Campbell Playhouse - 10 - 20Th Century

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.

Listen to our radio station Old Time Radio https://link.radioking.com/otradio
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

Episode Transcript

(00:17):
The makers of Campbell's Tubes present theCampbell Playhouse, Arson Wells Producer, Good

(00:44):
evening. This is orson Wells Tonight. We're going to present a typical chapter
in the life of a special typeof theatrical manager, the man who wears
the mantle of the impresario. He'ssometimes a genius, always a visionary,
and is usually dressed in a hazeof glory, especially if he's just created
a success. But it's his particularability to wear his aura, whether he

(01:06):
deserves it or not. He existson the momentum of the past and the
anticipation of the future. He's divorcedfrom reality and lives in his own frantic
world of the glorious impractical dreams whichkeep bursting on the bubbling surflus of his
mind. And lest I seem toconvince you that he is a type entirely
removed from the usual, producer,let me hasten to assure you that we

(01:30):
are all a little guilty of thesame dreams and the same aspirations. The
play is twentieth century, our versionof twentieth century, which was written by
those inimitables, then hect and CharlieMacArthur from the play by Charles Bruce Millholland
and Tonight our leading lady as ElisaLandy, whos appeared notably on Broadway and
in a large number of successful filmsin the past few seasons. Mister Sam

(01:53):
Lavine plays Owen O'Malley, and you'vemet him before on this program, and
we also have here in the Studentyou're the model for Owen O'Malley. One
of the characters in the play,not the producer, but one of the
most remarkable characters on Broadway. RichardManey press agent without peer and interpreter to
the world for a number of thegreat dreamers of the theater. He will

(02:14):
speak in his own defense at theend of the program. And now,
before we begin our story, aword from Ernest Chapel to Night. I
want to talk to you about Campbell'svegetable soup. And if there's any one
soup by which to judge the finehomelike way that all Campbell soups are made,
this is it. Because vegetable souphas always been a family stand by

(02:38):
and the soup most often made athome. If you still make your own
vegetable soup now and again, won'tyou please do this? Serve Campbell's vegetable
soup next time, so that youand your family can compare it with your
own. See if it's appetizing,Look it's good flavor, and its satisfying
substance don't fully measure up to thebest you ever labeled from your own home
soup kettle. I want you todo this because campbell chefs make vegetable soup

(03:01):
the good home way, just asyou would do. They simmer selected beef
until they have a rich, invigoratingstock. But what perhaps you wouldn't do
is use fifteen, yes, fifteendifferent garden vegetables Campbell's do. And you
can tell by looking at it howsubstantial and hearty and nourishing a fifteen vegetable
soup can be. Every delicious spoonful. Proves it over and over again.

(03:24):
So I urge you to set aplate of Campbell's vegetable soup before hungry children
are grown ups for lunch or suppertomorrow. That's the real test of how
good it is. And now twentiethcentury starring Orson Welles with Alisilandy and Sam
Levine, Ladies and gentlemen, thishere is a love story. This here

(03:54):
is the inside story of that greatromance you all know about, of course,
which inspired between that gorgeous feminine starLily Golland of stage and screen and
the great Oscar Jaffy, who isa famous producer and is crazy. Now.
I hate to tell you about itbecause it cost me plenty, But
here it is one of the greatromances of the ages. And against a

(04:15):
romance nobody, not the smartest manin the business, not even me,
Max Jacobs can do a thing.Max Jacobs, that's my name. I'm
a Broadway producer and I do verynice four hits the last two years,
small shit, not cheap turkeys either, good clean, lively entertainment. I
got companies playing all over the country. The money's pouring in. I got
no complaint about that. But dopeople call me the genius of the American

(04:39):
theater? No? Do I getmy picture on the cover of the Time
magazine. No? Am I invitedto speak before the culture committee of the
City Club. No. Now,take this last thing. What happened to
me with Lily Garland shouldn't happen toa dog. Only yesterday up to eight
ten pm, I was sitting prettya great script in one pocket and a
contract in the the other, andLily Garland waiting for me on the train

(05:01):
at Toledo. Lily Golland the nameanywhere today is worth a fortune. That
show business for you. Now,I remember when Lily Garland wasn't even anybody's
name. I can remember the firsttime she walked into Oscar Jaffy's office.
That was nine years ago, andI was his office boy. You are,

(05:26):
miss, third floor. Where's misterJeffy's office? Right down the hole
mission turn it a right. There'sa lot of people waiting for him.
Miss. I don't think you'll getto see you. We'll try. Thanks,
O keep me wait a minute,voter said, I could see wait
a minute lymon Brown said to Jeffyme first, I got I have the

(05:54):
one at a time. Please,one at a time, don't you see
I can't talk to more than oneat a time. It's just to come
back from that door. Where doyou think you're going? That's mister Jaffe's
private orfice. I'm looking for ajob, so it's a lot of other
people. You've got an appointment?No, when you can't come in here
without an appointment, not a chance? Well, how do you get one?
You write a letter? Well,what are you saying? It?
Ain't you never been in a theateroffice before? Come over here. I'll

(06:15):
take your name for the fire.I've been waiting him away, all bright,
all right, all right, whenhe's ready to see it, he'll
see you. All right. Iwonder I have to get your name and
you you sugar? What's your name? Mildred Pupkins. Mildred addressed two thousand
and eighty three, a Prospect Avenue, the Bronx Experience. I want to

(06:38):
be an actress, I said,Look, mister jack I'm not going to
stand for this. I came allthe way to Syracuse to see it to
Jackie. Oh all right, allright, hold your hats, will you.
I'll go in and see what Ican do. Mister Jacob, what

(07:00):
is it? Why? Quiet?Quiet, I'm on the phone. Yes,
mister O'Malley. Why you inaccurate?Muskamte, Yes, Yes, I'm
mister Jafvies press representative. It's BuryMelow. At the times he's driving me
crazy. Listen, you unfortunate ArmenianOscar Jaff's next production will surpass anything ever
seen in this country or any othercountry in this generation or any other generation.

(07:21):
Right, I'll hold him for awhile. Hey, mister O'Malley went
the chief? How should I know? I'm only the press agent around here.
He's in the thirteenth century room meditating, meditating. I've got any five
actors standing outside, nevery one ofthem with a card to be here at
eleven o'clock to see mister Jeffe prisonear. Yeah, but I clear the
arena. Web when the Chief startsmeditating, it's leably go on for day.
Oh well, here goes come on, Jacob right web Oh ho oli

(07:53):
u. Mister Webber is Oscar Jaffe'sbusiness manager. Oh well, mister Webb,
Please quiet, ladies and gentlemen.I'm very sorry, but mister Jeffy
will be unable to see anybody today. I have been trying to see mister
Jeffy for two weeks. Mister Jaffytold me to come back. I know,
mister Jaffey, Jange, it's minecome back tomorrow, Jeff Well,

(08:20):
well, will you never learn?How long will this organization continue behind my
back to trample upon the sensibilities ofactors of artists. It's very discouraged.
Jeez. How many times have Itold you that I always see everyone.
Chief, you said only way thatyou you have insulted these people, I
would speak to myself. I willapologize for you, ladies and gentlemen.

(08:43):
For eighteen years, mister Jeffrey,I've played with mister Mante Please, ladies
and gentlemen, for eighteen years,I have devoted myself to the theater,
brain, soul, heart, spirit. I have given them all stintingly in
the service of that beautiful, devouringmistress of us, all the theater,

(09:05):
for the toil of my hands,the anguish of my spirit. I have
built this beautiful theater in which youstand today. Who have I built it
for the public Philistein's bootleggers, No, the playwrights, hacks, plagiarists.
No, this beautiful theater that Ihave built for the toil of my hands,
the anguish of my spirit, Ihave built it for you and you

(09:28):
alone, You the sinews and thesoul of the theater. You the true
artists, For you, the actors. These people are waiting to see you
about casting casting. Oh no,no, not today, not to They
come again, my friends, comeagain, whenever you wish. Remember,
the doors of this beautiful theater arealways open to you. Goodbye, my
friends, goodbye, and remember,no matter what, I love you all

(09:54):
all rif folks. All right,that's all the play at all Jacobs.
Yes, mister Romalley, the boysays, it's a girl with bangs.
Uh, the fourth one on theright, the green dress and eyes like
amethysts. Send her up. Hewants to see her right away. Alright,

(10:15):
mister Romanley, I get it.Hey you sugar, he's yes,
sire. Come in, my dear, come in. Don't be nervous,
my dear. What's your name?Mildred Plotkin Plotkin? Good? Then we'll

(10:39):
stand up and let me look atyou, my dear. Yuh, I
walk across the room now, justuh walk slowly slowly head up mm.
And we don't have to begin atthe very beginning, O'Malley, at the
very beginning. Now, my dear, let me hear you speak the tambour
of your voice. Watch I saysay, Let me say, I love

(11:01):
you, I love you, O'Malley. When uh, when did you say
her name was Mildred Plotkin? Fromnow on, O'Malley, she is Lily
Garland. Oh that's beautiful. CanI try it again? I love you
erh, my dear, have youever been in love? No, sir,
that is not really. Then there'sa boy who lived on the concourse.

(11:22):
Please please pease, try again.I love you, I love you.
It's again with feeling. Please,I love you. Yeah. So
the spark is there, The sparkis there. You wanna be an actress?
Yes, sir? Do you knowwhat it means to be an actress?
Well, sir, grudgery, mydear disappointment, my dear failure,

(11:43):
which take the toil of your youth, your strength, your beauty, for
you are beautiful, Lily Garland.Oh oh thanks, And you have to
learn to live. To live,you will have to learn to experience love,
the deep shattering passions that will unloosethe hidden well springs of your being.

(12:07):
Uh. O'Malley, yes, sire, O'Malley. Oh yes, sire,
o'maley. Okay sire. Now,then, my dear, you can
be quite at your ease. Let'stry it again. I love you,

(12:28):
I love you. Yeah, oncemore, my dear pear shaped orange.
I love you. I love you, I love you, I love you,
I love you, I love you. So that's how this here romance

(12:54):
came about. It's almost nine yearsnow since the names of Oscar Jaffe and
Lily Garland was vice link in thecolumns, the most terrific romance of the
modern theater, history and business,ladies and gentlemen. Oscar Jaffy and Lily
Garland was big money in this town. Seven in a row smash hits.
Remember the titles The Heart of NorthCarolina, Undaunted, the Heart of South

(13:16):
Carolina, The Smirched, the Sinof Ivory Dupries, and finally the postcard.
It looked like they couldn't miss thosetwo. You know, it was
too bad in the way that themtoo split up. Nobody on Broadway could
figure what really happened there. Maybethat's always the way with great love.
Two years ago that was Garlan picksup and goes to Hollywood, and now

(13:37):
she's the hottest thing in pictures.And what happens to Jaffey, Well,
he splits with Garland. That wasfor him the beginning of the Tobaggon Flop
flop flop. Yes, sir,things is looking pretty bad for Jaffe.
He closes his show in Chicago afterfive nights. Joanne of Arc It cost
him seventy five grand. Imagine ita lot of men in ten suits and

(14:01):
are revolving stage. I don't knowhow he gets out of town, but
he does. He gets out yesterdayat two forty on the twentieth century,
and that's when this yere great lovestory starts, and again on the twentieth
century. Hey, where's the chief? He's gonna miss the train and search

(14:26):
me. He ought to be hereby now. You don't suppose the sheriff
nabbed him doing that. Hasn't knowa sheriff in Chicago fast enough to catch
up with the chief when he's dodgingthem. I tell you I had a
hard time getting out of that theatermyself this morning. Four writs and two
attachments. This is our worst flopyet. It was no excuse for this
one either, Joan of Arc sixteenangels and ninety two extras and full suits
of armor with cross bows, morepeople on the stage than in the audience.

(14:48):
You'd think he'd learn, wouldn't younot ask a jaffy once he gets
an idea? Oh hey, hey, there, you Tasmanian, take it.
Take a hold what western jaffy isnot bought yet? Can't help that
this train start on time. That'sthe chaffier novus, you start this train
over my dead party. Hey youwere misia goduin you a hurriz moveing I

(15:09):
around a comper? Hey? Hey, where the emergency carse? How are
you doing? Do you want toput you at all? Right? Teamic
Church? Now you're gon wait tilla train to think the material? Have
you and hand brakes to last thechaff you can't you up with your fry
you and last yeaffy, old chaffy. O'mellye where? And everyone deserted me?

(15:33):
Sorry, Chief, I didn't knowyou were on board. Of course
I'm on board. I got onthe observation car and walked through. Okay,
con doctor, sorry for a littlelax and now you go ahead now
and stock your kiddy car. Getdrawing room, Maine. It is cheez.
Well, well we we almost busteda love getting it for your chief.
A very good, very good joeto the flowers fly. I distinctly
gave instructions to have drawing room bebanked with gardenias, Goddenias, the flowers

(15:56):
of love. I sent word tothe box off, Oh what you want?
You hanging around a box office waltzwith sixteen process servers lying in there
waiting for me, and then youwill have to stop drinking. O'melly,
you're no good to me this way. It's very discouraging. All right,
Sion, Now do you mind tellingme jes llograph Maurice, the Florestan's leaders
and all the guardeens he has drawingroom b this car? Okay, chief,
what's her name? I want thoseguardianas to contain a message. Let

(16:18):
me think. Now you sink tothe little lady of the snow sn she's
at this time. I've got itfrom the grave of someone you loved yesterday.
That not fine, A little ona sad side, and it's perfect.
Why can't I get playwrights to writelike that way? Take my code?
Well, yes to the next thing. Now, don't let me brood,

(16:40):
boys, will you? O'Malley gordolone. See they put me by myself
the big table. Oh how amI gonna do that? The diner is
past? Tell them it's for meand now go on. Give the man
five dollars you want me on privacy? Why don't you travel in a balloon?
And besides, we haven't got fivedollars. If you've got a minute,
I'd like to talk to you.Yes, what is it? Speak
up? Chief? You know whatour bank balance is? After Jodah,
I me with trivialities. Do youknow what I was thinking on my way

(17:03):
to the train with nothing more?But I hope I was thinking Web that
of all my sixty eight productions,the most beautiful was Joe in the Bark.
I saw the play five times andcried like a baby every time.
That revolving stage was pure genius.Well, revolving stage and all we did
exactly nine hundred and forty two dollarson those five performances, seventy five thousand
bucks in the hole. That makesthree flops right in a row. Yes,

(17:26):
but what a magnificent failure. IfI am a genius, Web,
it is because of my failures.Always remember that. Okay, And now
when you tell me what you're goingto do about that note for two hundred
and fifty thousand dollars the banks areholding, Web. Don't annoy me about
money matters. Now, do youmind? Web time, they're going to
take your theater away from you,My theater. Web. They wouldn't dare

(17:48):
got the writ last Thursday unless you'vegot the money tomorrow. They're going to
spring it. Who's back of that? I know? I can guess Matt's.
Jacob's that cheap, crooked little chiselthat I picked out of the gutter.
A man I kicked out of mytheater for stealing, a man on
whom I closed the iron door.No, Chief, it's not Max Jacobs.

(18:10):
It's the banks, all three banks. They got together last week.
Oh I did conspiracy. Well,I want to tell you something whereb it
takes more than a handful of banksto keep me down. Web, I'll
tell you a secret. A friendof ours is coming on board this train.
Who Lily Garland? Lily Garland?You mean you ever closed the iron

(18:33):
door on her? Web? Youknow that this morning I found out she
was returning from Hollywood, and bya miraculous coincidence, we're occupying a joining
drawing. You mean the guard geniusin Flowers of Love. Yes, well
that's something like it. Cheap withLily Garland's name on a contract. We
can walk into the bank tomorrow andride our own ticket sights where you me
worried she is? But we wereall through for goodness time. That's when
I'm at my best, Web,with my back against the wall. Disaster

(18:56):
staring me in the face. Henrythe Eighth, the Bride of Baghdad and
now Joan of arc No money,no credit, my theater, everything,
I have gone, everything but thename of Jaffy. Listen, jeep,
let me get this straight. Haveyou got Lily under contract? Oh,
don't be sordid with between me andLily bond more lasting than paper, thicker

(19:18):
than ingle. Look, chef,she's going to be pretty snoody after the
hit she's just made. What inthe movies? Lily Garland will never be
any good in the movie? Whatare you talking about? She won the
gold statue last year? What goldstatue? A big gold statue they give
away every year for the best performance. Who does that? Some academy?
That's impossible. She can't be anygood in the movies. Her face is
all wrong. It took me fouryears to make it look like a human

(19:38):
bechief. So long as Lily's goneis indefinite. I've got something constructive to
suggest. I got a telegram thismorning from Max Jacobs communicating with Max Jacobs
treachery. You listen, I'll tellyou what he's saying. I forbid you
ever to mention the name of MaxJacobs to me again, that's finals right.
His real name is Mantlebop Max mandlBomb of Galicians. I dismissed him

(20:03):
for stealing. We've got the facethe facts. You fired him because he
said Henry the Eighth was going tobe a flop and it was. What
does he know about the theater?That button hole maker? He knows enough
to produce three smash hits in arow while you've been laying one bad egg
after another. That's fact. I'vehad enough of your treachery. Get out.
It's in your interest the listener,this wire. You've shown your true
colors, web your fire. I'vehad just about enough. Get out,

(20:25):
I said, get out. Goto Mandlebomb, whatever his name. Let
me tell you you desist, Harriot, get out, come in. I'm
going. I'm going to way going. Mister Jaffy has fired me for the
last time. Get out, OliverWebb. I closed the iron door,
all right, go ahead? Closeit? A bet? She deserted,

(20:48):
betraying what no loyalty, no nogradler. Look, he asked, what
is it? Is it true?Lily Collins? On this train? She
is getting out of Anglewood, Hanglewood. This is angle one. So it
is. I'll pull down the shade, o'melley. She'll probably on the platform,
and I don't want her to seeme through the window. Shock might
unnerve her. Okay, cheef,all right, now I raise the shade.

(21:11):
That's it, just to crack somethingI look on. Don't let Lily
see you, Okay, cheef.H you see her, o'mealey, not
shed? Now do you see her, o'melley, Yeah, yeah, yeah,
here she comes back and bang.Tell me, O'Malley, is she
as beautiful as ever? Oh?I must see her, O'Malley, I

(21:34):
must see her. Good heavens,she's blind blind, those amethyst eyes dolled
forever. Ho Ah, hold yourhorse as chief. She's wearing sunglasses.
All those Hollywood girls wear'em sunglasses, the vulga buffoon chief. Now she's

(21:56):
on board. Open the door,just crack, just crack for near the
voice, right, it must be. Hey, what's the idea of picking
her back around? There's some perfumes. Eighteen dollars her voice, that's the
way, all right, that voice. Lily is coming back to us solo
on the level. In the heartof hearts, she knew she belonged to
me, into the theater. Ishall hold open the door of reconciliation by

(22:18):
offering a great legitimate role. Yougotta play for a chief, I repeat,
I shall offer her a great role, the greatest character ever put on
the stage, half devil, halfwoman who makes a great sacrifice for love.
Yeah, sure, I know,Chief, What have you got to
play? You know, something tangible? Something she can see herself walking around
the stage. And in my trunk, Omelle, there are a hundred plays,

(22:38):
each one a ah, that collectionof more thetan scripts. Now,
for the love of peat, Chief, you are know you can't pull plays
out of a hat, not realplace. I don't want to argue with
you. O'mellye find Web and tellhim to drow up a contract in legal
form. Web Web says you firedhim. I fired him. Oh,
so he's trying to take advantage ofthat? Is he? You tell whereby've
forgiven him? Tell where? Waita minute, who's there? I'll see

(23:06):
it's the phrase in the second baseof the House of David Baseball team,
my throw my proving talk with you. This is a matter of figure.
Mister Jeff is very busy for Melie. Please, don't you know I always
see people my my estro, thisis a great, great privilege. The

(23:26):
last miss I was the special petnine. Well you're gonna talk, spit
it out, well, my frienddon't speak English, so good my throw
Irish do this minute August. Maybethe Maestro has seen it sometimes. Of
course, of course I seldom forgetas looking forward throw nine. We actors

(23:52):
from the Miracle play from Obaamaica.Of course, of course I should have
recognized you. Stand up, o'melle. These gentlemen represent the purest branch of
the theater. Oh boys, O'Malley, take off your head. These are
the only pure actors we have left. Do you like the United States?
Man? We don't like it,though, good. We got lots of

(24:12):
trouble, Maestro, we got nothingto eat. Oh so you want to
borrow some money? Do you sayto our the great mast it's so chane
even take pity and of polofs.Gentlemen, you are engaged to Malie.
Tell web drop contracts right away,two hundred a week, one hundred and

(24:36):
fifty run of the play. Givethem advance, don't you very may good?
That's a lend of Mignis and shefor the love of Michael. Argument,
no argument, okay, sire.All right, boys, beat it,
beat it, see you later.We can never thank you enough.
All right, goodbye? Now listen, Chief, are you clean off your

(25:03):
nut? Do you know what itwill cost a transport that bunch of itinerant
whiskers across the country. It's aninspirational malle. You don't understand these things.
Just when my back was against thewall, I am going to produce
the miracle plan. What the miracleplan? Now? Listen, Chief,
Now listen. I've stood for otherforny ideas, but I'm not gonna let
you get mixed up in any ofthat high art like that. You forget
yourself, o Melee. The Miracleis the most exalted drama in human history.

(25:27):
It will be colossal, sublime,my ultimate achievement. Well anyway will
help us forget Lily Galla. Onthe contrary of Mellee, I'm doing it
for her. For Lily galland theMiracle Plan, the role of the Salome.
It's perfect casting. The part fitslike a glove. It'll crown her
career in the theater. Waitill Itell her, wait, wait until she
hears about it. It's well,Chief, it's whap. You may come

(25:49):
in, mister Webb, I havedecided, for the sake of your wife
and child to take you back.The innocent shall not suffer with the guilty.
Oh thanks, Jeef. Listen,I've just been talking to Lily.
Lily Garland. You've been talking toLily, that's right, and between you
and me, cheap is not goingto be so easy. What do you
mean the moment I mentioned your name, you told her I was on the
train before I could think, no, go on. The moment I mentioned

(26:11):
your name, she began screaming atme like a fish. Lion sareamed like
a fish. Wife. Eh good, That shows the battery, isn't that.
She said she never wanted to seeyou again. She said she wished
she never had seen you. Shesaid that to me, I who taught
her everything. She knows I madea great actress out of her, with
all Broadway at her feet. Sheworshiped me. Lilian I were Lillian I.

(26:32):
Ours was the great romance of thetheater, besided Jooser and the nuncio
with peel fires. What did yousay to her, web, Well,
I sort of passed the time ofday, you know, sort of casual.
You didn't give her any false ideasabout her being necessary to me a
word. All right, gentlemen,the time has come. I'm going in
to talk with her. Now.Let me tell you web, the destinies
of Lily Garland and Oscar Jaffy arebound together by hoops of steel. Open

(26:56):
the door, Omelley into a drawingroom, m into my past time,
going to reclaim a soul from Hollywood. Lily Garlands, Unscar Jesse, Lily,

(27:18):
Oscar Oscar, Lily, poor Lily. And what do you mean by
that? Oh? You know whatI mean, Lily, I saw it
saw what What on earth are youtalking about? That movie? That last
movie? When I saw that lastmovie of yours, I blame myself,
only myself. Then oh, ohyou saw it. Everybody said I was

(27:41):
marveling. I'm sorry, Lily.There were moments when you were marvelous,
the real you coming through. Butthat cheap story, Lily, that I'm
imaginative director, No right there,Oscar, the director was an idiot.
Did I have to fight to getmy own ideas across? You were like
a magnificent ruby set in a paleof lick. You put yourself back ten
years, Lily, ten years.You just have to fight them all the

(28:03):
time, I can understand, Lily. You're a great artist's a great woman.
I never appreciated you until I lostyou. Don right you didn't.
You haven't had a hit since.All your grand illusions if you were Shakespeare,
Napoleon and the grand line up tobet or rolled into one absolutely right
to what I realized now that inthe largest sense it was not Oscar Jeffy

(28:26):
who made Lily Garland. It wasLily Garland who made Oscar Jeffie. Oh,
I'm glad you comes with knowledge.Now I've paid for my mistake a
thousand times. Fast time, let'snot ska. If all this is a
preliminary or contract, you can saveyour breath. Contract contract? Who said
anything about a contract? Don't kidme? You do anything to get my
name on a contract? Oh no, Lily, No, I came here

(28:47):
with a dream we both had longago. The thing we planned is a
climax to your career, last stepin the golden stair. For the love
of Mike, will you stop beingmysterious? What is it you're trying to
pull out of a bed, Lily? Another part where I'm not worthy of
a lieutenant's love and make a greatsacrim No Lily. No, what is
it Montezuma again on that big dramaabout hairpin any the pride of a guest.

(29:11):
No, Lily, none of thesethings. This just happens to be
the greatest woman of all times.Just her memory, Lily has kept the
world in tears for centuries. SalomeSalomy, Lily. Listen to me,
Lily Garland. I'm going to putthe Miracle play on in New York with
Lily Garland, a Salome head inmy sleep, all this time, waiting

(29:32):
for the right moment. You playthe wickedest woman of her age, sensual,
heartless, beautiful, corrupting everything shetouches, running the gamut from gutter
to glory. Can't you see aLily, I'm going to have Alexander the
Great strangle himself with her hair.I can see the whole thing. Sally
Salome in the beginning of a younggirl, innocent childlife. And then after

(29:55):
having been heart broken by some manshe loved madly and trusted, she went
down down into the depths, andall men lasting, at times laughing at
them, so cruel, so terrible. It would be the greatest production I've
ever made. L A. Ibrought over an entire troop from Europe took
him away from max Hinhich cost memy shirt, but I wanted them.

(30:15):
Two of them are geniuses in allaround five years and have every dollar it
makes. All I want is tostagger New York a desert scene with one
hundred camels and real sand brought overfrom Arabia. I'm going to have a
Babylonian bank. With the second act, you're dancing with all your clays around
here, you're covered with emeralds,and that scene from head to foot.
But that's nothing to the finish,where you stand in rags and the Emperor

(30:37):
Nero himself offers you half his empire, and you answer him with a speech
of prophets, the greatest piece ofliterature ever written. With all the lights
pouring down on you, transfigured bylove and sacrifice, Nero cringes. And
the last we see of you,the little figure selling alive skin the market
place. Ha ha ha, You'recrazy. What do you mean? Ask

(31:02):
you? You're a surecase of leapingparanoise. Don't be Chief Lily coming in
here with pamels and sami from Arabia. You're a street You're going to put
on a miracle place. You haven'tone hundred dollars to your name. I
can raise a million to me,yes, and I know how you intend
to raise it. Get my nameon a contract, and God's peddling it
to shake down some new angel onthe strength of my reputation. No,

(31:22):
thank you, I'm throving your mealticket, Oscar Jeffe. You're at liberty
to call up any one of mybanks in the morning. You're banks?
Do you mean the ones that aretaking a theater away from you? That's
a lie. You've been listening tomy enemies. I've been listening to mister
Webb. You're so called business manager. He broke in here with some sob
story about you're going to commit suicideunless I took kitty on you. Well
go on out and commit it.It'll be a blessing to everybody concerned you,

(31:44):
scorpion. Mister Webb is no longerwith me. I fired him for
Steve. Don't shut up. I'vehad enough of your life, Willly Garland.
I've offered you a last chance tobecome immortal, Thank you, but
I've decided to stay mortal with ourresponsible management. Oh next, Jacob,
Oh, can't believe it? No, I'll read the papers tomorrow. Then

(32:05):
he's meeting the train at Toledo,and I'm going to sign with him.
Max Jacob smacks Jacob. She's athief, illiterate. He can hardly write
his name. Well, he writesit all right on checks, great big
checks too. Now it's the money, the money, that's all you want.
Money, money, money. IfI jingle a miserable ten or fifteen
thousand to two, your mouth hadbegin to water, you'd start drooling and
squealing. Give me, give meAmy, give right, Oscar, Now

(32:28):
get out. Before I had theporter throw you off the train. You
fake. You swim that, youcheap little chaper hornering that bell. I'll
tell the world who's a fake youare. I made you. I taught
you everything. You know, yourvoice, your walk, your cheap little
talent their mine. I gave themto you. I gave up everything to
breathe them into you. Even yourname, Lily Garland, I gave you

(32:50):
that. Well, if there's ajustice in heaven, Mildred Plotin, you'll
end up where you belong, inthe Burlass houses. You are listening to
the Campbell Playhouse Presentation of Twentieth Centuryby messrs hect MacArthur and mill Holland,

(33:15):
and starring orson Wells with a listof Landy and Sam Levine. This is
the Columbia Broadcasting system. This isErnest Chapel, Ladies and gentlemen, welcoming

(33:45):
you back to the Campbell Playhouse.In a moment or two, we will
resume our story twentieth century, startingArson Wells with a list of Landy and
sam Levine. The train on whichour story takes place is one of the
modern streamliners that typify the great progressmade in railroad travel. You can see
this the same progress reflected all aroundyou in radio, in home building,
and in many other activities. Takefor example, a modern efficiency and ease

(34:07):
of meal planning. Today you canserve the finest of soups quickly, conveniently,
and economically for any meal. Goodhearty homy vegetable soup is yours in
a few minutes. Full flavored chickensoup can be had for lunch or dinner
any day. Many A soup thatused to be considered expensive or difficult to
make is served now as simply assaying ABC. These soups come in red

(34:30):
and white labeled cans marked cambos.Their convenience in serving is as modern as
streamlining. But I do want toimpress upon you one thing underneath the label.
Campbell soups are the good old fashionedkind. There's nothing newfangled about their
carefully hand picked ingredients, their triedand true recipes, or their old home
soup kettle flavor. Home cooks havediscovered that there's genuine home cooked pleasure in

(34:53):
every plateful, every spoonful of Cambellsoup. It's this old fashioned good eating
that has made Campbell soups, thoughpopular, though heartily approved in many thousands
of rome. Now we resume ourstory twentieth century Darling arsin Wells with Alitta
and Andy and Sam Levine web Web, o'malie, I'm here, Jeeves.

(35:25):
Well, how'd you make out withLily Gan? O'Malley? Were that's councre
Web. Oh he's around, Chief. I saw him a few moments ago
in a club car talking a littlebowso with gray head more treachery? What
do you mean, jee double crossed? You know what he did to me?
Betrayed me, told Lily God andI was broke and helped me.
Wait a minute, Chief, maybeyou've got him wrong, wrong, I'm
never wrong. I'm going to killhim with my bare hands. Noiles should

(35:45):
wrangle him. So help me,even if I have to go to the
chair, brick to the chair.Who is it? Come in, Web,
you pray, rack and shut thedoors litten deep Look, Keeeth,
what do you mean by telling LilyColumn, I've been talking with a man.
Don't try to change the subject youHe's going to finance the miracle?
Play woo? Who a man?I met the toubcr I talked to me

(36:10):
to putting up the money for thewhole thing? Who did once? Web?
Is this another of your court's attemptsto be funny? Tonny? Take
a look at this? Check?Is that funny? Tack? Two hundred
thousand dollars? That doll? Web? Who is this man? What do
you know about him? He's MatthewC. Sark of the patent medicine Minion,
Holy Matt, and he's crazy aboutthe miracles? Three, O'Malley,
what did I tell you? Literally? The justice? We haven't webb by
apologize he's done well, he's donenobody. I always said you're a man

(36:32):
of imagination and iron will thanks Andnow, gentlemen, Action Action, web
get ahold of this man clock bringhim here. I want to see you
by the way, Kief, andthen take that contract. You drow up
and go and see Lily. Showher the check you know. Player along,
I get you deep need today.That's the Max Jacobs gets on the
train at Toledo. He's going toget a little surprised. O'Malley. Now
take a telegram John Ringling in theRingling Brothers circus. Dear John, I

(36:53):
am in the market for twenty fivecamels, twenty sheep, a few elephants,
an ibis one an ibist. That'sthe royal bird of Egypt. Bill
Mallie know why I mean rock bottomprice, asked Jackie. What about lions?
You have to cap to London Zoofor them. They have the best
specimens. Will need ten or twelveat least. Where are we gonna house
all these mone I'll construct a littlezoo off the green room. I'm going
to rebuild a whole theater. Itmakes look like a grotttle grotto. Gottl

(37:16):
do you, by any chance rememberthe name of the Sultan of Turkey hand?
Why are you gonna use him inthe show too? No? But
I need about a dozen of hisservices, the whirling ones. Never mind,
we take it up with a Turkishand Arabian consuls? How many sheep
did I order? Ay? Changethat to read fifty? We don't want
to stip Come in, this ismister Clark. Clark. I want you
to meet mister Jeffie. How doyou do, mister Clark? How do

(37:37):
you do, mister Jesse Clark,mister Malley, my past agent. I
strength, Oh there, delighted,delighted mister Clark, with what mister Webb
has told me. Be a greatprivilege to associated with you. I assure
you, sir, it's a greatprivilege to me, mister, a great
privilege. You just sit over hereby the window, mister Klark, and
he said, I think come fitwhere one about Lily say I supposed to

(38:01):
achieve? Not in, mister Clark. It seems to me that since we
are to be associated, we shouldbecome better acquainted, don't you think so?
Indeed, yes, mister Jefse,I am really quite thrilled by the
whole scene. Your adventure is oneof the very worthiest efforts that this country
has ever seen. I agree withyou, mister Clark. I drew you
I agree there is. There's nothinglike the living theater. Miss Clark's delivering

(38:23):
greatness is Oh, indeed that istrue night tonight, mister Clark, when
those enormous audiences are sitting in thestill bound before the genius of Lily's Garden
in the world of the Garland,I'm considering in it one of the parts.
What's the professional episte? Oh,I don't think that's what doing,

(38:44):
mister jeff I shouldn't like to havedisplay contaminated by any woman of the steam.
As I see your point, It'sctnor'sspiritual flavor. I must come over
in a bath of glory. Anychall It'scark you're calling that, Miss Cork.
Shall it so happens to course tosee character Salome? Or are we
going to have a Salome in theplace. Oh, she's not one of

(39:07):
my favorite characters. I've always preferredthat, right God I, miss comment.
Yes, it's just in time.We were discussing the character Salame.
Mister Clark, here wait a minuteafter. I haven't made up my mind.
That's a whole lot of questions,many as you like. But in

(39:28):
the meantime I want you to meetyou associate to me I have to give
mister Clark. Oh oh, misterClott, how do you do? Yes,
course, delight kid. Well,well, mister Clark, mister Webb
told me all about you. Areyou really joining the theater lost exactly?
But I feel that despite my constributionof financial help, I can bring people's

(39:52):
closer to the spit, to thetruth of spiritual thing. That's just what
I told mister Jess. If itwas just an ordinary show, I wouldn't
be into seeing as I'm cleaning upin the movies anyway. But when the
the Jackie told me that it wasa miracle play, well, well I
didn't realize it as most people havea wrong idea about extracusis the Clark?
Now take me. I found thechurch practically every Sunday of my life,

(40:15):
and most of the time I've hada class on Sunday stool and who else
there? You have a issue againwhat I mean? Don't need to say
anything furtherm It's God, and I'msure you would be a blended addition to
our time you swell up. Itotal just think it's the oe o Malie.
See it is, yes true,the House of David, My gentlemen,

(40:38):
just in time, we've found somemiracles. Clark. We was afraid
it was lost. Yeah, yeah, we've found it in the lunch park
at FO The lunch parx is alwaysempty of nobody looking there. Very fucha
m it's Garlins the clerk. Iwant you to meet those two remarkable artists.
I have engaged them for our production. Do you how do you do

(40:59):
members of the original Rabaga Miracle play? Yeah? Yeah, my soul ober
Abagau and also unto Rabaga. YeahU is much older, yeah, much
older. July sixteen, eighteen,sixteen eighteen. I'll say here ask I
thought this was an original play,you know perfectly where you can't make a
nickel on a revival. Every timeyou pride it, it's been a fly.

(41:22):
I won't pipe down. This ladygoing to act in our company.
Miss Garland gentlemen is the famous actress. I'm engaging her for the role of
Telome the Lomi ah nine, there'sthe lonely part. It's always played by
my didn't because Tina. Yeah,she's in Milwaukee. Indeed, Oh,
I've always had a fundersaw Milwaukee.Looks like we're putting into Toledo cheese.

(41:45):
Yeah. Now, Lily suppose youand I go into your drawing room,
settle the detailed by contract, andmy dad that is a melee? Yes
or yes? Conductor has come quietly? Really a well, you're getting off
of Toledo, you know, missSmart. You remember the telegram you got
from your brother? Oh yes,I remember the tell example. Oh dear,

(42:07):
I'm sorry, ladies and gentlemember thatI should have to leave now.
The spot will be in Toledo.And a minute now I'm coming, Coronductor,
I'm coming quite far. This israther unexpected. Yes, yes,
but it can't be health time afraidyou see I I didn't I didn't.

(42:27):
You come right along? The portwill take care of you back. Yes,
yes, yes's west, goodbye,everybody, goodbye, goodbye, Hey,
good duckt In just a minute,let's come here. What's the idea?
Quite all right? Sorry, it'squite harmless. I mean harmless.
Well, they've been hunting him fortwo weeks to escape from Alona, take
asylum. Holy smoke, his brother'smeeting him to take him off the train
of Toledo. You mean he's anot The logans are grand to Madame America.

(42:50):
All I understand. He has ahabit of writing out large checks on
the spur of the moment. Butfew people I suspect would take him seriously.
Well, good day, Really,don't you walk for me? Off
Jeffy, Lily, I swear allthe cheap, deliberate lou dog tends to
swimmer. Lily as heaven is myjudge. I knew nothing about it.
I give you my word, Lily, I would stoopid let me out of

(43:12):
here. You and suddenly like noman ever there, Lily, I was
bamboozled. Get away from that,jow Lily, say take of a great
love, Ryan, not Lily,Lily. Well there go sell me.
O'melly whip. I'm dizzy, everything'sgoing around. Look boy, what is

(43:38):
it? Jee? Look he's come. He put on earth, he's come
out there on the platform. It'shim. He's he's come for her,
the button hole maker, Max Jacob. This is the end with o'melly.
This is the end the road thathas no turney, o'melly whip. Before

(44:00):
I go, there are a fewwords, and I could say, I
listened, Chief, We're in nomood for fuzzy lem I keep too long,
just a few words, a fewlast words, skip the Chief.
We've had enough When you get throughthat with you, O'Malley, I'd like
to borrow it. He's made adipital maniac of It's typical of my career.
That's in the great crisis of mylife. I should be flanked by
two alcoholics. Web. I wantto give you my last instruction. Oh,

(44:21):
I know your last will and testament. There's nothing left for me now,
but let them chief put down thatgun now. I know it isn't
long, but all the same,it gives me the jitners. Not loaded?
Did you say? Not loaded?You regret those words all of the
web. When I passed all ofthe great the ards, he left it
to me. When I've done,left and a light peace peace. Oh,

(44:45):
I know you'll feel badly for awhile. A voice. Believe me,
it's better this way yesterday, Ok, good jappy the Wizard of Broadway
tomorrow a foolish old past haunting thetheater lobbies on other managers. First night,

(45:05):
boys, you wouldn't want to seeme that way. Boys, you'll
remember me when you hear that wildsound in the night. Goodbye, boys,
this is not he's probably faking.We can't take any chances. Get
that gun o made O'Malley boys,let me do it. Let me do
it. Your wife, gun,she's not give me that gun? O

(45:28):
what you're blithering idiots? You'll shotme. Well, that's how it's good
with this heromance at eight pm,when the twentieth century pulls into Toledo for
a while. There it looks tome like I'm going to do all right.
In one pocket I got a script, a new play by Somerset Morgan.

(45:49):
And the other pocket is a contractfor Gollan. And there she is
waiting for me on the trains,me little mag stations I used to wait
as an office boy for the greatOscar Jackson and ladies and gentlemen. Never
looks so good in her life.I'll take him an easy. Is it
hurting your cheese? Oh, itdoesn't matter. This is the end,

(46:10):
nothing matters. Yes it is.Yes, I can feel my life blood
seeping away. Hear those I don'tlike that? Where did you get your
cheek through the heart, through theheart, through the heart. Wait a
minute, cheese, what keep you'recrazy? It's touch your crash wood in
the shoulder. The bullet on hiscrashed you dead? Sure we look at

(46:34):
it, O mad? I meanI'm not dying at this time. Cheese,
what are we doing the cheese?Lily? Wait a minute, Wait
a minute. I have an idea. I've got an idea. Take your
handkerchief, web and tie a bandagearound the wool case. Take you on.
Let Lily come in and lock thedoor after anything. You say,
che Oh, come in, Lily, what you had? Oscar? Lily,

(47:04):
Lily, is that human? Ye'sOscar? It's me. Forgive me,
Lily, forgive me. No,it's the only way else, No,
m the only way to atone forall. My failure is my failure
in my work, my failure withyou, Lily, my failure, Oscar.
You mustn't sigh. Oh, youmustn't sign a doctor too late.

(47:29):
It's going fast. I feel mylife blood seeping away. All I want,
Lily is to hold your hand whilemy life is uner. Before I
go, Lily, I want youto know I always not you, Lily,
always, I know, Oscar,You're always the only one with me,

(47:52):
the only one I love. Youmake me so happy, Lilpy,
Who happened? Why did you dothis terrible thing? The best? Lily,
nothing less? Who gives me?Too late? Lily? Oh?

(48:15):
Good it's not too late. It'snever too late. I love like ours.
Oh it's getting dark dark, soonit'll be over. Don't cry,
Lily, don't cry, dear lovelyLily was good, Darling. That's only
one last sequence. I'd like tomake, Lily. The contract, Lily,

(48:39):
that last contract we made. Iwant it buried with me. I
want it with me, down belowthe ground, against my body. Lily.
Will you write your name on itsomewhere so that I may have something
of you to keep me through thelaw. Better doing, Lily, to
make it easier. Last week,Lily, getting dark? Better do a

(49:01):
Lily, I'll never forgive yourself.He's going going faster. Then give it
to me quick, the Lily Garland. Thank you, Lily, Now give
it to me. Well, Ican still see it before my eyes.
Tight, jes well, who's thatcalling for you? All right, boys,

(49:28):
open up, I've got the contract. Open it up. Lily Garland
is signed with Oscar Jeffy, you'retoo late, Max Mandelbaum. And that,
Ladies and Gentlemen, concludes my littlestory of a great romance. By

(49:49):
the time the twentieth century gets intoGrand Central, it looks like the Jassie
galland merger will be solid. Andit looks like Lily is gonna do very
good in Oscar's new play. Andas to the great man himself, he's
making a quick recovery next door indrawing room as I love you, my
dear, I love you, Ilove only you. Stop Lily. That's

(50:12):
terrible, horrible. No poetry,no feeling, no death. Now look
here after empty flat collars. Youdon't sell me in Brian again, my
dear, I love Matt and Iwant more pear sheets. Part I love
you, I love you, Ilove you, I love you, I

(50:34):
love you, I love you,I love you. This concludes a Campbell

(50:55):
Playhouse presentation of twentieth century by BenHext, Charles Cauthur and Charles Bruce Nillholland
starring Austin Wells with Alisa Landy andSam Levine's It's just a Moment, Austin
Wells or bring us his guests ofthe evening. In the meantime, here
is and it's Chapel. A fewminutes ago, I spoke of vegetable soup
as a great family, Samby.That's true not only to day, but

(51:17):
as far back as the cookbooks go. It's true. Wherever you go,
whatever community you might visit, you'dfind vegetable soup a familiar, well liked
family dish. For a long time, a great many women felt that vegetable
soup could be at its best mustbe home made. But one by one
they've discovered Campbell's Vegetable Soup, sothat with millions of families, Campbell's has

(51:37):
replaced the vegetable soup formerly made athome. The reason you'll find in the
soup because here's a soup that's heartyand delicious in a homey, old fashioned
way, and yet convenient and economicalto serve any time. If you'll try
Campbell's Vegetable Soup tomorrow, you'll discoverfor yourself why it has become such a
universal favorite. You'll see why inits tempting appearance. You'll taste far in

(52:00):
its grand, homelike flavors. You'llenjoy the good eating and it's nourishing blend
of fifteen delicious garden vegetables and richbeef stock. I'm sure you'll say it's
so substantial it's almost a meal initself. But do try it this weekend
and learn firsthand how convenient it isin the kitchen, how delicious it is
at the table. Remember to askyour grocer in the morning for Campbell's vegetable

(52:22):
soup. And now here is AusonWelles. Ladies and gentlemen, May I
present our guests at eating, MissAlica Lande when you've just heard it's the
temperamental Lily Garland, mister Sam Lavin, who was our owen O'Malley, and
Richard Mayney, who is a littlelike o'an, o'manny or o' and o
Mane or Maney, the most activeand successful of the current Broadway press agents.

(52:45):
If Landy, it's Lavine, misterMaine. Ladies and gentlemen, Miss
Landy, have you ever encountered misterManie in it's professional capacity. I've known
of him, of course, aswe all do in the theater. Did
you never active express sent in forone of my plays. I'm very pleased
to meet you, sir. Howdo you do, oh, ladies and
gentlemen. Before before we began theplay tonight, I promised you we would
have with us a Broadway personality whoserved as a model for one of the

(53:05):
characters. He is Richard Many,press agent par excellence, a man of
voodoo personality and the luring vices ofspeech, who was transplanted out of life
onto the stage by Ben Hecht andCharles MacArthur to make the owen O'Malley you've
been listening to, and now justto make everything sound and secure. He
was also engaged by the producers oftwentieth century to act as a press agent
for the show in which he wasbeing duplicated. He is an unrelenting times

(53:30):
square, realistic, cheerfully belligerent barroomscholar who can turn an argument into a
shambles with such phrases as you dithering, igorot, you foul, corsican,
and other weird word associations you heardtonight, most of them faithful transcriptions of
Manian action. It is his privatebrand addiction, a sort of conversational rubber

(53:51):
hose which stuns without cutting, andwhile tremendously effective, lease nomarks of the
coroner to determine how the dictum inthe debates killed. You stand accused of
being a notorious Broadway character. Youplead guilty or not guilty? Well,
orsoned, my inquisitorial friends, Mineis an ancient trade which I won't deny.
Has his sordid aspects, but that'llbe frayed their widow, an arson

(54:14):
or an editor. Tell us,mister manie, what does the press agents
do while the bosses, as yousay, meditating. I've got poor bosses
meditating right now in the respective dramaemporium, and I'm probably suspected by all
of them. But I'll tell youthe first study of the theatrical drum beader
is to hold the boss's head afterthe premiere, and while shoveling in the
aspirins, convince him the critics andnot banded together in a foul pot to

(54:37):
destroy him bodily. I've seen thisman, who's your favorite infrastarium? Hey,
you're trying to get me fired.I love them all. I have
no favorite, and lets it's BillyRods. He pays off every week,
and he produced Jumbo, And tellus about Jumbo, mister manie, Wasn't
that supposed to be the biggest showof all time? That's Elephants ballet.
Billy Rowds conceived that when night fellin a trance, he hails me in

(54:59):
and told me to play Askally's nameover the Palasades cliff one hundred foot letters
as the only setting expression of hisstart ganto an idea. He didn't get
the billboard right to the palatage,but he did take over the old hipodrome
and completely rebuild it. The showhas rehearsed longer than his play and postponed
so many times he was older beforeit opened in most Broadway successes. Thanks
then the midget mice Coach stage offort Worth Fair offered to buy a Hollywood

(55:22):
and turning part Hotters Blooded part ofCleveland that said a hundred diving girls in
the tank. She is currently involvedin diverting Long Island Sound into the World's
Fair for the same start of show. Thank you mister Mani for the dissertation
on the lightest side of first agingthing. And you miss Landy, and
you miss Levine on behalf of mysponsors making the Campbell Suits and my colleagues
Campbell Playhouse as well as myself.Thank you very very much for being with

(55:45):
the Secceilis In the Night Campbell Playhouseproduction of twentieth Century Arston Wells was heard
in the role of Jutty Elisa Andyplayed the part of Lily's Sam Levine Edi
O'Malley Webb was played by Ray Collins, the two players by Everett Floan and

(56:05):
Teddy Bergman, and Carke by EdgarKent. Gus Shilling was Jacobs, and
Howard Tyson was the trained dispatcher.Music for the playhouse is arranged and conducted
by Bernard Hermann and now Orson Welles. Will you tell us please about next
week's story, next week? Nextweek's story, next week. We're proud
to bring you a modern American classic, a story of life in a more

(56:27):
colorful and leisurely aged than knowledge ofthe strolling players whose theater floated yearly down
the longest river in the world ofMississippis. It's Edna Berber's great novel.
Show vote, it's Margaret Sullivan,an unforgettable star of our own dramatization of
Rebecca, returns to us as Magnolia. If Helen Morgan plays Julie departed in
the minds the American public is almostsynonymous for their names and our distinguished authors.

(56:52):
Herself, miss Edna Ferber is sayingit's the compliment of making her various
first appearance as an actress in therole of power Dan Hawk. So until
next week, until show Boat,my sponsors, the makers of campus hoops
all of us the Campbell Playhouse formein Opedient for yours, The makers of

(57:37):
Campbell's soups join Arson Wells and invitingyou to be with us at the Campbell
Playhouse again next Friday evening, whenMargaret Sullivan, Helen Morgan, and the
distinguished Authoress Edna Ferber herself will appearwith him in show Boat. Meanwhile,
if you have enjoyed Tonight's Campbell Playhousepresentation, won't you tell your grocery so
tomorrow when you order Campbell's Vegetable Soup. This is Ernest Tapples saying thank you

(58:00):
and good night,