoat
out of the flower room and startedout across the garden down towards the sea.
Soon I was in the woods.The door ran on ahead. The
woods came right down to the water. At the fringe was a long,
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low building, half cottage, halfboat house. There was a boy anchor
bear in the coal, but noboat. And there was Jasper wagging his
tail at a solitary figure on thebeach. Zadrea. I saw that the
figure on the beach was a manwith the small slit eyes of an idiot
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and a red wet mouth. TheyDaddy, I'm afraid it's not very nice
weather. Jasper Jeffer come here diggingfor shell. No shell here. He's
been digging all day. I'm sorryyou can't find it, I say,
no shell here. Come on,Jasper, good dog, Come on.
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He won't go. Why not?He ain't good dog? No, he's
mister the Winter's dog. I wantto take him back to the house.
Come on, Jess, come along, good dog. She hain't been here
lately. The yellow one. You'renot like the other one. What do
you mean? What other one?Tall and dark? She was. She
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give me the feeling of a snake. By night. She come down to
covid seeing. I looked in ather once here in the boat house,
and she turned on me, shedid, If I catch you looking at
me through the windows, shall puttingasilum, She said. I won't say
you to the man my child andtouch my cap like it's here. She's
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gone now, ain't she. Idon't know what do you mean? She's
gone in the sea and she shewon't come back no more. No,
she'll not come back. You won'tput me in a sylum, will you.
I never said nothing, did I? I never said nothing, ma'am?
I never said nothing. Where didyou get that piece of string?
(27:27):
I got it for Jess, butyou ran away. I found it in
the cottage on the beach of thedoor open. I pushed it open.
The string was in the other roomwhere the sales were. I see that
cottage're supposed to be locked. Thedoor has no business to be open.
Did Ben tay the door was open? Then? No? Never mind,
Maxim? Yes, what is it? I'm sorry I went down to the
cove if you didn't want me togo? What makes you think I didn't
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want you to go down there?Maxim? How should I know? I'm
not a thought reader. I knowyou didn't want me to go. That's
all I could see in your face. See what in my face I've already
told you. I can see thatyou didn't want me to go. That's
right. I did not want youto go down to the cove. Will
that please you? I never goanother place you had my memories, you
wouldn't want to go there either,or talk about it, or even think
about it. Yeah, I hopethat's satisfied Youil Please make them please,
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what's the matter. I don't wantyou to look like that. Please,
Maxim, let's forget all we said. I'm sorry, darling, Please let
everything be all right. We oughtto have stayed in Italy. We ought
never to come back to Mandally.I was a fool to come back.
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Whether that may was wet and cold. From the terrace, I could hear
the murmur of the sea below me, low and sullen, and every morning
a heavy fog would come rolling infrom the sea. I could not forget
that cottage on the beach and thefight lost look in Maxim's eyes. Somewhere
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at the back of my mind afrightened, furtive seed of curiosity grew slowly
and stealthily. Frank Crawley was inthe library taking tea with me, waiting
for Maxim to get home. Therewere things that I had to know.
You were down then, Miss Frank. Frank in that cottage down there are
(29:26):
those all Rebecca's things? Yes,I wondered, why is the boy there
in the little harbor place? Uh? The boat used to be moored there?
What boat? Her boat? Oh? What happened to it? Oh?
Was that the boat she was sailingwhen she was drowned? Yes,
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it capsized and sank. She waswashed overboard. Couldn't someone have got out
to her? Nobody saw the accident, Nobody knew she'd gone, she often
said alone night. How long afterwardswas if they found her? About two
months? Where did they find her? New Edgecombe? Not forty miles of
(30:14):
channel? How did they know itwas she? After two months? How
could they tell? Maxim went upto Edgecomb too identify her? Oh,
Frank, I know what you're thinking. You can't understand why I ask all
these questions. Just now you thinkI mean morbid and curious. But it's
not that, I promise you.Only when I go to call on all
(30:34):
these people, his friends, Iknow they are looking me up and down
and thinking, what on earth isMaxim seeing her? Always? I know
that whenever I meet anyone new,they say how different she is from Rebecca?
Frank, Yes, it's just onemore thing. One question I must
ask you. Will you promise toanswer it quite truthfully? I'll do my
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best. Tell me was Rebecca verybeautiful? Yes? Yes, I suppose
she was the most beautiful creature Iever saw in my life. Here it
(31:27):
is, madam, This is it. One moment while I turn on the
light, Come in, madam.Was this her room, missus Danvers?
Yes, ma'am, this is herroom. Now you're here, let me
show you everything. I know youwant to see it all you've wanted to
for a long time. It's alovely room, isn't it the loveliest room
(31:51):
you've ever seen. I haven't toucheda thing. There are flowers on the
dressing table at her bed. It'sbeautiful bed, isn't it. Here's her
night dress. This was the nightdress she was wearing for the last time
before she died. Would you liketo touch it? Feel it? Hold
(32:13):
it? I did everything for her. You know you look after me better
than any one, Dennis. Sheused to say, I wouldn't have any
one, but you see here's herwardrobe. What's the matter, madam?
Aren't you feeling well? I'm allright. I just I didn't expet to
(32:34):
see all the things this way.I believe mister de Winter liked her to
wear silver mostly, but of courseshe could wear anything. She looked beautiful
in this velvet. Put it againstyour face. It's soft, isn't it.
Scent is still as fresh as thoughshe'd just taken it off. These
are her slippers. Put your handsinside the slippers. They're quite small and
(32:59):
now, Carrol, aren't they whenthey've found her? Her rocks had battered
her to bits so no one couldrecognize her. You know now why mister
de Winter doesn't use these rooms anymore. He hasn't used these rooms since
the night she was drowned. Icome up every day and dust them myself.
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If you want to come again,you have only to tell me.
Sometimes, when mister de Winter isaway and you feel lonely, you might
like to come up to these roomsand sit here. They're such beautiful rooms.
You wouldn't think she'd been gone nowfor so long, would you.
You'd think she'd just gone out fora little while and would be back in
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the evening. Do you think shecan see us talking to one another?
Now? Do you think the deadcome back and watch the living? I
don't know why I don't Sometimes Iwonder if she comes back to Mandally and
watches you and mister de Winter,You sitting in her chair in the library
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before the fire, stroking her dog, talking to her husband, and stop
it. Stuff. It's no use, is it. You can't do it.
You'll never get the better of her. She's still mistress here even if
she is dead. She's the realMissus de Winter, not you. It's
you that's the shadow and the ghost. It's you that's forgotten and not wanted
(34:27):
and pushed aside. Well, whydon't you leave Mandally to her? Why
don't you go? Why don't yougo? We none of us want you.
He doesn't want you, he neverdid. You can't forget her.
He wants to be alone in thehouse again with her. It's you who
ought to be dead, not Missusde Winter. Come here now to the
window. Let me show you something. When the windows open, you can
(34:51):
hear the sea down there. Lookdown there, look let me go.
Don't be afraid. I won't pushyou. There's not much for you to
live for. We are here atMandolin. Why don't you jump now and
have done with it? Then youwon't be unhappy anymore. Why don't you
try go on, go on,don't be afraid, go on, go
on, go on, go on, go on. And so we end
(35:19):
the second part of our presentation ofDaphey de Morier's best selling book Rebecca,
with Margaret Sullivan and Orson Welles.In a few moments we shall return you
to the Campbell Playhouse. This isthe Columbia Broadcasting System. This is Edwin
(35:52):
C. Hill again bidding you welcometo the Campbell Playhouse on behalf of the
makers of those fine Campbell suits.In a moment or two, we we
shall resume our presentation of Rebecca,the best selling novel by adapted de Marier
and starring, as I have said, Margaret Sullivan and Orson Wells. And
also we shall hear from miss toMarie herself direct by short way from London.
(36:15):
But first I bring you a message. For many years I've been interested
in the human side of the newsas a newspaper reporter. For all those
years, I've found that there isa very human side to business, and
that is what I want to speakabout. For just to mumber or so.
All of us are familiar with businesseswhich provide us with something to wheat
or drink or wear. Or webuy a radio, or a suit of
(36:36):
clothes, or a can of soup. But the actual thing we buy is
about the only contact we ever havewith the people make such goods. But
the character of those people is ofvital importance. If the manufacturer of a
product is honorable in the conduct ofhis business, his product will be as
trustworthy as its word or In business, as in every walk of life,
(36:57):
honesty pays real dividends. Honestand ofprize is the only kind which has a
chance to win and to hold thepatronage of intelligent and discriminating buyers, whether
it's a matter of a piano ora spool of fred orer trip to Europe,
or a can of soup. Andthat, as I see it,
is the human side of business,of the products that last over the years,
that serve you well and merit yourcontinents. I know the Campbell kitchens,
(37:22):
the Campbell men, the Campbell soup. The fact that these soups are
used more and more every year inmost homes and are sold in more than
four hundred and sixty thousand grocery storesthroughout the land is no accident. Believe
me. It's due to the humanside of this business, its aims,
its policies, and its character.And now to the Campbell Playhouse, where
(37:45):
we resume our story. Rebecca,why don't you jump now and have done
with it? Why don't you try? Go on? Go on? Don't
you say jump? Go on?We's go on. The denvers was close
behind me, now, her handon my arm, and before me was
(38:06):
the open window and the white mistcoming in from the sea. Go on,
I shut my eyes. The mistslay upon my lips, rank and
sun. My head began to swim, and some of the mists had parted.
There was a flash and a shyship. Late I went down to
(38:45):
the beach. There was a largeship on the reef half a mile off
shore, with her boughs pointed towardsthe cliff. There were a number of
small boats around her, and thecoast guard cutter lying along side the foss
told them what pos throught the window. It looked like your Dutchman, I
say, German of Dutch. Onething. There's no sea running a shallow
(39:07):
water. Seasons I don't know yet. Let's a diver come over from ket.
He'd be going down to see ifshe's broken her back. He's all
right, she's gonna you see misterWinter. Mister yes, ma'am. He
was one of the first down hereafter the rockets. You were known by
the cow and the dog. Wouldn'tyou know where he is now? He
went after Carrot twenty minutes ago withone of the crow the burringers. Thank
(39:30):
you, good day, good mom, good damon. I went back to
Mandola a long way through the woods. The fog get cleared. I looked
down and saw the stranded ship offshore. The diver must have come up
(39:51):
well. I saw a little groupof people on the deck of the boat
alongside, leaning over, staring intothe water. There's a man waiting to
see you, madam. He says, it's important. He asked for mister
de Winter first and then for you. He's in the library. Who is
it, Frith, He says.His name's Captain Sirl Madam, the Harven
(40:15):
Master from Kenneth. Oh, yes, I'll go in and talk to him.
Yes, madam, missus de Winter, I'm sorry. My husband isn't
back yet. I know I can'tget hold of mister Crawley either. The
fact is I've got some news formister de Winter, and I hardly know
how to break it to him.What sort of news captain? So well,
(40:36):
Missus de Winter, it isn't verypleasant for me to tell you either.
We're all very fond of mister deWinter around here. It's hard on
him and hard on you that wecan't at the first like quiet, yes,
go on. Well, you knowwe sent the diver down to inspect
that ship there on the reef.Well, while he was down there,
he came across something else, thehull of a little sailing boat lying on
her side, not broken up atall. He recognized it at once.
(41:01):
That boat belonged to the late Missusde Winter. Oh, I'm so sorry.
Is it necessary to tell mister deWinter? Couldn't the boat be left
there as it is? It's notdoing anybody any harm, is it.
The cabin door was tightly closed andthe ports were closed to The iver broken
of the windows with a stone fromthe seabed and looked into the cabin.
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And then he got the fright ofhis life. There was a body in
there, lying on the cabin floor. Now you understand why I have to
see your husband, Missus de Winter. It's all over. Now the thing
(41:53):
has happened. The thing I've alwaysforeseen the thing I've dreamt of about day
after day, night after night.We're not meant for happiness. You and
I. What are you trying totell me? Rebecca has won? I
remember her eyes as she looked atme before she died. I remember that
(42:16):
slow, treacherous smile. She knewthis would happen. Even then, she
knew she'd win in the end.Maxim, what are you saying? What
are you trying to tell me?Her? Both they found it. The
diver found it this afternoon. Iknow Captain solerz here and he told me
you're thinking about the body, thebody that iver found in the cabin.
Yes, it means she wasn't alone. Means it was someone out sailing with
(42:39):
Rebecca at the time, and you'llhave to find out who it was.
There was no one with Rebecca.She was alone. It's Rebecca's body lying
there on the cabin floor. Thewoman I identified wasn't Rebecca. There never
was an accident. Rebecca was notdrowned at all. I killed her.
(43:01):
I shot Rebecca and the cottage downin the cove. I carried her body
to the cabin and took the boatand sunk it there. But they found
it to day. It's Rebecca who'slying dead there on the cabin floor.
Will you look into my eyes andtell me that you love me? Now?
(43:30):
Oh, darling, you can't loseeach other. Now. We've got
to be together always, with nosecrets, no shadows. Please, darling,
there's no time. We may havea few hours, a few days.
How can we be together now thatthis has happened. I've told you
they found the boat, they foundRebeccah, what'll you do? I don't
know, I don't know. Doesany one know any one at all?
(43:52):
No? No one but you andme, No one but you and me.
Oh, why didn't you tell me? Why didn't you tell me?
The time we wasted when we mighthave been together all these weeks, all
days. You were so aloof younever came to me like this. You
were strange with me, awkward,shy. How could I come to you
when I knew you were thinking aboutRebecca? How could I ask you to
(44:15):
love me? When I knew youloved Rebecca? Still and ever who spoke
to me? You looked at me. I felt you were saying to yourself
this I did with Rebecca, andthis and this? What are you talking
about? What do you mean itwas true, wasn't it. You thought
I loved Rebecca, You thought Ikilled her loving her. I tell you
(44:38):
I hated her. Our manager wasa fast from the very first. She
was vicious, damnable, rotten throughand through. We never loved each other.
We never had one moment of happinesstogether. Rebecca was incapable of love,
of tenderness, of decency. Sheknew how I loved Mandally. She
(45:00):
knew how to hurt me most.She stood there that night in the cottage,
in the cove, smiling at me. I'm going to have a child,
she said. It will grow uphere at Mandally bearing your name.
That's a joke, isn't it.And when you die, Mandally will be
his. You can't prevent it.Have you ever thought how hard it would
(45:22):
be for you to make a caseagainst me in a court of law?
I mean, if you wanted todivorce me. We've acted the parts of
a loving husband and wife rather toowell, haven't we. They'll be happy,
won't they, all those smug friendsof yours or your blasted tenants,
thinking it's your child, It's whatwe've always hoped for, missus de Winter.
(45:43):
They'll say, I'll be the perfectmother, Max, just as I've
never been the perfect wife. Andnone of them will ever guess, none
of them will ever know. Sheturned and faced me, smiling. Then
I killed her. She was smilingstill. I fired at her heart.
(46:08):
She didn't fall at once. Shestood there looking at me, that slow
smile on her face, her eyeswide open. You have heard all the
(46:37):
testimony in this case, gentlemen.You have heard how the body of the
deceased was found in the cabin ofher boat. You have heard the testimony
of the boat builder. You haveheard mister de Winter's story. You have
heard how on the night of thetreasured day, Missus de Winter went down
(46:58):
to the cottage. How do youfight? Sorry, fiden that you see
(47:20):
he's a jet. It was almostdark when he started for Manday. He
held my hand in his. Hedidn't speak for a long time. I
(47:45):
must have dozed. W I workedsuddenly with a start, he heard the
first sound of thunder in the air. The air was hot against my face.
The rain fell. What is it? Donning maxim maximum rise? So
first I want to get home.I'm worried. I have a premonition of
(48:08):
disaster. When everything's over, Idon't understand. I want to get home.
I want to get back to Mandally. What time is it? Almost
nine? It's funny and it's almostas though the sun were still sitting over
there beyond those hills. Can't bethough, it's too late, the wrong
(48:30):
direction. You're looking east. Whyit's funny, isn't it It's in winter.
You see the northern lights. Isn'tit not in summer? That's not
the northern light you're looking at.That's Mandally, Maxim, Maxim, what
(48:50):
is it? I don't know,Maxim, look a fire, Maxim,
it's Mandally. It's running. Wehave both known fear and loneliness and very
(49:20):
great distress, but we have comethrough our crisis. Of course, we
have our moments of depression. Butthere are other moments too, when time,
unmeasured by the clock, runs oninto eternity, and catching Maxim's smile,
I know we are together at last, no barrier between us. We
(49:53):
can never go back to Mandeley again. The past is still too close to
But sometimes in my dreams I goto Mandolin. I see the gray stone
shining in the moonlight. Light comesfrom the windows. The curtains blow softly
(50:15):
in the night air, and inthe library the door stands half open,
as if we had left it,with my handkerchief on the table beside the
bowl of autumn roses, and thecharred ends of our log fire still smoldering
against the morning. So ends ourstory. The Campbell Playhouse presentation of Dafty
(50:52):
de Murray's novel Rebecca. In amoment, I shall bring you Margaret Sullivan,
an Arson Wells in person, andDaphney de Murray on the long distance
phone from London. In the meantime, here's a man with a message worth
hearing, a man who keeps oneeye on the dining table and the other
on the pantry. Ladies and gentlemen, my friend Ernest Chappell, thank you,
mister Hill. May I remind youonce again of that grand dish,
(51:15):
Campbell's chicken Soup. Remember what Itold you about it, and make it
a point to try it soon,because until you taste your first glorious spoonful,
you're really missing something. Imagine arich golden broth slowly simmered from plump
and perfect chickens, simmered with allthe patience and skill of the most particular
home cook. And imagine an abundanceof selective rice, white and fluffy,
(51:38):
drifting all through the broth, everygrain saturated with its delicious flavor. Then
add tender pieces of chicken meat,each a delight to your taste, and
you have a picture of Campbell's chickensoup. But only tasting can really tell
you how good it is. Whynot plan to have Campbell's Chicken soup tomorrow.
You will please the family and incidentallymake a busy day a little easier
(52:02):
for yourself. And now here's ArsonWells, ladies and gentlemen. The star
of Rebecca is standing beside me atthe microphone. I'd like to tell her
(52:22):
that one of my favorite characters inmodern fiction was Tonight forever endowed with the
personality of miss Margaret Sullivan. Thankyou, mister Wells. I hope the
novelist approved of me too. Iwant you to know how much I've appreciated
playing once more with the Campbell playHouse Tonight, especially in this story,
which is one of my favorites.It is a grand story, and I
(52:44):
do believe the most important factor ofradio entertainment is a good story. I
quite agree too. You know twothings I like very much. A good
stories, and good soup. Andwhen I tell you, my dear of
a great soup is Campbell's chicken soup, that, mister Wells, is no
story. I'm glad you feel thatway. Nice of you to say so.
Oh, by the way, aswell, that I ask you a
question, very kind of you.Can you tell me the name of the
(53:07):
character? Will you repeat that question? What is the name of the character
I just played? Well, that'sthe major literary mystery of the year.
Seriously, she hasn't any name,and our audience, Miss Sullivan, is
probably just as curious as you are, and I haven't the answer. Well,
mister Murrier must know it. She'sphoning us from London in a few
(53:28):
minutes till we'll ask her. Youknow, miss Sullivan has a question I'd
like to ask you. Yes,mister Wells, until rehearsal started for to
night's performance, I had never,to put it very bluntly, had the
pleasure of your acquaintance. Yes,Oh, now, in six and one
half minutes, Miss Sullivan, youwill have gone out of my life.
The point is point is I amthe director of the theater, the er
(53:52):
the Mercury, Dear the Mercury Theater. Thanks what I started to say was
that I'd like to know you better. What are you doing next year?
Are you speaking as a director,yes, missus Hayward as a theater director.
If you can be tempted, haveyou a script from me? I'll
bring it you tomorrow. Excuse me, ladies and gentlemen. I'm sure you'll
(54:12):
forgive me for trying to date upone of the nations. Thank you very
much, Miss Sullivan, and thankyou, mister Wilds for your production of
Rebecca. It's been very nice speakingof you both well, Miss Sullivan.
I'm afraid that doesn't answer your question. Hello, mister Moyer, mister Moyer,
mister Moyer, London, offiar,mister Chappler, Yes it is,
(54:36):
mister Worlds. Pardon me, MissSullivan. But all we can salvage from
the silence overseas is this cryptogram justbrought in to mister Chapper by carrier pigeon.
Would you care to read it?And office memo from Dartne to Marier
to Margaret Sullivan. The name ofthe heroine of Rebecca is Missus Max de
(54:57):
Winter. Thank you, Miss Sullivan, Thank you, Miss Wells. Next
week, Miss Beatrice. Lily interruptsher rehearsals of Noah Coward's new musical To
Be My Wife and Call it aDay. This is a discreet account by
Miss Doughtie Smith of some indiscretions committedone bonny day in April by a nice
family who might just as well beliving next door to you, and you
(55:21):
and you. It is a compositecase history in three stages and six symptoms
of that perilous and delightful malady knownso well to you and you and you
and me as spring fever. Untilthen, my sponsor and I and all
(55:43):
of us in the Campbell Playhouse remainmost gifted and attractive young actresses. I'm
sure you sympathize, and I hopeMiss Sullivan understands. We are ready with
London. Mister Weller, Thanks,are you ready London? Good evening,
mister Wells, Good evening, misterMoyer. Nearly three o'clock here in London.
(56:06):
It's not often that an alfer hasthe chance of hearing the voice of
her own characters speaking to her fromacross the Atlantic Ocean. I've enjoyed it
enormously. Thank you, and misterMoyer. May I present Miss Sullivan.
How do you do Miss Sullivan,I'd like to thank you and mister Wells
your splendid interpretations of mister and Missusthe winter. Thank it's been a great
(56:30):
privilege. Mister Murrier. There aretwo questions I'd like to ask you.
Your descriptions of Mandala are so vivid. Lamerica is curious to know if there
is anywhere in England a house ona state like Mandalay. When you next
come to London, Miss Sullivan,get into your train of Saddington Station and
travel west. When you've been twohundred and fifty miles, get out of
(56:53):
that train and walk southeast for halfan hour. You'll come to some l
gates on march on a narrow,twisting drive. If you ever find your
way to the end of that drive, you may discover Mandally. One thing
more, mister Maria, can youtell us the name of the heroine of
(57:13):
Rebecca you haven't named ron obediently yours. Tonight's broadcast was Rebecca by Daphney de
(57:40):
Marier, starring Margaret Sullivan and OrsonWells. Featured were Mildred Natwick as Missus
Danvers, Ray Collins as Frank Crawley, and the George Coloris as Captain Cearle.
Frank Reddick was heard as the idiot, Alfred Shirley as Friz, Eustace
Wyatt as the coroner, and AgnesMoorehead as missus van Hopper. Music for
(58:04):
the Campbell Playhouse is composed and conductedby Bernard Hermann. The makers of Campbell's
Soups invite you to join us againnext Friday evening at this same time,
(58:28):
when Orson Wells will present his productionof Dough Dismess delightful excursion into the private
lives of a typical suburban family,Call It a Day, one of the
most successful comedies of its type,which was originally presented on Broadway by the
Theater Guild. Our guest on thisprogram will be the always charming and amusing
Beatrice Lilly, with Jane Ware,a young lady who is marching quite swiftly
(58:52):
along the road to motion picture fameout in Hollywood, and Jeane Dante,
who created the part of Anne inthe original New York production. I call
it today. This is Edmond C. Hill speaking for Campbell Suits. I
thank you and good night. Thisis the Columbia Broadcasting System
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