Campbell Playhouse - 05 - I Lost My Girlish Laughter - Campbell Playhouse

Episode Transcript
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(00:24):
The makers of Campbell Soups Present theCampbell Playhouse, Orson Wells Producers, Good

(00:46):
Evening. This is Orson Wells.Hollywood is where the movies come from and
relevant to tonight's broadcast, nobody's hadmore fun poking fun at Hollywood than George
Kaufman. I have reference not onlyto Merton of the movie Isn't Once in
a Lifetime, but also to thewhole legend of things George Kaufman has said
about the movies. I lost mygirlish laughter as the name of Tonight's broadcast,

(01:10):
and it's the best seller, whichit deserves to be. And tonight
Besides mister Kaufman, other guests onthe Campbell play House Ilka Chase, who
has been very important in The AnimalKingdom, The Women and a dozen other
Broadway hits, and tomorrow Java whowas a graduate of Zigfield, Swoopie Gordon's
Three, The Crowd, Wyman's OnYour Toes, and just last season the

(01:30):
extremely successful London production of Idiot's Delight. There's also Frank Reddick, Agnes Moorehead,
Myron McCormick, Ray Collins, andfinally our author herself, but just
now I'd like you to hear aword from Ernest Chappel each part evening.
Since the new Campbell Playhouse broadcast began, I've been talking to you about Campbell's

(01:53):
Chicken soup. Tonight, I wantto tell you some things about the most
popular soup in all the world,Campbell's to May. Year by year,
day in and day out, thisone soup is served more often than any
other. If you and I couldsweep across the country looking in the dining
room windows any noon or any night, we'd see again and again people drawing
up their chairs to bright steaming platesof Campbell's Tomatoes soup. These are facts.

(02:16):
You can check them with your owngrocer and among your friends. Why
is this one soup so often eatenby so many people? One reason is
that mothers like to serve it totheir families, particularly their children, because
it provides the nourishment of fresh,sun ripened the tomatoes. Then people are
captivated by its inviting color and itsdelightful smoothness. But the reason most folks

(02:38):
like to have it is its flavor. It's a magic flavor created by an
exclusive recipe of superb luscious tomatoes,fine table butter, and delicate seasoning.
People say the flavor of Campbell's Tomatosoup cannot be matched, And indeed it
has something about it that folks nevertire of. That young and old enjoy
again and again each time it served, eat spoonful they set. Are you

(03:00):
at your house enjoying Campbell's Tomato soupoften these days? And now for tonight's
story, Arson Wells in his ownradio arrangement of the best seller I Lost
My Girlish Slaughter with Ilka Chase,Tomata Jieva and the distinguished American playwright George
Kaufman making his debut on the airtonight as an act. Char take it

(03:29):
count mister feeling the knife of thetaper. Oh fine, thanks fine,
play mister Anders come in yet?Didn't see him for the pasaje. Have
you seen the sandals tonight? Oh? I haven't seen me that master Tapah.
I'll say, what time is it, Jimmy, it's funny twelve minus
a tasa? Oh you mind ifI turn on your radio, Jimmy,
it's something I want to catch.Sharp canst opening it is and so it's
another span Shies Bosidney brand of someoneElse and Battle of the Beach stood up
staring in the aisle for the contenttonight. Oh, that's something about it

(03:52):
right here off the text street.You're up to me open tonight. That's
what feeling. You lead the place, which I think they liked it?
All right, Well, congratulations,thank you, I thank you. That's
right. Hamburger twenty one. Ohhey, Leland, I thought you were

(04:15):
in Hollywood. I flew in thismorning. Well you did it again,
John, is the best play you'veever read. I'm glad you like that,
Leland. Oh, John, Iwant you to meet Saya Turn.
So yeah, this is John Tusser. He wrought to play. We saw
it. Now. How do youdo? Master? Did you say you're
flying to Hollywood in the morning?I just signed? There was Sydney Brand?
Will ever been in pictures before?Miss Brandt? Oh? Yes,
I have worked with the sin Asdirectors for Poff Snyder Plumb Anders. Well

(04:39):
want to join us? Hey?And if I want you to meet miss
Saya Turn? How did you andLeland? Hey? All right, I
saw you in the play tonight,and there's fine performance that'll hold on to
him. John, Hollywood's crazy beforeleading man? How about luck sometimes be
delighted? How about you? John? Why are you going to give up?
You mean to go to Hollywood?Wrong, I'd rather stay here and

(04:59):
work on my own own stuff.No, they my advisers an asylum.
You can't tell and you can workon your own stuff out there. No,
it's not. That's kind of aplay, Leland. It's no plot
for a fiction. What do youknow about it? Going to be a
story in it somewhere. I'll tellyou what I'm doing. I'm calling Sydney
Brand in the morning. I'll tellhim all about it. Oh, horror,
I'm sorry. We gotta be going. We've got to get up early
and catch that plane. Cobamas randers, see you's so all right, coblamas
cons good luck, Thank you,Leland, get any when you get my

(05:20):
car? Well there they go offto the west. Your next standard be
yes, there's nobody left in NewYork. Now they've torn down the sixth
faven the whale. The subway isgoing next week. Why look at this
way? Yeah, I got staousmorning, Ray, Sarge Caparp, look

(05:55):
at the gall of the plane practiceat eleven o'clock. Ray, such to
tire h brad Se left his pillson the table to morning. Can you
send them up to the office themedia brandt defensive for front page here at
eleven twenty five church Heer part ThanksApartment Sea. Hello, and this is
mister Brand's secretary speaking. Would yousend samples of Bassinett the nursery wallpaper out

(06:15):
to missus Brand's residence please? What'sthat? Yes? Yes, not any
day? A research department calling formister Brand check on jokes to be used
in Russian barber shop before the revolution. This is the studio. Good morning,
I'm signed a brand kind served inthe conference. Ah then boys,
everybody here, everybody here, misterBrand, Thanks Roy. Boys. Hooper

(06:36):
Film is about to embark in themost important picture in history. You're just
a man to do it, misterBland. Thanks Roy. And it's my
single privilege to announce to you theTroop of Films have just signed a five
year contract with Europe's most glamorous actress, Siya Tan Boy. That's terrific,
Thanks Roy Palmer. Miss Tim's Americandebut must be the most significant event in
the history of motion pictures. Itmust be the most exciting event in the

(06:56):
history of motion picture. Is alsoprofitable, Palma, I sent you a
message to find right it's mss time. Where are they? I don't see
them. But mister brand, whatabout stories? Why are the New York
Office suggestions? That's a great idea, boy, Troy. And what about
the new theater girl play? Palmer? Right here, Metro and Warner's are
bidding heavily for it. I haven'theard there was a theater girl play,
but I've got a scenario department.Well that is for Brands. I sent
you a copy of that play sixweeks ago, Sinners an Asylum. All
right, remember, get me copyof that play. What's the name of

(07:18):
it? It's called Sinners and Asylum, mister Brandon. What's that red bound
script on your telephone there? Ohthis? Oh it's quite a play,
quite a play. Roight. Yes, boys, call up on New York
Office authorizing the office theater Gil onehundred thousand dollars spinners in the side.
I'm going to get it to oneright for it. A thousand a week
for the author. That's plenty,it sure is, boy, Thanks Roy.
All right, boys, that's offof this morning. We're pigging again

(07:40):
after lunch, right after lunch forit, thanks Roy, and make that
call right away. Sure, thanksboy. Hello, mister Brand's office.
Ms. Lauren speaking my mom andplease it's New York office calling mister Brown.
Hello, Francis, I to getthat play from What that's they turned

(08:01):
the Diamond? What the robbers withagent Leland Hayward her I'm might have known
it? Well, how much doyou want to? Two hundred poses two
thousand a weeks? The authors arerobbers? Close the deal two hundred thousand
and two hundred a week for theauthor, I mean two thousand, two
hundred thousand dollars for stage play intwo thousand. Can you imagine that?
Well, let's get back to work. Check with the costume department, the

(08:22):
costumes on Love It All? Yes, it's the brand. What does it
match? Shall I notify Palmer aboutCentners and Astyl? Why Centners in Asylum?
Well that's the picture you're producing,mister Bryan. You just boss it's
for two hundred thousand dollars. Ohyeah, that's right, all right,
check with Palmer in the band Aline. The transcript Saia Times American debut
in the season's Greatest play, Centersin the Asylum by America's Outstanding Playwright,
America's Outstanding play Right, Mister BrowJohn Tessler play a live West Coastly Biggie

(08:52):
is having probably plenty with a hatearms because the vital changes they demanded the
play that's marked the two hundred andfour dollars. The roman is that he's
doing a fun because he didn't taketime out. Don't eat it fun RG
the Hay's office and Sidney brandt I'mcoming Hill have his stand made up?
The heroine I'm sending it in asylum. It's being changed to Midday Sidney Brand,

(09:18):
Sidney Brand Superfilm Hollywood, California.Sidney Brand Super Films, Hollywood,
California. What do you mean you'remaking your fanning top? The whole point
of the play will be lost.Sup will not be party to any such
low commercialism, SUF. My playgoes on as is or else find John
Tussler, My goodness, John Tosser, Pier Guil, New York City for
two thousand week. He should bewilling, Sir Paul Barris, you're on
funeral Stop Beck you soon? Stop? Is it my fault if Pay's office

(09:41):
won't let it be artistic? Stop? Best wish is fine? Sidney Brant,
Yes? Is is this mister Brown'soffice? Yes? I uh I
wonder if I could see mister brandold. I'm sorry, mister brand is

(10:03):
in constance. Should I wait foryour think? Well, I wouldn't defy
with you. Thank you? Wouldyou mind very much telling me your name?
No, I wouldn't mind. Myname is Tussler, John Tussler.
So sorry. I'll tell mister brandyou're here. You think he'll be glad?
Mister Testa's here, mister Brown,I'm in conference, mister b what

(10:28):
is it? Mister Tusler is theauthor of Sinners in Asylum. You can
go right in, mister Tessler.Thank you? Good luck. You think
i'll need it, mister Tler,miser, Yes, I am, mister
many mister, I beg your pardon. I'm looking, oh Tler, blad?
Have you with Tesler? Have anice trip out? Yes? Very

(10:50):
nice, very very nice trip.I beg your part, Tuler. Yeah,
we're going to do tig things.Display of your tesla. It'll cost
a million dollars before you can geton a set. And what a cast
I'm giving you, sigha time.Europe's most glamorous to Tussler. And I'm
working on a deal for Tyrone Power, my own power. Gee Chap he'll
be pleasant. Thanks Roy, boys, this is Tussler, Tussler Meat.

(11:11):
It's their faith and direct. Yourpicture is well. He wrote the play,
you know, oh Tessler Meat Skinner. He's doing the adaptation of your
play Skinner. Oh I'm pretty well. Thank you, Roy, my brother
in law. He's my assistant.Oh, very happy to med you,
mister Tussler. All right, nowlet's get down to business. Now,
boys, the important thing is tostick as close as possible the original play.
After all, and a lot ofpeople in New York have paid good

(11:31):
money to see this place or itmust have something. But of course we
have to remember the Hayes office.Now, I gave him my solemn warte
of honor. But when they sawmy script, it'd be in my usual
good taste in this and delicacy.They said to me, okay, brand,
we trust you to do the rightthing. Now, boys, I
can't let him know. Yeah,you know what, Chap, we never
let you die. Yeah, thanksRoy, and Roy, be sure to
get down here at work. Weface very important Yeah, okay boy.
Of course we're changing the theme ofthe play. And you understand that,

(11:54):
don't you. Tuesbler, Well,mister Brown, yes, Tessler. I,
well, let us go. It'snothing. Don't be bashful, Tessler.
We're all a big family here andnow, Skinner, we're paying Tutler
fortune to write this atitation. Allright, so he's one of the three
greatest American play rights. But hashe ever written for the screen? No?
What are his screen credits? None? But you, Skinner, you
know what it's all about. AndI'm depending on you for the finest screenplay

(12:16):
of the year. You never know, we might even win the Academy Award.
You're done for want Chief. Thatwas a lot and deal you've got
last year. You're right, thankyou, Roy, Roy, you're sure
you're getting everything downe Oh yes,chiefly good Now, Skinner, it's a
suggestion. But Bert in mind,while you're writing, this is the first
time Saratanasan presented the American public.She's gotta be a sympathetic character. Now,
the name of your play, misterTussler, is not a sympathetic character.
So we've got to make time moresympathetic. Mister Brands, may I

(12:39):
point out that the girl is notsupposed to be particularly sympathetic. The whole
play happens to be based on theprepacexaitely of everything to me Tessler and I
here's this girl of yours. Yes, he is slipped all alife on an
island off the African coast. That'sAfrica. Gee, chief Africa, are
you by any chance referring to myplay? There there's an asyl your now.

(13:00):
This here girl has never known amother's love, and her old man
was killed with her mother when shewas a baby. The only love she's
known is from animals and the kindlynatives of the village. So she is
naive. But on the inside thereis a roaring volcano, her mother's Spanish
blood. I get what you mean, see, I get it now,
God, it's gonna now here inthis primitive background. Uh fay Alex has
some camerangles, but no fifty seventakes. I don't need a fifty seven

(13:22):
takes. Know what's good. I'vegot an instinct with that kind of thing.
I'd say, Chi, maybe wecould save some dough by picking up
some stock shots from Bringing Back Alive, Thanks Roy, Hey, what do
you mean stark shots? This isa major superfilm. But on the other
hand, that might not be abad idea of sho you can pick up
right brand I'm worried. I don'tsee where saw your ton has the fire
for this rule. Hey, I'llsee to it that she gives you plenty

(13:43):
of fire. Boy, I canjust see you when all the Spanish and
her breaks loose like an animal.She scratches back when she comes face to
face with an artificial civilization. She'sgot to be changed. She's a wild
thing with a with bars around us. She's caged cage. Say, wait
a minute, what a title.Lady in a cape. Gosh, what
a type, thanks, Roy,lady in the case, old old man.

(14:05):
What's the matter of Tussler? Oh? Nothing, Oh, right ahead,
Trestler. I'm beginning to wonder.Really, I just full of an
angle on the love interest. Yeah, terrific. Listen, you have a
game living on the outpost of civilization. That's beautiful enough. He's luscious.
He's prime evil here. He's everythingto drive a man crazy. Now,
this is my idea. There's ashipwreck and her own powers walched up on

(14:26):
the show. He got this down. He wakes up to find this gorgeous
creature looking down at him. There'sa passion flower in her hair that's symbolic.
He stares at her she runs away. Frightened, he follows the gentleman.
May I point out for the lasttime that that was not my idea
when I wrote Tussler and you too, faith this girl wouldn't run away.

(14:48):
She wouldn't be afraid. I remember, she may be naive, but inside
her, this flame, this Spanishblood. I still think she'd run away.
Way. Hey, why should weargue about female psychology when the man
who wrote the players right in thisroom, let that Tussler what she would
do? Not Tussler, there's gonnastay carefully. Yes, it's uh,
it's moonlight, Tessler, that wehave a long shot of the jungle.

(15:09):
In the jungle moon hanging low intothe camera comes Taratan, chanting a naked
glove. Sure camera follows her ifhe dances into the waves. Suddenly she
sees something shops. The camera followsher and in a beautiful two shot which
sees Saratan looking down at Tyrone Power'sface, he opens his eyes blindly.

(15:30):
He raises up his hand and touchesher. Got that, Tutler, I've
got it. She's warm, alive. He leaps to his feet. Got
mind you, tarn Power is thefirst white man can has ever seen all
the dormant woman in her comes tolife. He makes her grab Coller.
Now, Tusy, if you werethat girl, if you were there on

(15:50):
that tropical beach with tarn power,what would you do well Spanish? Yes,
I try your power. Yes,I'll tell you I feel this way
in a situation of that kind,I'm not sure the public has been that
pros my points. Well, boys, that's nothing today. We've gone a
long way, and tous it's beengreat having you here. You were invaluable.

(16:12):
And now I've got to get home. My wife's gonna have a baby.
Uh, Nurse, where's mister Browne? I miss Laura? Yes,
Nick Laurin's. We've been expect youto come this way. Oh, mister

(16:33):
Brown, what are you doing inthe hospital. What's happened? What's happened?
Babies doing any minute? Now,that's what's happened. I didn't somebody
tell me having a baby? Wouldlike to sit? I'll sit down,
Madge, here my hand hold it. Nurse, give me another set.
I didn't send me the cheese's staffand getting weak? Matge? What are
you doing here? You sent forme? Mister Brown? Oh? Yes,
we gotta get to work. Getme the wardrobe department, Call off

(16:56):
my lunche the appointments you're telling Getme co an longest inside room? Where
can work? Find a room whereyou can work? At a room where
can work? Out on you getthe occupiment sketch at the apartments? Yes,
Roy, thank and maloney and uhjust put it down there. Hey
doctor, the floors out there inthe hall are too slippery. Why don't
you have carpet? It's one ifa nurse fell out there while carrying an
infant. Hospital must doctor? Ithink you ought to. I can't eat

(17:19):
that stuff taking away called the Browndevan. Haven't sent up a ushroom,
mamblin? Remember the Thomas for brand? Who's that? Come in? Yes?
What is it? Show them in? Kill them in? You can
come in, Come in, boy, come on, come on hello boy?
What happened? Anything? Not athing? Right? Not a thing?
Well? You see what the costumesthoughts and the property departments brought over
a few items to be approved forthe Send them all in, okay,

(17:41):
boy, I sit down. Boys, heys so far? Thanks? Boys?
You sure a comfortable avoice? Yes? You think you'll pull pool?
Mister Brown? What's the matter withyou? Fellows. Can't that guy go
to the hospital for a day withouta lot of cheap boys? Cracks?
If I drop dead when I getthe sympathy all you say, it's four
brand. It's too bidy to workso hard. Geez, boys, the
studio would go to pieces without you. Thanks Roy, All right, rolly,
let's you just get it. Idon't like him, do him over

(18:03):
bad? She telluphone the fifth floorn, tell me it's brand? Is this?
John said? I don't like todo it over with shot? This
morning's still alliance? Uh? Howlong you think you'll be tied up in
the hospital? Boy? Want totell you Roy, you can't tell about
these things. Roy, I oughtto stay around for missus Brand's sake at
such a time. Besides, it'snice and quiet here. Maybe we can
get some script written. Hey,Roy, get the name of that nurse
who just passed by? Okay,change type of pictures now, invoys,
how's miss script coming? Well,we're all set to go in a dialogue.

(18:25):
We've broken down the storyline. They'vebroken down the storyline. Excuse me,
Tessler Palmer, have you written theannouncements of the baby yet? How
about this boss? A blank wasborn? This morning to missus Helmer Brand,
wife for the emin to producer SydneyBrand of super film That's good.
Mother and child are reported resting nicelyat the Vista Memorial Hospital in hollyd Go
in the midst of an important production. Lady in a cage which will launch

(18:45):
siat on the new foreign import.Mister Brand is taking a sweet at the
hospital to be with his little family. Listen, couldn't we get a little
more human interest in there? Maybeabout the way of the baby? Things
like that? You know, peoplelike to read human item of our famous
people and gives holler with a goodname. You know, a bossy Canada
got to wait until we know exactlywhat happens. It might be twins thinking

(19:06):
of human if you can get outof twins. Let's hear it again.
A blank was born this morning tomissus, tell my brand, why are
you evering to produce a Sidney Brandtake that many hospital? Yeah, yes,
piece, I beg your pardon justa moment, oh, mister Bran,
Yes, uh, it's the studio. There's a wire from New York
from Leland Taylor. What does hewants? He says, he understands.

(19:29):
It's a born check that report.Go on, blank was born this morning,
mis tire Tom time. Yes,she wants to see you by your
time, he says. If shedoesn't see you, she'll scream the place
down. Gosh, can a manhave a baby in peace? What I
tell us? Sender rock tender ropboy, that'll be all for today,
But Palmer, you better work onthat. And no, okay, goodbye,

(19:52):
fella Tusler you tula, Yes,I've got an idea for you for
a play. Remind me to tellyou about the time. Time terrific.
I can hardly wait, thank you, immage. Uh, yes it's Brian.
I don't wanna be disturbed understown.Yes cry uh come into Tom,
mister Brian's expecting you. Sidney.Oh, I'm saya, Dear Sydney.

(20:14):
Huh dear siya ya, I'm aswell, dear Sydney, not well at
all. I'm tree soul trees,Why Siya, that's too bad. I'm
sorry. I'm worried Sidney about thispicture making toys my word, sire,
I go for him's sake. What'sthe matter. I'm so worried, Sidnet
a deal. I cannot sleep anymorebecause of this worded Sydney, deal,

(20:34):
what is gonna leading mine? Ohno, then, siy you? How
many times did I tell you I'mgetting tyrone power or your tyrone power?
What more do you want? ButSidney, I've wrote the papers that you
can't get them bad. I getyou believe what you're reading the papers say
you have the thing to worry about. I've got tyrone power eating out of
the palm of my hand. Iassure you, sire, that everything will
be all right. But reassure me, dear Sydney. Alright, I reassure

(20:57):
you, Siya, then I shouldOh no, dear, you mustn't worry
anymore. Good guy, Yes,have you got your book? Take a
letter mister George Ogel the laos ZeusModern Studios, Hollywood. Dear George,

(21:18):
regarding tyrone power, I'm not onlydisappointed, I am hurt. I can't
believe that you would let me downthe way you have. I don't like
the idea of playing on our friendship, but you know that if you were
in a spot and asked me tohelp you out, I'd do it,
You know I would. Last nightI was talking over my problem with my
wife, and it has her distinctrecollection that you committed Tyrone power to me.
So I have a witness. Letme hear from you, Sincerely,
Regard Sydney Brand, Mister Brown,take a wife in New York office,

(21:41):
New York City. Prospects of Tyroneparks still a life. How I don't
trust those rats and zeus modern todo the right thing. Stop. Want
you to line up possible substitutes.Suggestion you make screen tests of all available
young leading men New York see playpreperably loved scenes immediately even poss country exciting
god Brand, get it, Palmer, let's get an announcement. A blank
was born this morning to mister andwhat is it? Elan Haywood was right,
mister Bryan, it is a boy, A blank boy, Palmer,

(22:03):
it's a boy. A boy wasborn this morning. That missus can all
right? Get him quiet there?Right? What then here we go?

(22:29):
Ready to cut boy? Is thisoccasion is a great occasion? Right?
Tessler? Quite a location? Allright? Let's make it except that him
there you go anywin? Good nightsthat at Harry anyone of the steed light

(22:52):
in a cage, seeing one likethe fag camera, Ma, take one?
Where's tone? Why doesn't Ton comefrom that door where the Blazers is
tim all right? Cuts, thenall right right? Where is miss Tardy?

(23:22):
Maybe inspired Jesus sleep for in awrong time? The money I pay
wake her up? I'll wake up, Miss Tom, Miss chalm yeah,
missy, Miss Tom, will youplease cooperate? Cooperate now, Mis Tom,

(23:44):
we will take this scene again.What scene is a fair? The
storm scene is tied your great scene. Now listen, Miss Time. In
this scene, you are standing atthe window, you understand, pacing out
over the ocean. You are waitingfor your dream lover. You are longing
for him, and who are goingto play my dream? We'll be doing
our best to get your own powers. Ah, but you're not sure when.
If we don't get him, MissTom, we'll get somebody else.

(24:06):
But how can along for a manwhen I don't know who he is?
If I knew who he was,I'm sure it was a much better,
Miss Tod. What difference does itmake who the man? The man does
not appear in the scene. Youunderstand, he does not appear. Nobody
appears in the scene except you,Miss Tom. So here's mister Fay.
I worked in Europe for the greatestdirector, Crip by clumps. Yes,

(24:29):
I believe you. I believe inmissn I come over here and we take
it again. You come into thedoor, you go to the window.
You gaze out over the ocean.There is yearning in your eyes. You're
waiting for your dream lover. Youlong for him. You are alone in
your hut. Suddenly you hear thedoor open behind you. You turned,
you see an arm coming through thecrack of the door. Harry arms.

(24:52):
You scream, and then, uh, never mind, miss time. We'll
explain that in the next scene.Now, then, are you ready?
Quiet? Quiet? Quick? Quiet? Why I know that's very taxically that
I think. Oh yes, yes, very taxically very. As a matter
of fact, I was a changevariet. Please, it's a take a

(25:14):
right anyway, tell you well?Rolling not to see it. Lady in
a cat saying one drag a fagcamera, ma at tight. She's there
all right this time, isn't shehere? Yeam? She comes down good

(25:36):
when she gets to the window,give the signal for the door to open.
Now, now the odd there.Now she's turned in and see it
she turned picking up one sound allright? Turning over quick? You want

(25:56):
to cut no, keep it rollingall right? Scream ah, okay,
mis to Okay cut God go right, okaym It's time you can rest now
where missus land? How did youlike it? Hey? What's magnificence?

(26:18):
That's all I can say? Say? You know, Dave, mister Cutler
on the stage, you couldn't possiblydo a thing like this, not possibly,
mister Brown. You are listening tothe Campbell Playhouse presentation of I Lost

(26:42):
My Girlish Laughter. This is theColumbia Broadcasting System. This is Ernest Chappell

(27:07):
welcoming you back to the Campbell Playhouse. In just a moment, we'll return
you to Ortonwells, Georgia Kaufman,Ilka Chase and Tamata Jiva in I Lost
My Girly Slaughter. But first aquestion. What do you get hungry for
when the January weather turns cold andyou come home shivering all through? I
call it soup weather. It's timefor warming, comforting platefuls as the best

(27:29):
like soup of all Campbell's Tomato soup. If ever, its bright color and
its savory steam, We're inviting it'son days like these the rich, racy
taste of your first spoonful seems tohit the spot. And by the time
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No other soup in all the worldhas quite the keen, lively flavor that
this one has. No other soupis such a worldwide favorite, especially right

(27:53):
now. Campbell's Tomato soup is awholesome, sustaining dish to have. Often
enjoy it for lunch or supper,or as a first course for family dinner,
and serve it sometimes as cream oftomato, adding milk instead of water.
Cold days are soup days. Timefor Campbell's Tomato soup. And now
back to the Campbell playhouse. Hello, mister Brown's office, one moment,

(28:23):
please, mister Brannan Haywood calling youall right? A hello? Leland higher,
Yeah, it feels great, Phil. What's on you mind? Lelands?
How was that? Oh? BruceAnders? And listen, hey,
when I'm up to your trick?Sanders hasn't gotten agents. This is just
one time you won't be able tohorn in on a good thing. Why.

(28:44):
I don't know. The New YorkOffice may have offered him three hundred
I what Shore, I read thepapers? What what pap fifteen hundred fifteen
don't make me laugh? Ha ha, Who told you I needed him bad?
Anyway I can gain this geting directwith on your office. He's gonna
sign without Hello Hello, Leela,Leela. So now he has to hang

(29:06):
up on me. Match. Yes, mister Brad take a wife who comes
to New York Leland. Heywood adviseshe is agent farandas is this true?
Stop? He refuses, turns offand and I don't dare repeat the price
he wanted to make you sick.Stop. Don't let Hayward talk you in
anything? Stop? Why does ithave to be Heywood onto any other agents?
The business? Stop for god SydneyHeaving. Can you agree with the
Tina Gil trying to play Bruce Adlerswho'd been signed by Disney Brand can play

(29:29):
up with the Taia Tan intendant inthe Sylum stop all lady in the case
Lary is sent to me fifteen nineweekly and we can believe this becalled and
an agent. It's none of asat Lela dayword match. Yes, mister
Brad match Farmer out there, it'sgonna yes, sir Toddler. Yes,
mister Brown Sannaman you come in too, Yes, mister Brian. Gentlemen,
the Master will concern with you.It goes without saying it's important. He

(29:52):
wants me to He always does afteryou, gentlemen. Now, boys,
I don't y'all to hear this.Take me, Matt, take it down.
Gentlemen. We've just signed Bruce Anders. Now we've got to have a
new ankle on his Bruce Anders.Bruce Anders? When did he get here
on a new plane? Roy's meetinghim? Royal welcome photographer supporters. Oh
right, good now, then whyshouldn't we build up a new type leading
man for fifte hundred a week?We should do something with him. Leland

(30:15):
Haywood. That Rob Well, Iwas talking to my wife's dinner last night
about the cycles the movie heroes.Now tell them is very intelligent about such
historical matters. She has a finememory too, and once she sees the
face and never forgets it, youknow what I mean? She I can't
even remember her names. I whatare we talking about anyway? Cycles,
mister brand, cycles, cycles ofhoovie heroes, I know. First came
the lattey type and Spanish shawl.Then the fresh guy who slapped the girl

(30:37):
down, Then the Wingsy boys,the screwball boys were your very words.
And now we've reached the tail endof the cycle. Of course you'll say
the things to do it start allover again at the beginning. But that's
obvious. No, a new bagof leading man must be created, a
new type I see, mister brandany particular type in mind, that's something
in what you say, justin Yes, it must be a particular type.
What women want today is the romantic, gallant gentle passion, but manly,

(31:00):
manly, what women want today isBruce Sanders. Hello, mister Brown,
secretary my moment please, mister Ogles, my dame calling mister Yeah, what
is that? Now? Look here, uncle, I've had just about enough
double crossing out of you. Whatyeah? Oh, give me here,
you're ready me Georgie, Georgie,I knew I could cut. And you

(31:22):
want a friend, George? Youwant What is it? Boys? What's
happened? Boys? We've got tyronepower match. Get back in the legal
department of drop contracts immediately before theychange their minds. Jim, give me
a clusten the France script and holdhim a few days. Mad telephone sigh,
Yes, you'll be busy with joy. Now we're gonna have a picture.
But what about Bruce Anders? Yeah, what about the romantics cycle?

(31:42):
Oh oh, it's got all aboutand that's what we do. I'm need
rid of him. You'll be hearinga minute now something, Palmer. You've
got to keep that this picture ouof the papers. I don't want a
word about him printed. I wantto see him and I don't hear him.
We've gotta get rid of him,sommar he, mister Brown, isn't
that kind of to I know?We' give him the doarg house will make
some unpleasant for me to break hisown con This we'll make a we'll make
a test of his little frightenness ownmother. He may be a romantic galant,

(32:02):
but it's strictly a law deal,all right, Tessler, all right?
Can I help it? This businessis for of heartaches and I've got
show profits. Now get busy,everybody, and man wife on the poor
and I've got to tell her thegood news that don't make the day for
Selma. Yes, mister Brown,can you imagine that we got power?
Come on, farmer, who wellcan they make the day for Selma?

(32:29):
Or what about Bruce Sanders. He'sa friend of yours, isn't he?
Yeah? You know sometimes I wonderhow me in like brains can sleep at
night? Why he's you've got thatstuff? Water knocking for a loop?
Who? Who's talking about? Roy? That leading man? Of course?
Hide from New York. He's thenuts. Whoo's the nuts? Bruce Sanders?
Here you ride? He's right outside? Boy? Can a boss pet

(32:50):
that will calm down Roy? Andthere's won't meet that build up? Now?
Or what do you mean there's beena slight change of playing Roy?
Yeah? Yeah, we've got tyroown power? Why no power? Oh
boy? Can a boss pick'em? And Madge? What are we gonna
through? Waners? What would youdo with Amroy? Well? Gee,
I don't know now that we've gottrial power? Uh send miss Randers in

(33:13):
Roy? Sure thing? Madge?What about the we have Steven hair played?
Thank you, Sar mad Hello?And there's how are you why mister
Tussler? Hello, nice to see. How's your picture coming along? Uh?
Surprisingly? Oh well this Ms Laurence, mister Anders, she's almost human.
I'm sure she is. How doyou do mister Randers? I I
suppose I ought to say a loadof mister brand Oh uh well, mister

(33:35):
Randers, I am I'm afraid Imust apologize to mister Brand. He's out
of town today, but uh heleft word for us to do anything we
could for you too. H Well, they help you get settled, and
uh well when you get well,oh the the car's here to take you
to a hotel. Ah well,uh nice everybody is, aren't say mister
Tusler. Yes, everybody's just wonderful. Anders. Have you ever been out
here before, mister Anders, Oh, I haven't you know. I've always

(33:58):
been kind of scared and says itjust about Hollywood. But you know,
back in New York, we thinkmister Brand's the only man out here with
dison in integrity, don't we.Mister Tessler, you took the words right
out of my mouth. You'll letme know what happens to me next,
won't you, miss law. MisterBrand will tell you very soon. I'm
sure something tells me I'm about tobeat mister Brand to it. Missus Laurence,
Uh, what's good to say toa little lunch andre? I say,

(34:21):
well, oh, mister Tesler,I I don't think I would if
I were you. Don't give itanother thought, Miss Laurence. By the
way, Uh, you don't knowanything about this lunch. Don't forget me.
I haven't heard a word. MisterTuestler. Ah, I knew you
were that kind of girl. Comealong, Andrews lay Leyland Heyward, don't

(34:47):
light acts, manage and I'm abadone. Don't bomber rosbos for you New
York. At who I am today? It is all slain in an attempts
to break the existing well comey records. He's expected Hollywood come kind this morning,

(35:09):
and mister Brandle thought is not tobe disturbed. Sleep. Mister brands
been in his office all morning followingLeland Hayward's flight on the radio. He's
been everybody around here that he breakthe record. Oh, hey, Won,
I did so good. Heavens areyou, miss David? I have
oh well, just a minute.Oh, don't bother to announced me.
I want to surprise old Sydney.He'll be surprised. All right, Oh,

(35:30):
how long, Sydney. How's thebaby? I broke the record?
I want a drink. We'll say. By the way, what the deuce
do you think you're trying to pulloff with Andy? Oh that was a
great flight, Leland, a greatfight. I'm depending on you all the
way. Let's say it. Ihaven't much time, Sydney. What'scharnieland what's
mayor trifle? Sidney? Justin misunderstanding. I'm sure I hear you're planning to
put power in Andrew's part. Afterall, I'll look here, Leland.

(35:52):
I'm not quarreling about power. Butwhy do you have to put Andrews on
the spot. I get up aBroadway success to come out here, and
you're trying to get into break hiscontract. Doesn't know what the picture and
well, thank you flock and Ican't sell him. Oh, Sydney,
is that kind? I'm a businessman, Leland, not a humanitarian in this
case, Sydney, you're going tobe a humanitarian. And like, I
don't know how carefully you read Andrewscontract, Sydney. In case your mind

(36:12):
isn't fresh on the thing, letme recall till you clause the section B
and Bruce Ander's full recompense shall bethe salary specified and the prestige of playing
the leading role in said Sydney brandproduction. You get a Sydney the Sowery
and the privilege of playing the leadingrole. Get it? What have I
got a legal department for? It'llimprove your golf game, no doubt.
Well it's been pleasant seeing it's Sydney. Give my regards to selling the baby.

(36:32):
I got an opening in New Yorktonight. Good Bye Sydney. Match
match, Tell him I wouldn't havewanted tyrone power in the first place.

(36:53):
All right, all right, saved? Why what why? Now? Return
returns? Can you call mister Sang? Yeah, we're ready to take the
beach scene? Now you got itall straight, I think to missus.

(37:13):
I come up the beach, comedown from the jungle over there. The
drums are beating, throbbing in yourblood. Where you're happy as the day
is long. You try not tostumble over the mangrove roots on the beach.
You see this man, that's misterand mister Andrews. Miss time,
we've met before. He's the firstwhite man you've ever seen in your life.

(37:35):
He's lying there. You see him. You stop, You take a
step towards him. He moves,he reaches up. You scream. He
opens his eyes. He says,where am I? You say who are
you? He says, I'm Leifhutcherson of Virginia. Then you say my
name, Tahine, He says Tahini. You are beautiful, you say,

(38:00):
white man, No, white man, I like you. You staying any
moon with Tahini? No, youget it? Yeah, let me do
the rest and slows up. Allright, let's make it ms tart on
the set these miss randers. Willyou get down there on the beach instance
of this? All right? Howabout you thought effect waves, waves,
all that stuff. You're ready withthat you fellows back there in the jungles,

(38:22):
Give me something, give me allyou've got your savages, savages you
hear, all right, let's makeit Tenemma rolling up the seed lady in
a cage jangle saying conanders sadaktor maticcama tag one. Where am I?

(38:53):
Who are you? I'm leash Touchinsonof the Yeah, my name is ter
he needs you all are beautiful?Right man? H likes you stay many
moves, many moves with m Allright, cut, you're going to make

(39:22):
it again again? Yes, againand again and again and again? Can
you get it right? Makes thesame. You will rustee me this way,
it's not my faults. And yeah, and you condrect now listen to
I've been taking this from you fora week. You have been in Europe.
I work with the greatest directors.Welf it, hip hop, slider

(39:43):
one clump, Oh, not fora minute longer, will I work on
this, Sad. I shall goout to mister Sydney Brand and to mister
give me Brand. I shall say, dear Sidon, Yes, Dian Sydney,
I will know whet in your picturefor one minute long? Why sh

(40:05):
what's trouble Sydney. It's impossible.I'm an artist and directly, but wait
a minute, the leading men,you give me the tack of potatoes in
exist, Sire, Please the picturesmore than half shot. I don't care
how much is shot. It's yourpicture rather than what the such conditions.

(40:27):
Well too, don't do that.Science. I'm enough. I know you're
if I work with the glatist directI know you have come. I know
I'll have fade down here, soI'll make him apologize. But I know
it's I'll fire him. That's footout. I'll fire him. What do
you think he is? I'll showon moose bos around here and now,

(40:49):
Sire, Please, for my sake, sire, when you finished this picture,
Science, Sidney, Yeah, Shia, Sydney, You're so good to
me. You are tired that's oneof these signs. When this picture's over,
you must go away and have anice rest to go road in Sydney.
It's so true, I know.So I'll find uh, we'll get

(41:12):
somebody to go with you, andmaybe I'll go along myself. Sorry,
will you finish the picture? Yes, we're so kind. Well that's settles.
Then that's settled. You'll go backon the picture. Yeah, go
back, or dear Sydney for you, Uh go back. All apartment heads

(41:37):
to Sydney Brand subject Lady in theCage listens to advise you that Lady in
the Cage formerly Centers an Asylum,goes back for retakes an unfortunate audience reaction
as a sneak preview makes provisions imperative. These things sometimes happen. PF thigh
Your time is awful. The FredCook from Sydney brandt subject Lady in the
Cage line up list of all topnot right up in Hollywood. For Michael

(42:00):
Borrow the Duel and for rewrite Centers, we're making drastic story changes, throwing
epister Bruce Anders and retitling the picture. That general one for the South,
That gentle one from the South isthe titles PF Bruce Andanders is terrific to
Tim Palmer from Sydney Brand subject,Bruce Anders, you are hereby ordered to
span no expense or cunning and persuadingthe newspapers. But the only important news

(42:22):
personality today is Bruce Anders. Cananyone asks you questions about tire town?
You don't know who she is?You might also release the news that they
will direct. He has been reengaged at Super and as terrific boost and
money. There's no time to loadmat Max mag here boy, hey boy?
What is he? Oh? Misteryes? What is it? Mister

(42:44):
Parmers got it? Sent the man? Yes? I then Fomas. What's
the matter, mister Brandon, what'sthe matter? You asked me? What's
the matter here? I've got oneof the ranking stars the industry, brucenders,
a new type of romantic gallons,the biggest things in Salentino. What
do I find? I've got nowriters? What do I pay Scenario Department?
But what do I pay on NewYork Office for? That's brand?
Yes, Parmer, what is it? Mister Brand? I've got an idea

(43:05):
that'll be good. Mister Brand isa writer employed by Superfilms. Who's drawing
a salary and doing nothing. Hisname is Tesla John Tessler. He's the
author of a successful play for whichyou paid two hundred thousand dollars. You
may remember it, Sinner's an Asylum, otherwise known as Lady in the Cage,
otherwise known as that gentleman from theSouth. Sure, now, isn't
it just possible that mister Tusler maybe of some assistance to you and you're
a present predicament? No, no, that's not a bad idea at all.

(43:28):
Where's that script, you know,the one the red cover, the
one under the telephone. It's stillthere. Write a play. It's quite
play there. It is right onthe phone. Hey, uh, Roy,
yes, boy, get Tata onthe phone right away, Tashla,
Hey, boys, don't you rememberyou released Tesla from his contract last night?
He left this morning on the Chiefhe left. I'll get him back
right away. Call him up.Send him aware on the train right away

(43:49):
quick, John Tucker, Chief Heroe, Chicago. Just read your playtop.
I like it and I understand it. Stop on your return. We'll have
a new contract. Stop take planeregard signs Bidney Brad Bidney Brandt Superfilm Hollywood,
California. Hell up, don't jestwith me. Stop. I know
you can't read. Signed Tussler,John Poker Chief Hersh Corga. I'm hurt
you left without consoling me. Stopreturn immediately, Stop your presence absolutely necessary.

(44:13):
Stop for God. Sign Sidney BradSidney Brandt, Superfilmed Hollywood collect I
am sorry, I hurt you.Stop. It seems all things are possible,
even that I will not come back. Stop. I will not come
back. Stop, I will nevercome back. Affectionately, Signed John Tussler,
Gon Topa Chief Hersha Callie. You'remissing the opportunity of a lifetime.
Stop. I'll give you full screencredits. Stop. No man could act

(44:36):
for more. Stop take playing atKansas City. Stop. Expect you regard.
Sign Sydney Brad Sidney Brands Superfilmed HollywoodCollex. I am the happiest man
in the world. Stop. Thereis a lovely lady just stopposite me.
She hates pictures. Stop and youoffer me a soul scream peatate well well.
Sign Hustler John Cock run for theChief. I give you one more
chance. Stop either you return immediately, all right, blacklift you in Hollywood.

(44:59):
Stop which means you'll never be ableto have another job here. Stop?
What do you think? Question mark? Sign Sidney Brad Sidney Blanked Cooper
Films, Hollywood still collect what doI think? Stop? Who told you
I could think? Stop? Younever thought of that yourself. But if
you must know what I think,I'll be glad to tell you. I
won't cust you a penny. Stopboo exclamation mark. I think you're a

(45:20):
nasty man. Signed Tustler. Heyet the name of the lady just opposite
is Madge Tustler, nay made Lawrence. We were married last night, Signed
John Tussler. Ladies and gentlemen,Plays and gentlemen, We're speaking to you

(45:42):
from the fire of the coffee sacripedrein Hollywood, California, Well the world
same yea of the super film productionthat Gentleman from the South will be seen
by Hollywood great and sail us forthe first time tonight, Ladies and gentlemen,
the movie fans. I've turned outwhat the celebrities arrive, and I

(46:02):
just a challenge. Good evening,mister Tappa, nice to see you're back
in New York. Say you don't, mister Tusso. Holly wants Taper.
I fine, fine, my wifecom in yet. I haven't seen Jimmy.
Have you seen missus Tupper's a light? No, I haven't seen you.

(46:22):
Mister Tuchow. What time is it, Jimmy, there's twenty to twelve
ins of Tessa twenty the twelve.Say do you mind if I turn on
your radio? Jimmy? Something Iwant to cat sure care. It's the
opening of what used to be aplay about social conditions in the South.
It was called Sinners in the Pilum. You'll tell you a little about the
great range and human emotions or tradedand traded super felt the cap. That's
just what I've brought the South toSanders and Ti your car. Here's last

(46:45):
pay him a sophistications terror. Ohwhy go want here? You're man?
Missus Tustin is just you? Mendsir? Oh kill them? Man,
I'm sorry, I'm Nate John.I had to go by the house.
He has a telegram meaning Haylen sentit Elsen. Oh read it, will
you? Darling? John Tuslers said, sixty fair speak New York City,
daring our new pictures. Timper Filmsoffered fifty thousand dollars for John Tuchman Fine

(47:07):
Sidney Brown, are any answer there? You bet there's announswer takes the wire,
mad mister Sidney Brand, Hollywood,California. John Cutler offers fifty thousand
dollars for super film. Fine wrongyou pair will not let you die in
the future. Ladies and gentlemen,what and all fine White? I thank
you, thank you, mister Brand. You have just heard I lost my

(47:42):
girlish laughter darring our producer Wells asthe producer Sydney Brand, and here he
is Arson Wells. Ladies and gentlemen, I have asked our announcer in his
chapel to allow me to interrupt himfor a moment to invite you to join
George Kaufmannilka Chase Tomorrow, Java andJane Allen, the ogerator of Tonight's story,
in a somewhat peculiar little ceremony.We are holding tonight in the latter's

(48:05):
honor. You see, it's thisway right now. All that any of
us on the Campbell Playhouse know forcertain about Jane Allen, the author of
Tonight's story, is that Jane Allenis not the author of Tonight's story.
Jane Allen is a phony. Imean, the name Jane Allen is a
phony. The real name of theperpetrator of I Lost My Girlish Laughter is
a well kept secret with its publisherswho have promised to present our authors tonight

(48:28):
and think they can do it withoutrevealing her identity or his identity or their
identity, whatever it may be.This is a good trick if Random House
Incorporated can do it, But GeorgeKausman ilkachase tomorrow Javon myself thinks they can't.
In just one minute, Jane Allenis actually going to pay us a
visit. We calculate that between uswe can expose her or him or they
am riot and we'd like you tohelp to consider yourself please for tonight a

(48:51):
full member of our special secret Service, sworn to unmask all authors and authoresses
to the last poison pen name andstand by for orders. When when talking
about Campbell's Tomato soup a while ago, I pointed out that it has a
flavor people never seem to tire of. That is so from the first taste

(49:15):
it wins you completely, and thenas long as you know it, as
many times as you have it yourpleasure in it continues. Perhaps it's the
fresh taste of sun ripened tomatoes,or the table butter that enriches it,
or the delicacy of the seasoning.I think it's fall of these that account
for the always welcome flavor of Cambell'sTomato soup. And I do worge you
to have it often as the mainstayof the day's lighter meal, as a

(49:38):
pleasant start for dinner, and sometimesto have it as cream of tomato with
milk added instead of water. Butis it on your Saturday shopping list?
Put it down, won't you?Campbell's Tomato Soup several cans, And now
here's Arson Well, yes, ErnestChappell, But where is Jane Allen?
I'm sorry, Arthon, I haven'tthe slightest idea, gentlemen, I have

(50:00):
every reason to believe that mister Chapplespeaks the truth, because, as I
think I've already told you, nobodyon this program has the slightest idea who
the author of this story really is. We only know that I lost my
girlish laughter was credited on its titlepage to somebody who calls herself for himself
or themselves Jane Allen. Well,I think I can tell you this much,
Jornson, in checking the channel toColumbia's private studio. We've heard the

(50:21):
miss Allen on the microphone and sheis certainly a lady. Well, that's
very nice of you, and it'svery nice to hear. And that's see.
Now we know that our author isconnected in some capacity with the motion
picture industry, and perhaps two foreven more interesting reasons, she has insisted
on an absolutely all around anonymity,and now we know something more about it.
We know she isn't a man,and that's something secret. Eight and
H two O four George Kaufman reportingfor service. Yes, H two or

(50:44):
four or some If Jane Allen isactually secreted someplace in the Columbia broadcasting system,
why can't we trace her just thatway? Sorry, George, but
the rules don't permit it. Ifwe knew where Jane Allen was going to
broadcast from, we could simply surroundwhatever place it is with inquisitive friends of
ours and the game would be upall right, So could operate Ilka Chase
reporting for duty. And I havea theory, yes, Operator Chase.
My hunt here is that this allanwoman is a collective of eccentric stories about

(51:06):
Hollywood's and that I lost my girlishlaughter is simply a collection. I agree
very well, Inspector Tomorrow, Java, and now I think it's about time
that we put the whole thing squarelyup to its originator, Commissioner Ernest Chapple.
Are you ready with secret Studio X? Yes, Inspector here we are.
Are you ready, Miss Allen?Are you ready, Miss Allen?
Ready for anything? Is your nameJane Allen? Yes, mister Kaufman for

(51:27):
want of the better animal, vegetableor mineral. If Inspector Kaufman will have
the goodness to stop grilling our guest, Ivanna, i'd like to preserve the
I mean, the amenities and presenther to you. Thank you as wells
and good eating ladies and gentlemen.Now, Miss Allen, i'd might ask
you a question. I must warnyou that anything you say will be used
by Inspectors Kaufman, Java and Chase, besides your audience and myself in our

(51:51):
unrelenting efforts to unmask you. MissAllen, how did you come to write
I lost my girlish laughter because Igot cheated out of a permanent The Commissioner
Chapel did you hear what I heard, Well, it sounded like the lady
said she was cheated out of apermanent. Now look here, miss Allen,
I've never been to Hollywood, Imean the Hollywood to make a picture.
Could you please clarify that last statementin words of one syllabook. Well,
it seems that the writer came intoour office. The boss was in

(52:13):
common That would be Sidney Brand.The boss was in conference. So this
writer approaches me at the desk.Do you know that's something he says to
me? I asked him, DoI know what a rat Courtner trap?
He says to me? Outside thesunny shining bright golden rays of sheer joy,
and you sit here, change toyour desk. Well, to make
a long story, Sure if hesells me, And before I know it,
he's parted me from the five dollarsI've saved for a permanent I see.

(52:35):
Well that just sort of got meto thinking about writers and about books.
I thought, how nice it wouldbe to be a successful writer to
sell a couple of million coffees,to sell the movie rights, the stage
rights, the television rights, thesubmarine rights, to make a million dollars
without having to punch a time copevery day to collect your salary? Miss
Allen? Uh, did you makethe million dollars? How? No,
I did not, mister Kaufman.But there are other compensations. Yes,

(52:58):
Well, here am I, andthere you are and Mayor's Auson Wells and
Ilka Chase and Tamara Java. WhatI mean to say is you certainly meet
some interesting people, even though youdon't get to see them. And Miss
Allen, did all those things youwrote about really happen to you? Ms?
Chase? I lost my girlish laughteris a novel, and a novel
is fiction. By the way,Miss Allen, I don't know why I'm

(53:21):
asking this, but but if you'veseen in good plays lately? Oh yes,
Miss Cofflan, I saw the openingof your new play The American Way
last Little Sir, and may Isay it is one of the most moving
memory things I've ever spected in.Petcha Kaufman, can you tell me why
you asked that last question? Elementary, my dear wild Elementary the mere child's
play of deduction that proves towards theJane Allen is in New York, among

(53:43):
other things. Now tell me,Jane, if I may call you Jane,
and I might just work call youJane as anything else. Are you
planning to write another book? I'mafraid I've exhausted Hollywood for the time being,
and now I'm looking for a newfield good And you know, mister
Wells, I've always been curious aboutradios, and from what I can gather
from this broadcast, it looks veryunnusual subject matter. Yes, Jane,
just what are you getting at,mister Wells? Would you care to hire

(54:06):
a secretary? Thank you, Thankyou mister Herman for covering my confusion with
the little music, and thank youJane Allen, whoever you are, wherever
you are. It's been very nicemeeting you, very nice telling your story,
and very nice trying to find youout my special operative. Mister Kaufman,
it's Java. M's Chase, misterChappele. Well all right, what

(54:27):
they think? Your name is ona small slip of white paper which I
will immediately burn to a crisp Soall thing has been very pleasant. And
when you've written your next book,the book about radio and the wild Man
from Borneo who put on radio shows, please Jane let us put it into
a radio show. Until then,the Campbell playoffs has always remains obedient to
yours. And you, miss Allen, I promise you will remain shrouded in
the deepest pseudonymity. And now inthis chapel you please divulge the real names

(54:52):
of the people who played with ustonight. I lost my girlish laughter.
Well to begin with, Arson Wellswas Sydney Bryant, the George Kaufman was
Tussler, Ilka Chase was made Lawrence, and the Tomara Jieva was sally A.
Tan Fay was played by Ray Collins, Palmer by Frank Reddick, roy
by Everett Floan. Edgar Barrier playedthe part of Bruce Anders. Myron McCormick

(55:13):
impersonated Leland Hayward. The part ofFrancis Smith was played by August Morhead,
Raleigh by Joseph Cotton. William Allandwas the assistant director, and the music
for the Campbell Playhouse was conducted byBernard Herman. And now, Arson,
will you tell us about next week'sstory. Next week, the American nation
observes the President's birthday by aiding himin his fight against infantile paralysis by dancing

(55:36):
so the bthers may walk. Andnext week, we bring you one of
America's foremost actresses in a story byone of America's foremost authors, a story
that has been of immeasurable importance inbringing home to the American people the necessity
for an organized fight against disease.Ladies and gentlemen. Next week's broadcast will
be an adaptation of Aerosmith by SaintClair Lewis, and our guest will be

(55:59):
Helen Hayes until next Friday night,until Aerosmith, my sponsor, the makers
of Campbell Soups, and all ofus in the Campbell Playhouse remain obediently yours

(56:28):
the makers of Campbell's Soups join ArsonWells and inviting you to be with us
at the Campbell Playhouse next Friday eveningto hear Arrowsmith Darling Miss Helen Hayes.
Meanwhile, if you have enjoyed tonightCampbell Playhouse presentation, won't you tell your
grocery so tomorrow when you order Campbell'sTomato Soup. This is Ernest Stapple saying

(56:49):
thank you and good night. Thisis a Columbia Broadcasting System

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Campbell Playhouse - 05 - I Lost My Girlish Laughter

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Campbell Playhouse - 05 - I Lost My Girlish Laughter