July 26, 2025 • 59 mins
Offers dramatic narratives that delve into human emotions and experiences, each story crafted to resonate with listeners on a personal level.
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Speaker 1 (00:15):
The makers of Campbell's Soups present the Campbell Playhouse, Arson
Wells Producers.
Speaker 2 (00:42):
Good evening everyone, This is Edwin C. Hill and I
bring you exciting news tonight. Arson Wells takes over the
direction of the Campbell Playhouse and offers you as his
first production America's best seller Deafnely the MORI is Rebecca
with a great star Margaret Sullivan. Exciting news indeed, for
I am here to welcome the White Hope of the
(01:03):
American stage as the director and starred the Campbell Playhouse,
who writes his own radio scripts and directs them and
makes them live and breathe with the warmth of his genius.
There is no time to adventure into the story of
his life. And that's too bad, because it is a
tale that combines the best features of Baron Munchausen and
Alice in Wonderland.
Speaker 3 (01:23):
If ever a boy was born for an.
Speaker 2 (01:25):
Actor, he was. At thirteen, he was directing the Troopers
in the Todd School for Boys at Woodstock, Illinois, where
he produced thirty plays. At sixteen, he was playing leading
parts in Dublin at the famous Gates and Peacock and
Abbey Theaters. His American career is really too recent and
too well known to recount here. He's been the leading
(01:46):
man with Catherine Connell, with John Houseman. He founded the
Mercury Theater and has operated it with magical success. He
had four hits last year on Broadway, which beats Noel
Cowles record From Here to Kalamazoo. And he's generally recognized
today as being the most gifted stage director and actor
of our time. His radio productions have attracted universal attention.
(02:09):
His broadcastedly War of the Worlds last month, which I
dare say you remember, made radio history and a national sensation.
Speaker 3 (02:17):
Why did a.
Speaker 2 (02:18):
Fantastic story of an utterly imaginary invasion from Mars produced
this totally unexpected result? The result mister Wells, of course
greatly regretted. It was because, as in all his radio productions,
Orson Wells is a master of realism over the air
in radio unique exciting. He shocked you, he sent the
(02:41):
cold shivers racing up your spine. But that is not
the thing he does best, or best likes to do.
He loves to tell a story, a great human story,
welling up from the heart, brimming with deep and sincere emotions,
and lively with comedy, and such are the stories thrilling, delightful,
(03:01):
amusing he will bring to the Campbell Playhouse. Because of
all his gifts, his genius at playwriting, his ambition, his
dynamic direction is amazing, character active. He has been selected
by Campbell's as the ideal man to conduct the Campbell Playhouse.
And so to night Austen Wells makes his bows the
(03:21):
outstanding programme directed the air, and I have the very
great pleasure presenting him now, mister Austin well.
Speaker 4 (03:27):
Thank you, mister Hill.
Speaker 5 (03:28):
It's a great big chance for me and a great
big challenge. I faith in radio, and the makers of
Campbell's soups have enough confidence in me to give me
the direction of the Campbell Playhouse. Let's hope nobody is mistaken.
Speaker 2 (03:40):
Mister Wells, Could you tell us something of your aims,
perhaps something of the kind of thing you hope to
do with the Campbell Playhouse.
Speaker 5 (03:46):
While everybody likes a good story, and I think radio
is just about the best story teller there is. The
Campbell Playhouse is dedicated to the radio production of good stories,
stories from everywhere, from the stage, from moving pictures, and
from literature. Next week, REGs and were doing a comedy
Call It a Day, and then and then.
Speaker 4 (04:03):
Campbell's annual Christmas Present to.
Speaker 5 (04:05):
America Lionel Barrymore in Dickens's Immortal a Christmas Carol. And
after that there'll be Counselor at Law, A very Human
Portrait of present day people, Aerosmith by Saint Clair Lewis
with Helen Hayes, William march Is the Green Goddess, Hector
MacArthur's Hilarious Twentieth Century. In other words, all kinds of stories,
mostly modern, and all of them chosen for their suitability
(04:27):
to this medium. That's about all, except I'm going to
try to tell them just as well as.
Speaker 3 (04:32):
I know how Oh, I know you'll ring the bell.
Speaker 4 (04:34):
You know.
Speaker 5 (04:34):
The makers of Campbell's soups don't believe in all this
talk about the radio audience having the average mentality of
an eight year old child. They think the radio listeners
are the same people that go to the pictures in
the theater and read books. They reason that even the
most popular radio entertainment should be addressed to the adult
citizenry of America.
Speaker 4 (04:53):
I can only.
Speaker 5 (04:53):
Hope that what I do with the Campbell Playhouse will
prove how much they mean it, and how right they are.
Speaker 2 (04:59):
I I know it will. And now, just before you
ring up the curtain on the first act, will you
give us a word or two about the play? Gladly,
mister Holbet, if you'll pardon me. It's not a play,
it's a story, you see. I think that radio broadcasting
is different from motion pictures and the theater, and I'd
like to keep it that way. The Campbell Playhouse is
situated in a regular studio, not a theater. We have
no curtain, reel or imaginer, and as you see, no audience.
(05:22):
There's only one illusion. I'd like to create the illusion
of the story.
Speaker 3 (05:27):
But the star, too, is important, mister Wells, Is that
not so?
Speaker 4 (05:30):
Yes?
Speaker 5 (05:30):
Indeed, And I'd like to say how very fortunate I
am in having with me to night the loveliness and
the magic gift of Miss Margaret Sullivan. For Miss Sullivan
is my first choice for a great part, and a
great part it is, too, the most coveted of the season.
The Scarlet O'Hara of nineteen thirty eight, the heroine of
Daphne Dumoria's best selling novel, Rebecca. Rebecca is going to
(05:55):
be made into a movie by David Stelznick. It ought
to be one of the ten best. It's this year's
contender for the five foot Chelf, your best bet.
Speaker 4 (06:03):
For anything from a weekend to a desert island.
Speaker 3 (06:05):
And it's a book you should read, the ideal.
Speaker 4 (06:08):
Christmas gift to yourself.
Speaker 5 (06:10):
Mister Moyer has flattered me with her confidence in permitting
the Campbell Playhouse the great privilege of making for radio
the first dramatization of her book.
Speaker 3 (06:19):
I'm meeting her for.
Speaker 4 (06:19):
The first time tonight, before this broadcast is over.
Speaker 5 (06:22):
By special shortwave communications, she'll speak to us from London. So,
ladies and gentlemen, and mister Moyer, the Campbell Playhouse is
obediently yours.
Speaker 2 (06:43):
The Campbell Playhouse presents Rebecca, starring Margaret Sullivan and Awson.
Speaker 6 (06:49):
Well, we can never go back to Mandalalay again. The
purse is still too close to us. The things we
have tried to forget and put behind us would stir
(07:10):
once more. But sometimes in my dreams I go to
Manderley again. I see the house, the gray stone, shining
in the moonlight of my dream. The terrace slopes to
the lawns, and the lawns stretched to the sea like
a sheet of silver under the moon light comes from
(07:34):
the windows. The curtains blow softly in the night air.
And there in the library the door stands half open,
as if we had left it, with my handkerchief on
the table, beside the bowl of autumn roses, and the
charred embers of our log fire still smoldering against the morning.
(07:59):
I will what my life would be today if Missus
van Hoppa hadn't been a snob.
Speaker 7 (08:04):
Madly, my dear, why even you must have heard of Mandally.
That's Maxy wi Her at the table next to us,
the man who owns Mandally. They say he can't get
over his wife's death, an appalling tragedy.
Speaker 6 (08:16):
The papers were full of it, of course.
Speaker 7 (08:18):
They say he never talks about it, never mentioned her name.
She was drowned, you know, in a bay near Mandala.
I know he can hear nonsense, My dear, Go up
to my room quickly and find that letter from my nephew,
you know.
Speaker 6 (08:29):
The one written on his honeymoon with a snapshot.
Speaker 7 (08:31):
Bring it down to me right away.
Speaker 6 (08:32):
Hopa, I don't go, my dear, wits you're told, don't
dark hurry. When I came down, she had him sitting
beside her on the sofa. You look like no other
man I'd ever seen a man out of a long
distant pass.
Speaker 8 (08:51):
Oh there you are.
Speaker 2 (08:53):
My dear.
Speaker 7 (08:54):
This is mister Dewinter. Mister Dewinter is having coffee with it.
You know I recognize you, mister de Winter, just as
soon as you walked into the restaurant, and I thought,
why there's mister de Winter, Billy's friend. I simply must
show in those snapshots of Billy and his bride taking
on their honeymoon. Look, here are the snaps. Here they
are sunbathing at Palm Beach. He met her at that
party where I first met you at carriages in London.
(09:16):
But I dare say you don't remember an old woman like.
Speaker 5 (09:18):
Me on the country. I remember you very well. Excellent snapshots,
but it's very pretty. I don't think I should care
for Palm Beach well, of course.
Speaker 6 (09:27):
If one had a home like Mandally.
Speaker 7 (09:29):
I'm told Manderly's like fairyland. There's no other word for it.
I wonder you can ever bear to leave it. Mister
de Winter is so modest he won't admit it, but
he has one of the loveliest homes in England.
Speaker 6 (09:39):
They say that the minstrel gallery at.
Speaker 7 (09:41):
Mandeley is a gem, and the gardens is simply.
Speaker 8 (09:43):
The most perfect.
Speaker 6 (09:51):
Next morning, Missus van Hopper woke up with a sore
throat and the temperature. At noon, I went down to
the restaurant alone. I expected it to be empty. Nobody
lunched generally. Before one o'clock. He was sitting at the
table next to ours. I sat down, looking straight before me.
I unfolded my napkin and knocked over the vase of
(10:13):
flowers on my table.
Speaker 3 (10:14):
You can'tsider it a wet tableclock, Come on, get up water.
Speaker 4 (10:17):
They don't have lunch with me?
Speaker 6 (10:19):
No, no, I couldn't possibly.
Speaker 9 (10:20):
Why not?
Speaker 3 (10:21):
Well, you being polite with real not being polite.
Speaker 4 (10:24):
I'd like you to have lunch with me.
Speaker 6 (10:26):
You are very kind.
Speaker 4 (10:26):
I don't believe me. Oh, never mind, come on to that.
Speaker 5 (10:29):
We needn't talk to each other unless we feel like it.
Have your friend she seems a good deal older than you.
Speaker 4 (10:38):
What is she a relation?
Speaker 3 (10:40):
Have you known a law?
Speaker 5 (10:41):
Oh?
Speaker 6 (10:42):
She isn't really a friend. She's an employer. You see.
I'm what's called a companion. She paid me ninety pounds
a year.
Speaker 5 (10:49):
I didn't know one could buy companionship.
Speaker 4 (10:52):
What do you do it for?
Speaker 6 (10:53):
Ninety pounds is a lot of money. How old are
you nineteen?
Speaker 4 (10:58):
You're not afraid of the future.
Speaker 3 (11:00):
No am Johnny family, No, they are dead.
Speaker 5 (11:04):
Then we've got a bond in common, you and I.
We're both alone in the world. I have no companion.
I shall have to congratulate missus van Hopper. You're cheap
at ninety pounds a year.
Speaker 6 (11:15):
You forget you have a home and I have none.
Speaker 5 (11:18):
An empty house, my dear, can be as lonely as
a full hotel. The trouble is that it's less impersonal.
Speaker 6 (11:34):
I remember the feel of the leather seats in his
car as we drove in the afternoons along the Mediterranean.
I remember still in my ill fitting flannel suit, and
now the skirt was lighter than the coat. I remember
now glancing at my watch, I think to myself, this
moment now, now, at twenty minutes past three, this must
(11:58):
never be lost.
Speaker 3 (12:00):
Never You're a very silent companion.
Speaker 4 (12:05):
What are you thinking?
Speaker 6 (12:07):
I wish, I wish I were a woman of about
thirty six, dressed in black satin with a string of pearl.
Speaker 4 (12:13):
It wouldn't be in this car with me. If you would.
Speaker 6 (12:17):
Listen to Winter, You're going to think me impertinent mood,
I dare say, but I would like to know why
you asked me to come out in the car day
after day. You're being kind, that's obvious, But why do
you choose me for your charity?
Speaker 5 (12:28):
Cause you are not dressed in black satin with a
string of pearls, nor are you thirty six?
Speaker 6 (12:34):
You know it's not fair. You know everything there is
to know about me. That's not much, I admit, because
I haven't been alive very long and nothing very much
has happened to me except people dying. But you, I
know nothing more about you than I didn't mean what
You know them well that you lived at Mandalay and
that you had lost your wife.
Speaker 5 (12:54):
Yes, my memories are bitter. I prefer to ignore them.
Something happened to me a year ago that altered my
whole life, and I want to forget my existence up
to that time. Those days are finished, that blotted out.
How you want to begin living all over again.
Speaker 6 (13:13):
I'm so sorry you been so kind to me. I
didn't mean to remind.
Speaker 5 (13:18):
Your puritanical, tight lipped little speeches and talk about kindness
and charity. I asked you to come with me because
I want you and your company. And if you don't
believe me, you can leave the car now and find
your own way home. Gone, open the door and get out. Well,
what are you going to do about it?
Speaker 6 (13:38):
Please drive me home?
Speaker 3 (13:45):
Well, I suppose you're young enough to be my daughter.
Speaker 5 (13:51):
I don't know how to deal with you. Forget all
I said to you. Just now, that's all finished and
done with. Don't let's ever think of it again. My
family used to call me Maxim. I'd like you to
do the same. You've been formal long enough.
Speaker 4 (14:23):
What do you want? Something? The matter?
Speaker 6 (14:26):
I've come to say good bye. We're going this morning.
Speaker 4 (14:29):
Come in, shut the door. What are you talking about?
Speaker 6 (14:32):
It's true, we're leaving today. I was afraid I wouldn't
see you. I felt I must see you again to
thank you.
Speaker 4 (14:39):
Why didn't you tell me this before?
Speaker 6 (14:40):
When missus van Happa only decided today her daughter sails
from New York on Saturday, and we're going with us.
Speaker 3 (14:45):
She's taking you with her to New York.
Speaker 6 (14:46):
Yes, and I don't want to go. I shall hate it.
I shall be miserable.
Speaker 5 (14:50):
Fine EM's name gold sit down with me when I
eat my breakfast if you had yours?
Speaker 6 (14:54):
Yes, Oh, I really haven't time. I ought to be
downstairs now getting the tickets.
Speaker 4 (14:58):
It will sit with me for five minutes.
Speaker 6 (15:00):
I shouldn't so.
Speaker 5 (15:01):
Missus van Hopper's had enough of Monte Carlo and now
she wants to go home, and so do I.
Speaker 3 (15:05):
She to New York Ida, Mandally, which would you prefer?
Take your choice?
Speaker 6 (15:11):
Please, don't make a joke about It's unfair.
Speaker 5 (15:13):
You think I'm one of those people who tries to
be funny before breakfast.
Speaker 4 (15:16):
You're wrong.
Speaker 5 (15:18):
I repeat. The choice is open to you. Either you
go to America with Missus van Hopper you come home
to Mandally with me.
Speaker 6 (15:26):
Do you mean what a secretary is something?
Speaker 3 (15:27):
No, I'm asking you to marry me, you little fool.
Speaker 6 (15:34):
I don't understand. I'm not the sort of person man marry.
Speaker 4 (15:39):
That's the devil. Do you mean?
Speaker 6 (15:42):
I'm not sure? I don't think I know how to explain.
I don't belong to your sort of world.
Speaker 4 (15:48):
What is my world?
Speaker 6 (15:50):
Well, Mandally, you know what I mean.
Speaker 5 (15:53):
You think I'm asking you to marry me for the
same reason you thought I took you out in the
car to be kind. Yes, one day you may realize
that philanthropy is not one of my strongest qualities.
Speaker 4 (16:07):
Are you going to marry me?
Speaker 3 (16:11):
My suggestion doesn't seem to have gone too well.
Speaker 4 (16:15):
I'm sorry.
Speaker 3 (16:18):
I rather thought you loved me.
Speaker 6 (16:20):
I do love you. I love you dreadfully. I've been
crying all morning because I thought I should never see
you again.
Speaker 4 (16:27):
So that's settled.
Speaker 5 (16:28):
Then, instead of being companion to missus van Hopper, you
become mine, and your duties will be honest, exactly the same.
I also like new library books and flowers in the
drawing room, and some of to pour my tea. I'm
being rather a brute, you aren't I This isn't your
idea of a proposal. We are to be in a
conservatory with you in a white frock, with a rose
(16:49):
in your hand and a violin playing a waltz in
the distance.
Speaker 4 (16:54):
Poor darling, what a shame.
Speaker 5 (16:57):
Never mind, I'll take you to for our honeymoon and
we'll hold hands in a gondola, but we won't stay
too long because I want to show you mandally mandally.
Now then, am I going to break the news to
missus van Hopper or are you?
Speaker 6 (17:13):
Oh? No, you tell her, she'll be so angry.
Speaker 4 (17:17):
I'm not afraid. You wait for me here.
Speaker 6 (17:26):
When he had gone, I looked around his room. There
was a book on the table near his bed. I
picked it up. On the title page was a dedication
Max from Rebeccah May seventeen, written in a curious slanting hand.
(17:48):
The ink had run too thick, so that the name
Rebecca stood out black and strong.
Speaker 9 (17:56):
Rebecca, Rebecca.
Speaker 2 (18:14):
We paused on our Campbell play House presentation of Rebecca,
and just a moment we will resume the story. But first,
here is my associate of long standing, Ernest Chappel, with
an important message.
Speaker 4 (18:25):
Thank you, mister Hill.
Speaker 1 (18:27):
The time was, and it was not so long ago,
when chicken was a rare and special treat. What magic
the words chicken for dinner conjured up in our young minds,
and how we looked forward to these great events with
proud gusto. Father would dexterously separate wings and legs, and
then carved tender white slices from the breast, while each
of us silently prayed to be granted his special favorite part.
(18:51):
And then on the second day there came another treat.
The remaining meat and the carcasse went into mother's soup
kettles to be simmered slowly, seasoned gently, and served forth
as a supper time delight to day. If you have
wistful memories of that glorious old home chicken soup, then
Campbell's Chicken soup is just made for you, because Campbell's
(19:13):
chefs follow faithfully the good home recipe, only changing it
to make an even better soup. They use, for example,
all the good meat of the chickens, fine pump chickens.
They are too, such as you'd choose proudly for your
own table. Such chicken soup with snowy rice and tender
chicken pieces is a special treat, indeed, but one you
may enjoy on any day. Your grocer has Campbell's chicken soup,
(19:38):
and it's yours for the asking. Remember Campbell's Chicken Soup.
Speaker 2 (19:44):
Now we return to the Campbell play House presentation of
Rebecca with Margaret Sullivan and Orson Wells.
Speaker 6 (19:57):
We came to Mandily an early May. There it was
the Mandoly I had expected, lovelier than I'd ever dreamed.
Built in its hollow of smooth grassland and mossy lawns,
the terrace is sloping to the gardens, and the gardens
to the sea. A servant was standing on the steps, waiting,
(20:20):
O man with a kind face.
Speaker 4 (20:22):
Where we are felling well?
Speaker 10 (20:24):
Yes, thank you, sir, glad to see your home, sad
and hope you've been keeping well.
Speaker 5 (20:29):
And Madam too, Yes, I'm both well, thank you for
I'm a tired from the dry running our tea.
Speaker 4 (20:33):
Hello, dressful man.
Speaker 3 (20:36):
Who are these people?
Speaker 4 (20:37):
All the servants? I didn't expect this, Missus Denvers order,
Sir Danvers, I might have guessed it. Come on, darling.
Speaker 3 (20:42):
Missus Danvers was Rebecca's housekeeper.
Speaker 4 (20:44):
She's simply a daughter. They're all curious to see what
you like.
Speaker 3 (20:46):
You won't mind when you're soon to be over, my dear.
Speaker 4 (20:51):
This is Missus Danvers.
Speaker 6 (20:56):
Missus Danvers took me to my room. She was tall,
gaunt woman, dressed in black, with prominent cheek bones and
great hollow eyes. It gave us skulls face parchment white,
sat on a skeleton's frame. Her eyes never left mine.
Speaker 11 (21:14):
Mandally is a big place, Madam, not so big as some,
of course, but big enough, and the show place. Mister
de Winter lets the publican to see it once a month.
Speaker 6 (21:25):
You can't see the sea from here, can you.
Speaker 11 (21:27):
No, not from this room. You can't even hear it.
You did not know the sea was anywhere near, Not
from this room.
Speaker 6 (21:35):
I'm sorry about that. I like to see.
Speaker 11 (21:37):
Mister de Winter gave special orders in his letter that
you would have this room, madam.
Speaker 6 (21:42):
Oh, then this was not his room originally.
Speaker 11 (21:44):
No, Madam, he's never used the rooms in this wing before.
Speaker 6 (21:49):
Oh, he didn't tell me that. I I suppose you've
been at Mandally for many years, Missus Danvers, longer than
anyone else.
Speaker 11 (21:58):
I came here when the first Missus de Winter was
a bride.
Speaker 6 (22:04):
Missus Danvers. Well, you must have patience with me, because
this sort of life is new to me. You must
just go on running things they always have been run.
I shan't want to make any changes.
Speaker 11 (22:15):
You will be here to carry out your orders, Madam.
I hope I shall do everything to your satisfaction. Can
I do anything more for you now?
Speaker 6 (22:24):
Oh? No, thank you? No, I am sure I have everything.
I should be very comfortable here. You've made the rooms
so charm.
Speaker 11 (22:29):
I only followed out mister de Winter's instructions. Of course,
the most beautiful rooms are in the west wing overlooking
the sea. Bedroom is twice as large as this, and
the windows look down across the lawns into the sea.
Speaker 6 (22:47):
I suppose Missus de Winter keeps the most beautiful rooms
to show to the public.
Speaker 11 (22:50):
Those rooms are never shown to the public. They used
to live in those rooms when Missus de Winter was alive.
That big room I was telling you about that looks
down to see that was Missus de Winter's room.
Speaker 6 (23:10):
Next morning, there was a heavy mist poured in through
the open window. When I came down to breakfast, Maxim
had already gone out.
Speaker 4 (23:19):
Miss Winter.
Speaker 10 (23:20):
Yes, Frith, mister de Winter told me to tell you, Madam,
that he'd gone out with mister Crawley. Mister Frank Crawley
is mister de Winter's friend who manages the estate. Mister
de Winter said to tell you they'd be back for
luncheon at one.
Speaker 6 (23:32):
Thank you, oh Frith, Yes, madam, it seems rather cold
this morning. I wonder if you'd please like to find
the library for me.
Speaker 10 (23:39):
Fair in the library is not usually lit until the afternoon, Madam.
Missus de Winter always used the morning room. She always
did her telephoning and correspondence in there. After breakfast there's
a good fire in there. If you should wish to
have a fad in the library as well, I wouldn't
dream of it.
Speaker 6 (23:56):
I'll go into the morning room. Thank you, I.
Speaker 10 (23:59):
Will love, and Madam, I'll assured you a way.
Speaker 6 (24:10):
This was a woman's room, graceful, fragile, the room of
someone who had chosen every particle of furniture with great care.
That a strange and startling kind of perfection. I opened
the word hazard and there was a letter addressed to
Missus m de Winter, Missus.
Speaker 11 (24:32):
De Winter, Missus de Winter.
Speaker 3 (24:36):
Who is it?
Speaker 6 (24:37):
What do you want? Missus de Winter. I'm afraid you've
made a mistake. Missus de Winter has been dead for
over a year.
Speaker 12 (24:47):
It's Missus Danvers, Madam, Missus Danvers.
Speaker 11 (24:52):
I'm speaking to you on the house telephone.
Speaker 12 (24:54):
It's about the menu. It's Missus Danvers speaking Madam.
Speaker 6 (25:00):
After lunch it was still raining. Frank Crawley and Maxim
in the library working. I got a raincoat out of
the flower room and started out across the garden down
towards the sea. Soon I was in the woods. The
(25:22):
door ran on ahead. The woods came right down to
the water. At the fringe was a long, low building,
half cottage, half boat house. There was a boy anchor
bear in the coal, but no boat. And there was
Jasper wagging his tail at a solitary figure on the beach. Zadrea.
(25:45):
I saw that the figure on the beach was a
man with the small slit eyes of an idiot and
a red wet mouth.
Speaker 4 (25:54):
They Daddy, I'm.
Speaker 6 (25:57):
Afraid it's not very nice weather. Jasper Jeffer come.
Speaker 4 (26:00):
Here digging for shell. No shell here.
Speaker 10 (26:06):
He's been digging all day.
Speaker 6 (26:07):
I'm sorry you can't find it.
Speaker 4 (26:08):
I say, no shell here.
Speaker 6 (26:11):
Come on, Jasper, good dog, Come on.
Speaker 4 (26:14):
He won't go.
Speaker 6 (26:15):
Why not?
Speaker 11 (26:16):
He ain't good dog?
Speaker 6 (26:18):
No, he's mister the Winter's dog. I want to take
him back to the house. Come on, Jess, come along,
good dog.
Speaker 4 (26:24):
She hain't been here lately. The yellow one.
Speaker 6 (26:29):
You're not like the other one. What do you mean?
What other one?
Speaker 4 (26:33):
Tall and dark? She was. She give me the feeling
of a snake.
Speaker 6 (26:37):
By night. She come down to covid seeing. I looked
in at her.
Speaker 10 (26:41):
Once here in the boat house, and she turned on me,
she did, If I catch you looking at me through
the windows, shall putting asilum, She said.
Speaker 3 (26:49):
I won't say you to the man my child and
touch my cap like it's here.
Speaker 4 (26:55):
She's gone now, ain't she.
Speaker 6 (26:57):
I don't know what do you mean?
Speaker 10 (26:58):
She's gone in the sea and she.
Speaker 4 (27:01):
She won't come back no more.
Speaker 6 (27:03):
No, she'll not come back.
Speaker 4 (27:06):
You won't put me in a sylum, will you.
Speaker 3 (27:09):
I never said nothing, did I?
Speaker 4 (27:11):
I never said nothing, ma'am?
Speaker 10 (27:13):
I never said nothing.
Speaker 4 (27:27):
Where did you get that piece of string?
Speaker 6 (27:28):
I got it for Jess, but you ran away. I
found it in the cottage.
Speaker 3 (27:31):
On the beach of the door open.
Speaker 6 (27:32):
I pushed it open. The string was in the other
room where the sales were.
Speaker 4 (27:35):
I see that cottage're supposed to be locked. The door
has no business to be open.
Speaker 3 (27:40):
Did Ben tay the door was open?
Speaker 8 (27:41):
Then?
Speaker 6 (27:41):
No?
Speaker 3 (27:42):
Never mind, Maxim?
Speaker 4 (27:44):
Yes, what is it?
Speaker 6 (27:46):
I'm sorry I went down to the cove if you
didn't want me to go?
Speaker 3 (27:49):
What makes you think I didn't want you to go
down there?
Speaker 6 (27:51):
Maxim? How should I know? I'm not a thought reader.
I know you didn't want me to go. That's all
I could see in your face.
Speaker 3 (27:55):
See what in my face I've already told you.
Speaker 6 (27:57):
I can see that you didn't want me to go.
Speaker 4 (28:00):
That's right.
Speaker 3 (28:00):
I did not want you to go down to the cove.
Will that please you? I never go another place.
Speaker 5 (28:04):
You had my memories, you wouldn't want to go there either.
Speaker 3 (28:06):
Or talk about it, or even think about it.
Speaker 5 (28:10):
Yeah, I hope that's satisfied Youil Please make them please,
what's the matter.
Speaker 6 (28:15):
I don't want you to look like that. Please, Maxim,
let's forget all we said. I'm sorry, darling, Please let
everything be all right.
Speaker 5 (28:22):
We ought to have stayed in Italy. We ought never
to come back to Mandally. I was a fool to
come back.
Speaker 6 (28:37):
Whether that may was wet and cold. From the terrace,
I could hear the murmur of the sea below me,
low and sullen, and every morning a heavy fog would
come rolling in from the sea. I could not forget
that cottage on the beach and the fight lost look
in Maxim's eyes. Somewhere at the back of my mind
(29:00):
a frightened, furtive seed of curiosity grew slowly and stealthily.
Frank Crawley was in the library taking tea with me,
waiting for Maxim to get home. There were things that
I had to know.
Speaker 3 (29:17):
You were down then, Miss Frank.
Speaker 6 (29:22):
Frank in that cottage down there are those all Rebecca's things? Yes,
I wondered, why is the boy there in the little
harbor place?
Speaker 4 (29:35):
Uh? The boat used to be moored there?
Speaker 6 (29:37):
What boat?
Speaker 4 (29:38):
Her boat?
Speaker 6 (29:39):
Oh? What happened to it? Oh? Was that the boat
she was sailing when she was drowned?
Speaker 3 (29:46):
Yes, it capsized and sank.
Speaker 4 (29:51):
She was washed overboard.
Speaker 6 (29:52):
Couldn't someone have got out to her?
Speaker 13 (29:54):
Nobody saw the accident, Nobody knew she'd gone, she often
said alone night.
Speaker 6 (30:02):
How long afterwards was if they found her?
Speaker 4 (30:07):
About two months?
Speaker 6 (30:09):
Where did they find her?
Speaker 11 (30:11):
New Edgecombe?
Speaker 4 (30:13):
Not forty miles of channel?
Speaker 6 (30:15):
How did they know it was she? After two months?
How could they tell?
Speaker 3 (30:20):
Maxim went up to Edgecomb too identify her?
Speaker 6 (30:23):
Oh, Frank, I know what you're thinking. You can't understand
why I ask all these questions. Just now you think
I mean morbid and curious. But it's not that, I
promise you. Only when I go to call on all
these people, his friends, I know they are looking me
up and down and thinking, what on earth is Maxim
seeing her? Always? I know that whenever I meet anyone new,
(30:43):
they say how different she is from Rebecca? Frank, Yes,
it's just one more thing. One question I must ask you.
Will you promise to answer it quite truthfully?
Speaker 3 (30:56):
I'll do my best.
Speaker 6 (30:59):
Tell me was Rebecca very beautiful?
Speaker 4 (31:06):
Yes?
Speaker 13 (31:09):
Yes, I suppose she was the most beautiful creature I
ever saw in my life.
Speaker 11 (31:27):
Here it is, madam, This is it. One moment while
I turn on the light, Come in, madam.
Speaker 6 (31:34):
Was this her room, missus Danvers?
Speaker 11 (31:36):
Yes, ma'am, this.
Speaker 6 (31:36):
Is her room.
Speaker 11 (31:38):
Now you're here, let me show you everything. I know
you want to see it all you've wanted to for
a long time.
Speaker 6 (31:47):
It's a lovely room, isn't.
Speaker 11 (31:48):
It the loveliest room you've ever seen. I haven't touched
a thing.
Speaker 6 (31:56):
There are flowers on the dressing table at her bed.
Speaker 11 (32:00):
It's beautiful bed, isn't it. Here's her night dress. This
was the night dress she was wearing for the last
time before she died. Would you like to touch it?
Speaker 6 (32:12):
Feel it? Hold it?
Speaker 11 (32:15):
I did everything for her. You know you look after
me better than any one, Dennis. She used to say,
I wouldn't have any one, but you see here's her wardrobe.
What's the matter, madam? Aren't you feeling well?
Speaker 6 (32:32):
I'm all right. I just I didn't expet to see
all the things this way.
Speaker 11 (32:36):
I believe mister de Winter liked her to wear silver mostly,
but of course she could wear anything. She looked beautiful
in this velvet. Put it against your face. It's soft,
isn't it. Scent is still as fresh as though she'd
just taken it off. These are her slippers. Put your
hands inside the slippers. They're quite small and now, Carrol,
(33:00):
aren't they when they've found her? Her rocks had battered
her to bits so no one could recognize her. You
know now why mister de Winter doesn't use these rooms
any more. He hasn't used these rooms since the night
she was drowned. I come up every day and dust
them myself. If you want to come again, you have
(33:22):
only to tell me. Sometimes, when mister de Winter is
away and you feel lonely, you might like to come
up to these rooms and sit here. They're such beautiful rooms.
You wouldn't think she'd been gone now for so long,
would you. You'd think she'd just gone out for a
little while and would be back in the evening. Do
(33:44):
you think she can see us talking to one another?
Speaker 4 (33:46):
Now?
Speaker 11 (33:48):
Do you think the dead come back and watch the living?
Speaker 6 (33:51):
I don't know why I don't.
Speaker 11 (33:53):
Sometimes I wonder if she comes back to Mandally and
watches you and mister de Winter, You sitting in her
chair in the library before the fire, stroking her dog,
talking to her husband.
Speaker 6 (34:09):
And stop it. Stuff.
Speaker 2 (34:10):
It's no use, is it.
Speaker 6 (34:11):
You can't do it.
Speaker 11 (34:13):
You'll never get the better of her. She's still mistress
here even if she is dead. She's the real Missus
de Winter, not you. It's you that's the shadow and
the ghost. It's you that's forgotten and not wanted and
pushed aside. Well, why don't you leave Mandally to her?
Why don't you go? Why don't you go? We none
(34:35):
of us want you. He doesn't want you, he never did.
You can't forget her. He wants to be alone in
the house again with her. It's you who ought to
be dead, not Missus de Winter. Come here now to
the window. Let me show you something. When the windows open,
you can hear the sea down there. Look down there,
look let me go.
Speaker 6 (34:55):
Don't be afraid.
Speaker 11 (34:56):
I won't push you.
Speaker 6 (34:58):
There's not much for you to live for.
Speaker 11 (35:00):
We are here at Mandolin. Why don't you jump now
and have done with it? Then you won't be unhappy anymore.
Why don't you try go on, go on, don't be afraid,
go on, go on, go on, go on, go on.
Speaker 2 (35:18):
And so we end the second part of our presentation
of Daphey de Morier's best selling book Rebecca, with Margaret
Sullivan and Orson Welles. In a few moments we shall
return you to the Campbell Playhouse.
Speaker 14 (35:30):
This is the Columbia Broadcasting System.
Speaker 2 (35:51):
This is Edwin C. Hill again bidding you welcome to
the Campbell Playhouse on behalf of the makers of those.
Speaker 4 (35:57):
Fine Campbell suits.
Speaker 2 (35:58):
In a moment or two, we we shall resume our
presentation of Rebecca, the best selling novel by adapted de
Marier and starring, as I have said, Margaret Sullivan and
Orson Wells. And also we shall hear from miss to
Marie herself direct by short way from London.
Speaker 4 (36:15):
But first I bring you a message.
Speaker 2 (36:17):
For many years I've been interested in the human side
of the news as a newspaper reporter. For all those years,
I've found that there is a very human side to business,
and that is what I want to speak about.
Speaker 4 (36:28):
For just to mumber or so.
Speaker 2 (36:29):
All of us are familiar with businesses which provide us
with something to wheat or drink or wear. Or we
buy a radio, or a suit of clothes, or a
can of soup. But the actual thing we buy is
about the only contact we ever have with the people
make such goods. But the character of those people is
of vital importance. If the manufacturer of a product is
(36:50):
honorable in the conduct of his business, his product will
be as trustworthy as its word or In business, as
in every walk of life, honesty pays real dividends. Honestand
of prize is the only kind which has a chance
to win and to hold the patronage of intelligent and
discriminating buyers, whether it's a matter of a piano or
a spool of fred orer trip to Europe.
Speaker 6 (37:11):
Or a can of soup.
Speaker 2 (37:13):
And that, as I see it, is the human side
of business, of the products that last over the years,
that serve you well and merit your continents.
Speaker 3 (37:22):
I know the Campbell kitchens, the Campbell men, the Campbell soup.
Speaker 2 (37:26):
The fact that these soups are used more and more
every year in most homes and are sold in more
than four hundred and sixty thousand grocery stores throughout the
land is no accident.
Speaker 4 (37:35):
Believe me.
Speaker 2 (37:37):
It's due to the human side of this business, its aims,
its policies, and its character. And now to the Campbell Playhouse,
where we resume our story. Rebecca, why don't.
Speaker 11 (37:53):
You jump now and have done with it? Why don't
you try?
Speaker 5 (37:56):
Go on?
Speaker 6 (37:57):
Go on?
Speaker 11 (37:57):
Don't you say jump?
Speaker 8 (37:58):
Go on?
Speaker 6 (37:59):
We's go on. The denvers was close behind me, now,
her hand on my arm, and before me was the
open window and the white mist coming in from the sea.
Go on, I shut my eyes. The mists lay upon
my lips, rank and sun. My head began to swim,
(38:20):
and some of the mists had parted.
Speaker 9 (38:22):
There was a flash and a shy.
Speaker 6 (38:31):
Ship. Late I went down to the beach. There was
a large ship on the reef half a mile off shore,
with her boughs pointed towards the cliff. There were a
(38:54):
number of small boats around her, and the coast guard
cutter lying along side the foss told them what pos
throught the window.
Speaker 3 (39:02):
It looked like your Dutchman, I say, German of Dutch.
Speaker 5 (39:06):
One thing. There's no sea running a shallow water.
Speaker 6 (39:08):
Seasons I don't know yet.
Speaker 3 (39:10):
Let's a diver come over from ket.
Speaker 6 (39:12):
He'd be going down.
Speaker 15 (39:13):
To see if she's broken her back. He's all right, she's.
Speaker 6 (39:15):
Gonna you see mister Winter.
Speaker 3 (39:19):
Mister yes, ma'am. He was one of the first down
here after the rockets.
Speaker 15 (39:23):
You were known by the cow and the dog.
Speaker 6 (39:25):
Wouldn't you know where he is now?
Speaker 15 (39:26):
He went after Carrot twenty minutes ago with one of
the crow the burringers.
Speaker 3 (39:31):
Thank you, good day, good mom, good damon.
Speaker 6 (39:39):
I went back to Mandola a long way through the woods.
The fog get cleared. I looked down and saw the
stranded ship off shore. The diver must have come up well.
I saw a little group of people on the deck
of the boat alongside, leaning over, staring into the water.
Speaker 10 (40:03):
There's a man waiting to see you, madam. He says,
it's important. He asked for mister de Winter first and
then for you. He's in the library. Who is it, Frith,
He says. His name's Captain Sirl Madam, the Harven Master
from Kenneth.
Speaker 6 (40:16):
Oh, yes, I'll go in and talk to him.
Speaker 3 (40:18):
Yes, madam, missus de Winter, I'm sorry.
Speaker 6 (40:23):
My husband isn't back yet.
Speaker 16 (40:25):
I know I can't get hold of mister Crawley either.
The fact is I've got some news for mister de Winter,
and I hardly know how to break it to him.
Speaker 6 (40:34):
What sort of news captain?
Speaker 16 (40:35):
So well, Missus de Winter, it isn't very pleasant for
me to tell you either. We're all very fond of
mister de Winter around here. It's hard on him and
hard on.
Speaker 3 (40:44):
You that we can't at the first like quiet, yes,
go on.
Speaker 16 (40:47):
Well, you know we sent the diver down to inspect
that ship there on the reef. Well, while he was
down there, he came across something else, the hull of
a little sailing boat lying on her side, not broken
up at all.
Speaker 3 (41:00):
He recognized it at once. That boat belonged to the
late Missus de Winter.
Speaker 6 (41:06):
Oh, I'm so sorry. Is it necessary to tell mister
de Winter? Couldn't the boat be left there as it is?
It's not doing anybody any harm, is it.
Speaker 16 (41:16):
The cabin door was tightly closed and the ports were
closed to The iver broken of the windows with a
stone from the seabed and looked into the cabin. And
then he got the fright of his life. There was
a body in there, lying on the cabin floor. Now
you understand why I have to see your husband, Missus
de Winter.
Speaker 4 (41:52):
It's all over. Now the thing has happened.
Speaker 5 (41:57):
The thing I've always foreseen the thing I've dreamt of
about day after day, night after night.
Speaker 4 (42:04):
We're not meant for happiness. You and I.
Speaker 6 (42:07):
What are you trying to tell me?
Speaker 5 (42:08):
Rebecca has won? I remember her eyes as she looked
at me before she died. I remember that slow, treacherous smile.
She knew this would happen. Even then, she knew she'd
win in the end.
Speaker 6 (42:24):
Maxim, what are you saying? What are you trying to
tell me?
Speaker 4 (42:27):
Her? Both they found it. The diver found it this afternoon.
Speaker 6 (42:30):
I know Captain solerz here and he told me you're
thinking about the body, the body that iver found in
the cabin. Yes, it means she wasn't alone. Means it
was someone out sailing with Rebecca at the time, and
you'll have to find out who it was.
Speaker 5 (42:43):
There was no one with Rebecca.
Speaker 4 (42:45):
She was alone.
Speaker 5 (42:47):
It's Rebecca's body lying there on the cabin floor. The
woman I identified wasn't Rebecca. There never was an accident.
Rebecca was not drowned at all. I killed her. I
shot Rebecca and the cottage down in the cove. I
carried her body to the cabin and took the boat
(43:09):
and sunk it there. But they found it to day.
It's Rebecca who's lying dead.
Speaker 4 (43:16):
There on the cabin floor. Will you look into my
eyes and tell me that you love me?
Speaker 6 (43:23):
Now? Oh, darling, you can't lose each other.
Speaker 7 (43:32):
Now.
Speaker 6 (43:33):
We've got to be together always, with no secrets, no shadows. Please, darling,
there's no time.
Speaker 4 (43:40):
We may have a few hours, a few days. How
can we be together now that this has happened.
Speaker 3 (43:46):
I've told you they found the boat, they found Rebeccah,
what'll you do?
Speaker 5 (43:49):
I don't know, I don't know.
Speaker 6 (43:51):
Does any one know any one at all?
Speaker 5 (43:52):
No?
Speaker 6 (43:53):
No one but you and me, No one but you
and me. Oh, why didn't you tell me? Why didn't
you tell me? The time we wasted when we might
have been together all these weeks, all days.
Speaker 5 (44:04):
You were so aloof you never came to me like this.
You were strange with me, awkward, shy.
Speaker 6 (44:10):
How could I come to you when I knew you
were thinking about Rebecca? How could I ask you to
love me? When I knew you loved Rebecca? Still and
ever who spoke to me? You looked at me. I
felt you were saying to yourself this I did with Rebecca,
and this and this?
Speaker 5 (44:27):
What are you talking about? What do you mean it
was true, wasn't it. You thought I loved Rebecca, You
thought I killed her loving her. I tell you I
hated her. Our manager was a fast from the very first.
She was vicious, damnable, rotten through and through. We never
(44:49):
loved each other. We never had one moment of happiness together.
Rebecca was incapable of love, of tenderness, of decency. She
knew how I loved Mandally. She knew how to hurt
me most. She stood there that night in the cottage,
in the cove, smiling at me. I'm going to have
(45:10):
a child, she said. It will grow up here at
Mandally bearing your name. That's a joke, isn't it. And
when you die, Mandally will be his. You can't prevent it.
Have you ever thought how hard it would be for
you to make a case against me in a court
of law? I mean, if you wanted to divorce me.
We've acted the parts of a loving husband and wife rather.
Speaker 4 (45:32):
Too well, haven't we.
Speaker 5 (45:33):
They'll be happy, won't they, all those smug friends of
yours or your blasted tenants, thinking it's your child, It's
what we've.
Speaker 4 (45:42):
Always hoped for, missus de Winter.
Speaker 5 (45:43):
They'll say, I'll be the perfect mother, Max, just as
I've never been the perfect wife. And none of them
will ever guess, none of them will ever know. She
turned and faced me, smiling. Then I killed her. She
(46:04):
was smiling still. I fired at her heart. She didn't
fall at once. She stood there looking at me, that
slow smile on her face, her eyes wide open.
Speaker 15 (46:36):
You have heard all the testimony in this case, gentlemen.
You have heard how the body of the deceased was
found in the cabin of her boat. You have heard
the testimony of the boat builder.
Speaker 3 (46:50):
You have heard mister de Winter's story.
Speaker 15 (46:53):
You have heard how on the night of the treasured day,
Missus de Winter went down to the cottage.
Speaker 3 (47:05):
How do you fight?
Speaker 12 (47:09):
Sorry, fiden.
Speaker 6 (47:16):
That you see.
Speaker 4 (47:20):
He's a jet.
Speaker 6 (47:35):
It was almost dark when he started for Manday. He
held my hand in his. He didn't speak for a
long time. I must have dozed. W I worked suddenly
with a start, he heard the first sound of thunder
in the air. The air was hot against my face.
(47:55):
The rain fell. What is it? Donning maxim maximum rise?
Speaker 4 (48:02):
So first I want to get home. I'm worried. I
have a premonition of disaster.
Speaker 6 (48:10):
When everything's over, I don't understand.
Speaker 3 (48:12):
I want to get home.
Speaker 4 (48:14):
I want to get back to Mandally.
Speaker 6 (48:16):
What time is it?
Speaker 4 (48:19):
Almost nine?
Speaker 6 (48:21):
It's funny and it's almost as though the sun were
still sitting over there beyond those hills. Can't be though, it's.
Speaker 3 (48:28):
Too late, the wrong direction. You're looking east.
Speaker 6 (48:33):
Why it's funny, isn't it It's in winter. You see
the northern lights. Isn't it not in summer?
Speaker 3 (48:43):
That's not the northern light you're looking at. That's Mandally, Maxim, Maxim,
what is it?
Speaker 6 (48:51):
I don't know, Maxim, look a fire, Maxim, it's Mandally.
Speaker 12 (48:59):
It's running.
Speaker 6 (49:16):
We have both known fear and loneliness and very great distress,
but we have come through our crisis. Of course, we
have our moments of depression. But there are other moments too,
when time, unmeasured by the clock, runs on into eternity,
and catching Maxim's smile, I know we are together at last,
(49:41):
no barrier between us. We can never go back to
Mandeley again. The past is still too close to But
(50:02):
sometimes in my dreams I go to Mandolin. I see
the gray stone shining in the moonlight. Light comes from
the windows. The curtains blow softly in the night air,
and in the library the door stands half open.
Speaker 9 (50:19):
As if we had left it.
Speaker 6 (50:21):
With my handkerchief on the table beside the bowl of
autumn roses, and the charred ends of our log fire
still smoldering against the morning.
Speaker 4 (50:48):
So ends our story.
Speaker 2 (50:50):
The Campbell Playhouse presentation of Dafty de Murray's novel Rebecca.
In a moment, I shall bring you Margaret Sullivan, an
Arson Wells in person, and Daphney de Murray on the
long distance phone from London. In the meantime, here's a
man with a message worth hearing, a man who keeps
one eye on the dining table and the other on
the pantry. Ladies and gentlemen, my friend Ernest Chappell.
Speaker 4 (51:12):
Thank you, mister Hill.
Speaker 1 (51:13):
May I remind you once again of that grand dish,
Campbell's chicken Soup. Remember what I told you about it,
and make it a point to try it soon, because
until you taste your first glorious spoonful, you're really missing something.
Imagine a rich golden broth slowly simmered from plump and
perfect chickens, simmered with all the patience and skill of
(51:33):
the most particular home cook. And imagine an abundance of
selective rice, white and fluffy, drifting all through the broth,
every grain saturated with its delicious flavor. Then add tender
pieces of chicken meat, each a delight to your taste,
and you have a picture of Campbell's chicken soup. But
only tasting can really tell you how good it is.
(51:54):
Why not plan to have Campbell's Chicken soup tomorrow. You
will please the family and incidentally make a busy day
a little easier for yourself.
Speaker 5 (52:15):
And now here's Arson Wells, ladies and gentlemen. The star
of Rebecca is standing beside me at the microphone. I'd
like to tell her that one of my favorite characters
in modern fiction was Tonight forever endowed with the personality
of miss Margaret Sullivan.
Speaker 6 (52:31):
Thank you, mister Wells. I hope the novelist approved of
me too. I want you to know how much I've
appreciated playing once more with the Campbell play House Tonight,
especially in this story, which is one of my favorites.
Speaker 5 (52:43):
It is a grand story, and I do believe the
most important factor of radio entertainment is a good story.
Speaker 6 (52:48):
I quite agree too. You know two things I like
very much. A good stories, and good soup. And when
I tell you, my dear of a great soup is
Campbell's chicken soup, that, mister Wells, is no story.
Speaker 4 (52:58):
I'm glad you feel that way. Nice of you to
say so.
Speaker 6 (53:01):
Oh, by the way, as well, that I ask you
a question, very kind of you. Can you tell me
the name of the character?
Speaker 4 (53:08):
Will you repeat that question?
Speaker 6 (53:10):
What is the name of the character I just played?
Speaker 5 (53:13):
Well, that's the major literary mystery of the year. Seriously,
she hasn't any name, and our audience, Miss Sullivan, is
probably just as curious as you are, and I haven't
the answer.
Speaker 6 (53:25):
Well, mister Murrier must know it. She's phoning us from
London in a few minutes till we'll ask her.
Speaker 5 (53:30):
You know, miss Sullivan has a question I'd like to
ask you. Yes, mister Wells, until rehearsal started for to
night's performance, I had never, to put it very bluntly,
had the pleasure of your acquaintance. Yes, Oh, now, in
six and one half minutes, Miss Sullivan, you will have
gone out of my life. The point is point is
(53:50):
I am the director of the theater, the er the Mercury,
Dear the Mercury Theater. Thanks What I started to say
was that I'd like to know you better. What are
you doing next year?
Speaker 6 (54:02):
Are you speaking as a director?
Speaker 5 (54:04):
Yes, Missus Hayward, as a theater director. If you can
be tempted, have you a script from me? I'll bring
it you tomorrow. Excuse me, ladies and gentlemen. I'm sure
you'll forgive me for trying to date up one of
the nation's most gifted and attractive young actresses. I'm sure
you sympathize, and I hope Miss Sullivan understands.
Speaker 4 (54:22):
We are ready with London. Mister Weller, Thanks, are you
ready London? Good evening, mister well Good evening, mister Moyer.
Speaker 8 (54:33):
Nearly three o'clock here in London. It's not awful, but
an also I has the chance of hearing the voice
of her own characters speaking to her from across the
Atlantic Ocean. I've enjoyed it enormously.
Speaker 4 (54:46):
Thank you and mister Moyer. May I present Miss Sullivan.
Speaker 1 (54:51):
How do you do?
Speaker 8 (54:52):
Miss Sullivan. I'd like to thank you and mister well
your splendid interpretations of mister and Missus Winter.
Speaker 6 (55:00):
Thank He's been a great privilege. Mister Maria. There are
two questions I'd like to ask you. Your descriptions of
Mandalin are so vivid. Lamerica is curious to know if
there is anywhere in England a house on a state
like Mandalay.
Speaker 8 (55:13):
When you next come to London, Miss Sullivan, get into
your train of Saddington Station and travel west. When you've
been two hundred and fifty miles, get out of that
train and walk southeast for half an hour. You'll come
to some on gates on March on a narrow, twisting drive.
If you ever find your way to the end of
(55:35):
that drive, you may discrover mandally.
Speaker 6 (55:39):
One thing more, mister Maria, can you tell us the
name of the heroine of Rebecca. You haven't named her
in the book.
Speaker 8 (55:47):
Thank you very much, Miss Sullivan, and thank you mister
World for your production of Rebecca.
Speaker 6 (55:52):
It's been very.
Speaker 5 (55:53):
Nice speaking to you bird Well, Miss Sullivan. I'm afraid
that doesn't answer your question. Hello, Miss Moyer, Mister Moyer,
mister Moyer, London off the.
Speaker 4 (56:05):
Mister Chapler, Yes it is, mister Wells. Pardon me, Miss Sullivan.
Speaker 5 (56:09):
But all we can salvage from the silence overseas is
this cryptogram just brought in to mister Chapple by carrier pigeon.
Speaker 4 (56:18):
Would you care to read it?
Speaker 6 (56:19):
And office memo from Dartne du Marier to Margaret Sullivan.
The name of the heroine of Rebecca is Missus Max
de Winter.
Speaker 5 (56:28):
Thank you, Miss Sullivan, Thank you, Miss Wells. Next week,
Miss Beatrice Lily interrupts her rehearsals of Noah Coward's new
musical to be my wife and call it a day.
This is a discreet account by miss Dotie Smith of
some indiscretions committed one Barney day in April by a
nice family who might just as well be living next
(56:49):
door to you, and you and you. It is a
composite case history in three stages and six symptoms of
that heral and delightful malady known so well to you,
and you and you and me as spring fever. Until then,
(57:10):
my sponsor and I and all of us in the
Campbell Playhouse remain obediently yours.
Speaker 1 (57:38):
Tonight's broadcast was Rebecca by Daphney de Marier, starring Margaret
Sullivan and Orson Wells. Featured were Mildred Mattwick as Missus Danvers,
Ray Collins as Frank Crawley, and the George Colorus as
Captain Searle, Frank Reddick was heard as the idiot, Alfred
Shirley as Frith, Eustace Wyatt as the coroner, and Agnes
(58:01):
Moorehead as Missus van Hopper. Music for the Campbell Playhouse
is composed and conducted by Bernard Hermann.
Speaker 2 (58:22):
The makers of Campbell's Soups invite you to join us
again next Friday evening at this same time, when Orson
Wells will present his production of Dough Dismissed. Delightful excursion
into the private lives of a typical suburban family, Call
It a Day, one of the most successful comedies of
its type, which was originally presented on Broadway by.
Speaker 4 (58:42):
The Theater Guild.
Speaker 2 (58:44):
Our guest on this program will be the always charming
and amusing Beatrice Lilly, with Jane Ware, a young lady
who was marching quite swiftly along the road to motion
picture fame out in Hollywood, and Jean Dante, who created
the part of Anne in the original New York production.
Speaker 14 (59:00):
Of College a Day.
Speaker 3 (59:02):
This is Edmond C.
Speaker 4 (59:03):
Hill speaking for Campbell Suits.
Speaker 14 (59:06):
I, thank you, and good night. This is the Columbia
(59:38):
Broadcasting System
The makers of Campbell's Soups present the Campbell Playhouse, Arson
Wells Producers.
Speaker 2 (00:42):
Good evening everyone, This is Edwin C. Hill and I
bring you exciting news tonight. Arson Wells takes over the
direction of the Campbell Playhouse and offers you as his
first production America's best seller Deafnely the MORI is Rebecca
with a great star Margaret Sullivan. Exciting news indeed, for
I am here to welcome the White Hope of the
(01:03):
American stage as the director and starred the Campbell Playhouse,
who writes his own radio scripts and directs them and
makes them live and breathe with the warmth of his genius.
There is no time to adventure into the story of
his life. And that's too bad, because it is a
tale that combines the best features of Baron Munchausen and
Alice in Wonderland.
Speaker 3 (01:23):
If ever a boy was born for an.
Speaker 2 (01:25):
Actor, he was. At thirteen, he was directing the Troopers
in the Todd School for Boys at Woodstock, Illinois, where
he produced thirty plays. At sixteen, he was playing leading
parts in Dublin at the famous Gates and Peacock and
Abbey Theaters. His American career is really too recent and
too well known to recount here. He's been the leading
(01:46):
man with Catherine Connell, with John Houseman. He founded the
Mercury Theater and has operated it with magical success. He
had four hits last year on Broadway, which beats Noel
Cowles record From Here to Kalamazoo. And he's generally recognized
today as being the most gifted stage director and actor
of our time. His radio productions have attracted universal attention.
(02:09):
His broadcastedly War of the Worlds last month, which I
dare say you remember, made radio history and a national sensation.
Speaker 3 (02:17):
Why did a.
Speaker 2 (02:18):
Fantastic story of an utterly imaginary invasion from Mars produced
this totally unexpected result? The result mister Wells, of course
greatly regretted. It was because, as in all his radio productions,
Orson Wells is a master of realism over the air
in radio unique exciting. He shocked you, he sent the
(02:41):
cold shivers racing up your spine. But that is not
the thing he does best, or best likes to do.
He loves to tell a story, a great human story,
welling up from the heart, brimming with deep and sincere emotions,
and lively with comedy, and such are the stories thrilling, delightful,
(03:01):
amusing he will bring to the Campbell Playhouse. Because of
all his gifts, his genius at playwriting, his ambition, his
dynamic direction is amazing, character active. He has been selected
by Campbell's as the ideal man to conduct the Campbell Playhouse.
And so to night Austen Wells makes his bows the
(03:21):
outstanding programme directed the air, and I have the very
great pleasure presenting him now, mister Austin well.
Speaker 4 (03:27):
Thank you, mister Hill.
Speaker 5 (03:28):
It's a great big chance for me and a great
big challenge. I faith in radio, and the makers of
Campbell's soups have enough confidence in me to give me
the direction of the Campbell Playhouse. Let's hope nobody is mistaken.
Speaker 2 (03:40):
Mister Wells, Could you tell us something of your aims,
perhaps something of the kind of thing you hope to
do with the Campbell Playhouse.
Speaker 5 (03:46):
While everybody likes a good story, and I think radio
is just about the best story teller there is. The
Campbell Playhouse is dedicated to the radio production of good stories,
stories from everywhere, from the stage, from moving pictures, and
from literature. Next week, REGs and were doing a comedy
Call It a Day, and then and then.
Speaker 4 (04:03):
Campbell's annual Christmas Present to.
Speaker 5 (04:05):
America Lionel Barrymore in Dickens's Immortal a Christmas Carol. And
after that there'll be Counselor at Law, A very Human
Portrait of present day people, Aerosmith by Saint Clair Lewis
with Helen Hayes, William march Is the Green Goddess, Hector
MacArthur's Hilarious Twentieth Century. In other words, all kinds of stories,
mostly modern, and all of them chosen for their suitability
(04:27):
to this medium. That's about all, except I'm going to
try to tell them just as well as.
Speaker 3 (04:32):
I know how Oh, I know you'll ring the bell.
Speaker 4 (04:34):
You know.
Speaker 5 (04:34):
The makers of Campbell's soups don't believe in all this
talk about the radio audience having the average mentality of
an eight year old child. They think the radio listeners
are the same people that go to the pictures in
the theater and read books. They reason that even the
most popular radio entertainment should be addressed to the adult
citizenry of America.
Speaker 4 (04:53):
I can only.
Speaker 5 (04:53):
Hope that what I do with the Campbell Playhouse will
prove how much they mean it, and how right they are.
Speaker 2 (04:59):
I I know it will. And now, just before you
ring up the curtain on the first act, will you
give us a word or two about the play? Gladly,
mister Holbet, if you'll pardon me. It's not a play,
it's a story, you see. I think that radio broadcasting
is different from motion pictures and the theater, and I'd
like to keep it that way. The Campbell Playhouse is
situated in a regular studio, not a theater. We have
no curtain, reel or imaginer, and as you see, no audience.
(05:22):
There's only one illusion. I'd like to create the illusion
of the story.
Speaker 3 (05:27):
But the star, too, is important, mister Wells, Is that
not so?
Speaker 4 (05:30):
Yes?
Speaker 5 (05:30):
Indeed, And I'd like to say how very fortunate I
am in having with me to night the loveliness and
the magic gift of Miss Margaret Sullivan. For Miss Sullivan
is my first choice for a great part, and a
great part it is, too, the most coveted of the season.
The Scarlet O'Hara of nineteen thirty eight, the heroine of
Daphne Dumoria's best selling novel, Rebecca. Rebecca is going to
(05:55):
be made into a movie by David Stelznick. It ought
to be one of the ten best. It's this year's
contender for the five foot Chelf, your best bet.
Speaker 4 (06:03):
For anything from a weekend to a desert island.
Speaker 3 (06:05):
And it's a book you should read, the ideal.
Speaker 4 (06:08):
Christmas gift to yourself.
Speaker 5 (06:10):
Mister Moyer has flattered me with her confidence in permitting
the Campbell Playhouse the great privilege of making for radio
the first dramatization of her book.
Speaker 3 (06:19):
I'm meeting her for.
Speaker 4 (06:19):
The first time tonight, before this broadcast is over.
Speaker 5 (06:22):
By special shortwave communications, she'll speak to us from London. So,
ladies and gentlemen, and mister Moyer, the Campbell Playhouse is
obediently yours.
Speaker 2 (06:43):
The Campbell Playhouse presents Rebecca, starring Margaret Sullivan and Awson.
Speaker 6 (06:49):
Well, we can never go back to Mandalalay again. The
purse is still too close to us. The things we
have tried to forget and put behind us would stir
(07:10):
once more. But sometimes in my dreams I go to
Manderley again. I see the house, the gray stone, shining
in the moonlight of my dream. The terrace slopes to
the lawns, and the lawns stretched to the sea like
a sheet of silver under the moon light comes from
(07:34):
the windows. The curtains blow softly in the night air.
And there in the library the door stands half open,
as if we had left it, with my handkerchief on
the table, beside the bowl of autumn roses, and the
charred embers of our log fire still smoldering against the morning.
(07:59):
I will what my life would be today if Missus
van Hoppa hadn't been a snob.
Speaker 7 (08:04):
Madly, my dear, why even you must have heard of Mandally.
That's Maxy wi Her at the table next to us,
the man who owns Mandally. They say he can't get
over his wife's death, an appalling tragedy.
Speaker 6 (08:16):
The papers were full of it, of course.
Speaker 7 (08:18):
They say he never talks about it, never mentioned her name.
She was drowned, you know, in a bay near Mandala.
I know he can hear nonsense, My dear, Go up
to my room quickly and find that letter from my nephew,
you know.
Speaker 6 (08:29):
The one written on his honeymoon with a snapshot.
Speaker 7 (08:31):
Bring it down to me right away.
Speaker 6 (08:32):
Hopa, I don't go, my dear, wits you're told, don't
dark hurry. When I came down, she had him sitting
beside her on the sofa. You look like no other
man I'd ever seen a man out of a long
distant pass.
Speaker 8 (08:51):
Oh there you are.
Speaker 2 (08:53):
My dear.
Speaker 7 (08:54):
This is mister Dewinter. Mister Dewinter is having coffee with it.
You know I recognize you, mister de Winter, just as
soon as you walked into the restaurant, and I thought,
why there's mister de Winter, Billy's friend. I simply must
show in those snapshots of Billy and his bride taking
on their honeymoon. Look, here are the snaps. Here they
are sunbathing at Palm Beach. He met her at that
party where I first met you at carriages in London.
(09:16):
But I dare say you don't remember an old woman like.
Speaker 5 (09:18):
Me on the country. I remember you very well. Excellent snapshots,
but it's very pretty. I don't think I should care
for Palm Beach well, of course.
Speaker 6 (09:27):
If one had a home like Mandally.
Speaker 7 (09:29):
I'm told Manderly's like fairyland. There's no other word for it.
I wonder you can ever bear to leave it. Mister
de Winter is so modest he won't admit it, but
he has one of the loveliest homes in England.
Speaker 6 (09:39):
They say that the minstrel gallery at.
Speaker 7 (09:41):
Mandeley is a gem, and the gardens is simply.
Speaker 8 (09:43):
The most perfect.
Speaker 6 (09:51):
Next morning, Missus van Hopper woke up with a sore
throat and the temperature. At noon, I went down to
the restaurant alone. I expected it to be empty. Nobody
lunched generally. Before one o'clock. He was sitting at the
table next to ours. I sat down, looking straight before me.
I unfolded my napkin and knocked over the vase of
(10:13):
flowers on my table.
Speaker 3 (10:14):
You can'tsider it a wet tableclock, Come on, get up water.
Speaker 4 (10:17):
They don't have lunch with me?
Speaker 6 (10:19):
No, no, I couldn't possibly.
Speaker 9 (10:20):
Why not?
Speaker 3 (10:21):
Well, you being polite with real not being polite.
Speaker 4 (10:24):
I'd like you to have lunch with me.
Speaker 6 (10:26):
You are very kind.
Speaker 4 (10:26):
I don't believe me. Oh, never mind, come on to that.
Speaker 5 (10:29):
We needn't talk to each other unless we feel like it.
Have your friend she seems a good deal older than you.
Speaker 4 (10:38):
What is she a relation?
Speaker 3 (10:40):
Have you known a law?
Speaker 5 (10:41):
Oh?
Speaker 6 (10:42):
She isn't really a friend. She's an employer. You see.
I'm what's called a companion. She paid me ninety pounds
a year.
Speaker 5 (10:49):
I didn't know one could buy companionship.
Speaker 4 (10:52):
What do you do it for?
Speaker 6 (10:53):
Ninety pounds is a lot of money. How old are
you nineteen?
Speaker 4 (10:58):
You're not afraid of the future.
Speaker 3 (11:00):
No am Johnny family, No, they are dead.
Speaker 5 (11:04):
Then we've got a bond in common, you and I.
We're both alone in the world. I have no companion.
I shall have to congratulate missus van Hopper. You're cheap
at ninety pounds a year.
Speaker 6 (11:15):
You forget you have a home and I have none.
Speaker 5 (11:18):
An empty house, my dear, can be as lonely as
a full hotel. The trouble is that it's less impersonal.
Speaker 6 (11:34):
I remember the feel of the leather seats in his
car as we drove in the afternoons along the Mediterranean.
I remember still in my ill fitting flannel suit, and
now the skirt was lighter than the coat. I remember
now glancing at my watch, I think to myself, this
moment now, now, at twenty minutes past three, this must
(11:58):
never be lost.
Speaker 3 (12:00):
Never You're a very silent companion.
Speaker 4 (12:05):
What are you thinking?
Speaker 6 (12:07):
I wish, I wish I were a woman of about
thirty six, dressed in black satin with a string of pearl.
Speaker 4 (12:13):
It wouldn't be in this car with me. If you would.
Speaker 6 (12:17):
Listen to Winter, You're going to think me impertinent mood,
I dare say, but I would like to know why
you asked me to come out in the car day
after day. You're being kind, that's obvious, But why do
you choose me for your charity?
Speaker 5 (12:28):
Cause you are not dressed in black satin with a
string of pearls, nor are you thirty six?
Speaker 6 (12:34):
You know it's not fair. You know everything there is
to know about me. That's not much, I admit, because
I haven't been alive very long and nothing very much
has happened to me except people dying. But you, I
know nothing more about you than I didn't mean what
You know them well that you lived at Mandalay and
that you had lost your wife.
Speaker 5 (12:54):
Yes, my memories are bitter. I prefer to ignore them.
Something happened to me a year ago that altered my
whole life, and I want to forget my existence up
to that time. Those days are finished, that blotted out.
How you want to begin living all over again.
Speaker 6 (13:13):
I'm so sorry you been so kind to me. I
didn't mean to remind.
Speaker 5 (13:18):
Your puritanical, tight lipped little speeches and talk about kindness
and charity. I asked you to come with me because
I want you and your company. And if you don't
believe me, you can leave the car now and find
your own way home. Gone, open the door and get out. Well,
what are you going to do about it?
Speaker 6 (13:38):
Please drive me home?
Speaker 3 (13:45):
Well, I suppose you're young enough to be my daughter.
Speaker 5 (13:51):
I don't know how to deal with you. Forget all
I said to you. Just now, that's all finished and
done with. Don't let's ever think of it again. My
family used to call me Maxim. I'd like you to
do the same. You've been formal long enough.
Speaker 4 (14:23):
What do you want? Something? The matter?
Speaker 6 (14:26):
I've come to say good bye. We're going this morning.
Speaker 4 (14:29):
Come in, shut the door. What are you talking about?
Speaker 6 (14:32):
It's true, we're leaving today. I was afraid I wouldn't
see you. I felt I must see you again to
thank you.
Speaker 4 (14:39):
Why didn't you tell me this before?
Speaker 6 (14:40):
When missus van Happa only decided today her daughter sails
from New York on Saturday, and we're going with us.
Speaker 3 (14:45):
She's taking you with her to New York.
Speaker 6 (14:46):
Yes, and I don't want to go. I shall hate it.
I shall be miserable.
Speaker 5 (14:50):
Fine EM's name gold sit down with me when I
eat my breakfast if you had yours?
Speaker 6 (14:54):
Yes, Oh, I really haven't time. I ought to be
downstairs now getting the tickets.
Speaker 4 (14:58):
It will sit with me for five minutes.
Speaker 6 (15:00):
I shouldn't so.
Speaker 5 (15:01):
Missus van Hopper's had enough of Monte Carlo and now
she wants to go home, and so do I.
Speaker 3 (15:05):
She to New York Ida, Mandally, which would you prefer?
Take your choice?
Speaker 6 (15:11):
Please, don't make a joke about It's unfair.
Speaker 5 (15:13):
You think I'm one of those people who tries to
be funny before breakfast.
Speaker 4 (15:16):
You're wrong.
Speaker 5 (15:18):
I repeat. The choice is open to you. Either you
go to America with Missus van Hopper you come home
to Mandally with me.
Speaker 6 (15:26):
Do you mean what a secretary is something?
Speaker 3 (15:27):
No, I'm asking you to marry me, you little fool.
Speaker 6 (15:34):
I don't understand. I'm not the sort of person man marry.
Speaker 4 (15:39):
That's the devil. Do you mean?
Speaker 6 (15:42):
I'm not sure? I don't think I know how to explain.
I don't belong to your sort of world.
Speaker 4 (15:48):
What is my world?
Speaker 6 (15:50):
Well, Mandally, you know what I mean.
Speaker 5 (15:53):
You think I'm asking you to marry me for the
same reason you thought I took you out in the
car to be kind. Yes, one day you may realize
that philanthropy is not one of my strongest qualities.
Speaker 4 (16:07):
Are you going to marry me?
Speaker 3 (16:11):
My suggestion doesn't seem to have gone too well.
Speaker 4 (16:15):
I'm sorry.
Speaker 3 (16:18):
I rather thought you loved me.
Speaker 6 (16:20):
I do love you. I love you dreadfully. I've been
crying all morning because I thought I should never see
you again.
Speaker 4 (16:27):
So that's settled.
Speaker 5 (16:28):
Then, instead of being companion to missus van Hopper, you
become mine, and your duties will be honest, exactly the same.
I also like new library books and flowers in the
drawing room, and some of to pour my tea. I'm
being rather a brute, you aren't I This isn't your
idea of a proposal. We are to be in a
conservatory with you in a white frock, with a rose
(16:49):
in your hand and a violin playing a waltz in
the distance.
Speaker 4 (16:54):
Poor darling, what a shame.
Speaker 5 (16:57):
Never mind, I'll take you to for our honeymoon and
we'll hold hands in a gondola, but we won't stay
too long because I want to show you mandally mandally.
Now then, am I going to break the news to
missus van Hopper or are you?
Speaker 6 (17:13):
Oh? No, you tell her, she'll be so angry.
Speaker 4 (17:17):
I'm not afraid. You wait for me here.
Speaker 6 (17:26):
When he had gone, I looked around his room. There
was a book on the table near his bed. I
picked it up. On the title page was a dedication
Max from Rebeccah May seventeen, written in a curious slanting hand.
(17:48):
The ink had run too thick, so that the name
Rebecca stood out black and strong.
Speaker 9 (17:56):
Rebecca, Rebecca.
Speaker 2 (18:14):
We paused on our Campbell play House presentation of Rebecca,
and just a moment we will resume the story. But first,
here is my associate of long standing, Ernest Chappel, with
an important message.
Speaker 4 (18:25):
Thank you, mister Hill.
Speaker 1 (18:27):
The time was, and it was not so long ago,
when chicken was a rare and special treat. What magic
the words chicken for dinner conjured up in our young minds,
and how we looked forward to these great events with
proud gusto. Father would dexterously separate wings and legs, and
then carved tender white slices from the breast, while each
of us silently prayed to be granted his special favorite part.
(18:51):
And then on the second day there came another treat.
The remaining meat and the carcasse went into mother's soup
kettles to be simmered slowly, seasoned gently, and served forth
as a supper time delight to day. If you have
wistful memories of that glorious old home chicken soup, then
Campbell's Chicken soup is just made for you, because Campbell's
(19:13):
chefs follow faithfully the good home recipe, only changing it
to make an even better soup. They use, for example,
all the good meat of the chickens, fine pump chickens.
They are too, such as you'd choose proudly for your
own table. Such chicken soup with snowy rice and tender
chicken pieces is a special treat, indeed, but one you
may enjoy on any day. Your grocer has Campbell's chicken soup,
(19:38):
and it's yours for the asking. Remember Campbell's Chicken Soup.
Speaker 2 (19:44):
Now we return to the Campbell play House presentation of
Rebecca with Margaret Sullivan and Orson Wells.
Speaker 6 (19:57):
We came to Mandily an early May. There it was
the Mandoly I had expected, lovelier than I'd ever dreamed.
Built in its hollow of smooth grassland and mossy lawns,
the terrace is sloping to the gardens, and the gardens
to the sea. A servant was standing on the steps, waiting,
(20:20):
O man with a kind face.
Speaker 4 (20:22):
Where we are felling well?
Speaker 10 (20:24):
Yes, thank you, sir, glad to see your home, sad
and hope you've been keeping well.
Speaker 5 (20:29):
And Madam too, Yes, I'm both well, thank you for
I'm a tired from the dry running our tea.
Speaker 4 (20:33):
Hello, dressful man.
Speaker 3 (20:36):
Who are these people?
Speaker 4 (20:37):
All the servants? I didn't expect this, Missus Denvers order,
Sir Danvers, I might have guessed it. Come on, darling.
Speaker 3 (20:42):
Missus Danvers was Rebecca's housekeeper.
Speaker 4 (20:44):
She's simply a daughter. They're all curious to see what
you like.
Speaker 3 (20:46):
You won't mind when you're soon to be over, my dear.
Speaker 4 (20:51):
This is Missus Danvers.
Speaker 6 (20:56):
Missus Danvers took me to my room. She was tall,
gaunt woman, dressed in black, with prominent cheek bones and
great hollow eyes. It gave us skulls face parchment white,
sat on a skeleton's frame. Her eyes never left mine.
Speaker 11 (21:14):
Mandally is a big place, Madam, not so big as some,
of course, but big enough, and the show place. Mister
de Winter lets the publican to see it once a month.
Speaker 6 (21:25):
You can't see the sea from here, can you.
Speaker 11 (21:27):
No, not from this room. You can't even hear it.
You did not know the sea was anywhere near, Not
from this room.
Speaker 6 (21:35):
I'm sorry about that. I like to see.
Speaker 11 (21:37):
Mister de Winter gave special orders in his letter that
you would have this room, madam.
Speaker 6 (21:42):
Oh, then this was not his room originally.
Speaker 11 (21:44):
No, Madam, he's never used the rooms in this wing before.
Speaker 6 (21:49):
Oh, he didn't tell me that. I I suppose you've
been at Mandally for many years, Missus Danvers, longer than
anyone else.
Speaker 11 (21:58):
I came here when the first Missus de Winter was
a bride.
Speaker 6 (22:04):
Missus Danvers. Well, you must have patience with me, because
this sort of life is new to me. You must
just go on running things they always have been run.
I shan't want to make any changes.
Speaker 11 (22:15):
You will be here to carry out your orders, Madam.
I hope I shall do everything to your satisfaction. Can
I do anything more for you now?
Speaker 6 (22:24):
Oh? No, thank you? No, I am sure I have everything.
I should be very comfortable here. You've made the rooms
so charm.
Speaker 11 (22:29):
I only followed out mister de Winter's instructions. Of course,
the most beautiful rooms are in the west wing overlooking
the sea. Bedroom is twice as large as this, and
the windows look down across the lawns into the sea.
Speaker 6 (22:47):
I suppose Missus de Winter keeps the most beautiful rooms
to show to the public.
Speaker 11 (22:50):
Those rooms are never shown to the public. They used
to live in those rooms when Missus de Winter was alive.
That big room I was telling you about that looks
down to see that was Missus de Winter's room.
Speaker 6 (23:10):
Next morning, there was a heavy mist poured in through
the open window. When I came down to breakfast, Maxim
had already gone out.
Speaker 4 (23:19):
Miss Winter.
Speaker 10 (23:20):
Yes, Frith, mister de Winter told me to tell you, Madam,
that he'd gone out with mister Crawley. Mister Frank Crawley
is mister de Winter's friend who manages the estate. Mister
de Winter said to tell you they'd be back for
luncheon at one.
Speaker 6 (23:32):
Thank you, oh Frith, Yes, madam, it seems rather cold
this morning. I wonder if you'd please like to find
the library for me.
Speaker 10 (23:39):
Fair in the library is not usually lit until the afternoon, Madam.
Missus de Winter always used the morning room. She always
did her telephoning and correspondence in there. After breakfast there's
a good fire in there. If you should wish to
have a fad in the library as well, I wouldn't
dream of it.
Speaker 6 (23:56):
I'll go into the morning room. Thank you, I.
Speaker 10 (23:59):
Will love, and Madam, I'll assured you a way.
Speaker 6 (24:10):
This was a woman's room, graceful, fragile, the room of
someone who had chosen every particle of furniture with great care.
That a strange and startling kind of perfection. I opened
the word hazard and there was a letter addressed to
Missus m de Winter, Missus.
Speaker 11 (24:32):
De Winter, Missus de Winter.
Speaker 3 (24:36):
Who is it?
Speaker 6 (24:37):
What do you want? Missus de Winter. I'm afraid you've
made a mistake. Missus de Winter has been dead for
over a year.
Speaker 12 (24:47):
It's Missus Danvers, Madam, Missus Danvers.
Speaker 11 (24:52):
I'm speaking to you on the house telephone.
Speaker 12 (24:54):
It's about the menu. It's Missus Danvers speaking Madam.
Speaker 6 (25:00):
After lunch it was still raining. Frank Crawley and Maxim
in the library working. I got a raincoat out of
the flower room and started out across the garden down
towards the sea. Soon I was in the woods. The
(25:22):
door ran on ahead. The woods came right down to
the water. At the fringe was a long, low building,
half cottage, half boat house. There was a boy anchor
bear in the coal, but no boat. And there was
Jasper wagging his tail at a solitary figure on the beach. Zadrea.
(25:45):
I saw that the figure on the beach was a
man with the small slit eyes of an idiot and
a red wet mouth.
Speaker 4 (25:54):
They Daddy, I'm.
Speaker 6 (25:57):
Afraid it's not very nice weather. Jasper Jeffer come.
Speaker 4 (26:00):
Here digging for shell. No shell here.
Speaker 10 (26:06):
He's been digging all day.
Speaker 6 (26:07):
I'm sorry you can't find it.
Speaker 4 (26:08):
I say, no shell here.
Speaker 6 (26:11):
Come on, Jasper, good dog, Come on.
Speaker 4 (26:14):
He won't go.
Speaker 6 (26:15):
Why not?
Speaker 11 (26:16):
He ain't good dog?
Speaker 6 (26:18):
No, he's mister the Winter's dog. I want to take
him back to the house. Come on, Jess, come along,
good dog.
Speaker 4 (26:24):
She hain't been here lately. The yellow one.
Speaker 6 (26:29):
You're not like the other one. What do you mean?
What other one?
Speaker 4 (26:33):
Tall and dark? She was. She give me the feeling
of a snake.
Speaker 6 (26:37):
By night. She come down to covid seeing. I looked
in at her.
Speaker 10 (26:41):
Once here in the boat house, and she turned on me,
she did, If I catch you looking at me through
the windows, shall putting asilum, She said.
Speaker 3 (26:49):
I won't say you to the man my child and
touch my cap like it's here.
Speaker 4 (26:55):
She's gone now, ain't she.
Speaker 6 (26:57):
I don't know what do you mean?
Speaker 10 (26:58):
She's gone in the sea and she.
Speaker 4 (27:01):
She won't come back no more.
Speaker 6 (27:03):
No, she'll not come back.
Speaker 4 (27:06):
You won't put me in a sylum, will you.
Speaker 3 (27:09):
I never said nothing, did I?
Speaker 4 (27:11):
I never said nothing, ma'am?
Speaker 10 (27:13):
I never said nothing.
Speaker 4 (27:27):
Where did you get that piece of string?
Speaker 6 (27:28):
I got it for Jess, but you ran away. I
found it in the cottage.
Speaker 3 (27:31):
On the beach of the door open.
Speaker 6 (27:32):
I pushed it open. The string was in the other
room where the sales were.
Speaker 4 (27:35):
I see that cottage're supposed to be locked. The door
has no business to be open.
Speaker 3 (27:40):
Did Ben tay the door was open?
Speaker 8 (27:41):
Then?
Speaker 6 (27:41):
No?
Speaker 3 (27:42):
Never mind, Maxim?
Speaker 4 (27:44):
Yes, what is it?
Speaker 6 (27:46):
I'm sorry I went down to the cove if you
didn't want me to go?
Speaker 3 (27:49):
What makes you think I didn't want you to go
down there?
Speaker 6 (27:51):
Maxim? How should I know? I'm not a thought reader.
I know you didn't want me to go. That's all
I could see in your face.
Speaker 3 (27:55):
See what in my face I've already told you.
Speaker 6 (27:57):
I can see that you didn't want me to go.
Speaker 4 (28:00):
That's right.
Speaker 3 (28:00):
I did not want you to go down to the cove.
Will that please you? I never go another place.
Speaker 5 (28:04):
You had my memories, you wouldn't want to go there either.
Speaker 3 (28:06):
Or talk about it, or even think about it.
Speaker 5 (28:10):
Yeah, I hope that's satisfied Youil Please make them please,
what's the matter.
Speaker 6 (28:15):
I don't want you to look like that. Please, Maxim,
let's forget all we said. I'm sorry, darling, Please let
everything be all right.
Speaker 5 (28:22):
We ought to have stayed in Italy. We ought never
to come back to Mandally. I was a fool to
come back.
Speaker 6 (28:37):
Whether that may was wet and cold. From the terrace,
I could hear the murmur of the sea below me,
low and sullen, and every morning a heavy fog would
come rolling in from the sea. I could not forget
that cottage on the beach and the fight lost look
in Maxim's eyes. Somewhere at the back of my mind
(29:00):
a frightened, furtive seed of curiosity grew slowly and stealthily.
Frank Crawley was in the library taking tea with me,
waiting for Maxim to get home. There were things that
I had to know.
Speaker 3 (29:17):
You were down then, Miss Frank.
Speaker 6 (29:22):
Frank in that cottage down there are those all Rebecca's things? Yes,
I wondered, why is the boy there in the little
harbor place?
Speaker 4 (29:35):
Uh? The boat used to be moored there?
Speaker 6 (29:37):
What boat?
Speaker 4 (29:38):
Her boat?
Speaker 6 (29:39):
Oh? What happened to it? Oh? Was that the boat
she was sailing when she was drowned?
Speaker 3 (29:46):
Yes, it capsized and sank.
Speaker 4 (29:51):
She was washed overboard.
Speaker 6 (29:52):
Couldn't someone have got out to her?
Speaker 13 (29:54):
Nobody saw the accident, Nobody knew she'd gone, she often
said alone night.
Speaker 6 (30:02):
How long afterwards was if they found her?
Speaker 4 (30:07):
About two months?
Speaker 6 (30:09):
Where did they find her?
Speaker 11 (30:11):
New Edgecombe?
Speaker 4 (30:13):
Not forty miles of channel?
Speaker 6 (30:15):
How did they know it was she? After two months?
How could they tell?
Speaker 3 (30:20):
Maxim went up to Edgecomb too identify her?
Speaker 6 (30:23):
Oh, Frank, I know what you're thinking. You can't understand
why I ask all these questions. Just now you think
I mean morbid and curious. But it's not that, I
promise you. Only when I go to call on all
these people, his friends, I know they are looking me
up and down and thinking, what on earth is Maxim
seeing her? Always? I know that whenever I meet anyone new,
(30:43):
they say how different she is from Rebecca? Frank, Yes,
it's just one more thing. One question I must ask you.
Will you promise to answer it quite truthfully?
Speaker 3 (30:56):
I'll do my best.
Speaker 6 (30:59):
Tell me was Rebecca very beautiful?
Speaker 4 (31:06):
Yes?
Speaker 13 (31:09):
Yes, I suppose she was the most beautiful creature I
ever saw in my life.
Speaker 11 (31:27):
Here it is, madam, This is it. One moment while
I turn on the light, Come in, madam.
Speaker 6 (31:34):
Was this her room, missus Danvers?
Speaker 11 (31:36):
Yes, ma'am, this.
Speaker 6 (31:36):
Is her room.
Speaker 11 (31:38):
Now you're here, let me show you everything. I know
you want to see it all you've wanted to for
a long time.
Speaker 6 (31:47):
It's a lovely room, isn't.
Speaker 11 (31:48):
It the loveliest room you've ever seen. I haven't touched
a thing.
Speaker 6 (31:56):
There are flowers on the dressing table at her bed.
Speaker 11 (32:00):
It's beautiful bed, isn't it. Here's her night dress. This
was the night dress she was wearing for the last
time before she died. Would you like to touch it?
Speaker 6 (32:12):
Feel it? Hold it?
Speaker 11 (32:15):
I did everything for her. You know you look after
me better than any one, Dennis. She used to say,
I wouldn't have any one, but you see here's her wardrobe.
What's the matter, madam? Aren't you feeling well?
Speaker 6 (32:32):
I'm all right. I just I didn't expet to see
all the things this way.
Speaker 11 (32:36):
I believe mister de Winter liked her to wear silver mostly,
but of course she could wear anything. She looked beautiful
in this velvet. Put it against your face. It's soft,
isn't it. Scent is still as fresh as though she'd
just taken it off. These are her slippers. Put your
hands inside the slippers. They're quite small and now, Carrol,
(33:00):
aren't they when they've found her? Her rocks had battered
her to bits so no one could recognize her. You
know now why mister de Winter doesn't use these rooms
any more. He hasn't used these rooms since the night
she was drowned. I come up every day and dust
them myself. If you want to come again, you have
(33:22):
only to tell me. Sometimes, when mister de Winter is
away and you feel lonely, you might like to come
up to these rooms and sit here. They're such beautiful rooms.
You wouldn't think she'd been gone now for so long,
would you. You'd think she'd just gone out for a
little while and would be back in the evening. Do
(33:44):
you think she can see us talking to one another?
Speaker 4 (33:46):
Now?
Speaker 11 (33:48):
Do you think the dead come back and watch the living?
Speaker 6 (33:51):
I don't know why I don't.
Speaker 11 (33:53):
Sometimes I wonder if she comes back to Mandally and
watches you and mister de Winter, You sitting in her
chair in the library before the fire, stroking her dog,
talking to her husband.
Speaker 6 (34:09):
And stop it. Stuff.
Speaker 2 (34:10):
It's no use, is it.
Speaker 6 (34:11):
You can't do it.
Speaker 11 (34:13):
You'll never get the better of her. She's still mistress
here even if she is dead. She's the real Missus
de Winter, not you. It's you that's the shadow and
the ghost. It's you that's forgotten and not wanted and
pushed aside. Well, why don't you leave Mandally to her?
Why don't you go? Why don't you go? We none
(34:35):
of us want you. He doesn't want you, he never did.
You can't forget her. He wants to be alone in
the house again with her. It's you who ought to
be dead, not Missus de Winter. Come here now to
the window. Let me show you something. When the windows open,
you can hear the sea down there. Look down there,
look let me go.
Speaker 6 (34:55):
Don't be afraid.
Speaker 11 (34:56):
I won't push you.
Speaker 6 (34:58):
There's not much for you to live for.
Speaker 11 (35:00):
We are here at Mandolin. Why don't you jump now
and have done with it? Then you won't be unhappy anymore.
Why don't you try go on, go on, don't be afraid,
go on, go on, go on, go on, go on.
Speaker 2 (35:18):
And so we end the second part of our presentation
of Daphey de Morier's best selling book Rebecca, with Margaret
Sullivan and Orson Welles. In a few moments we shall
return you to the Campbell Playhouse.
Speaker 14 (35:30):
This is the Columbia Broadcasting System.
Speaker 2 (35:51):
This is Edwin C. Hill again bidding you welcome to
the Campbell Playhouse on behalf of the makers of those.
Speaker 4 (35:57):
Fine Campbell suits.
Speaker 2 (35:58):
In a moment or two, we we shall resume our
presentation of Rebecca, the best selling novel by adapted de
Marier and starring, as I have said, Margaret Sullivan and
Orson Wells. And also we shall hear from miss to
Marie herself direct by short way from London.
Speaker 4 (36:15):
But first I bring you a message.
Speaker 2 (36:17):
For many years I've been interested in the human side
of the news as a newspaper reporter. For all those years,
I've found that there is a very human side to business,
and that is what I want to speak about.
Speaker 4 (36:28):
For just to mumber or so.
Speaker 2 (36:29):
All of us are familiar with businesses which provide us
with something to wheat or drink or wear. Or we
buy a radio, or a suit of clothes, or a
can of soup. But the actual thing we buy is
about the only contact we ever have with the people
make such goods. But the character of those people is
of vital importance. If the manufacturer of a product is
(36:50):
honorable in the conduct of his business, his product will
be as trustworthy as its word or In business, as
in every walk of life, honesty pays real dividends. Honestand
of prize is the only kind which has a chance
to win and to hold the patronage of intelligent and
discriminating buyers, whether it's a matter of a piano or
a spool of fred orer trip to Europe.
Speaker 6 (37:11):
Or a can of soup.
Speaker 2 (37:13):
And that, as I see it, is the human side
of business, of the products that last over the years,
that serve you well and merit your continents.
Speaker 3 (37:22):
I know the Campbell kitchens, the Campbell men, the Campbell soup.
Speaker 2 (37:26):
The fact that these soups are used more and more
every year in most homes and are sold in more
than four hundred and sixty thousand grocery stores throughout the
land is no accident.
Speaker 4 (37:35):
Believe me.
Speaker 2 (37:37):
It's due to the human side of this business, its aims,
its policies, and its character. And now to the Campbell Playhouse,
where we resume our story. Rebecca, why don't.
Speaker 11 (37:53):
You jump now and have done with it? Why don't
you try?
Speaker 5 (37:56):
Go on?
Speaker 6 (37:57):
Go on?
Speaker 11 (37:57):
Don't you say jump?
Speaker 8 (37:58):
Go on?
Speaker 6 (37:59):
We's go on. The denvers was close behind me, now,
her hand on my arm, and before me was the
open window and the white mist coming in from the sea.
Go on, I shut my eyes. The mists lay upon
my lips, rank and sun. My head began to swim,
(38:20):
and some of the mists had parted.
Speaker 9 (38:22):
There was a flash and a shy.
Speaker 6 (38:31):
Ship. Late I went down to the beach. There was
a large ship on the reef half a mile off shore,
with her boughs pointed towards the cliff. There were a
(38:54):
number of small boats around her, and the coast guard
cutter lying along side the foss told them what pos
throught the window.
Speaker 3 (39:02):
It looked like your Dutchman, I say, German of Dutch.
Speaker 5 (39:06):
One thing. There's no sea running a shallow water.
Speaker 6 (39:08):
Seasons I don't know yet.
Speaker 3 (39:10):
Let's a diver come over from ket.
Speaker 6 (39:12):
He'd be going down.
Speaker 15 (39:13):
To see if she's broken her back. He's all right, she's.
Speaker 6 (39:15):
Gonna you see mister Winter.
Speaker 3 (39:19):
Mister yes, ma'am. He was one of the first down
here after the rockets.
Speaker 15 (39:23):
You were known by the cow and the dog.
Speaker 6 (39:25):
Wouldn't you know where he is now?
Speaker 15 (39:26):
He went after Carrot twenty minutes ago with one of
the crow the burringers.
Speaker 3 (39:31):
Thank you, good day, good mom, good damon.
Speaker 6 (39:39):
I went back to Mandola a long way through the woods.
The fog get cleared. I looked down and saw the
stranded ship off shore. The diver must have come up well.
I saw a little group of people on the deck
of the boat alongside, leaning over, staring into the water.
Speaker 10 (40:03):
There's a man waiting to see you, madam. He says,
it's important. He asked for mister de Winter first and
then for you. He's in the library. Who is it, Frith,
He says. His name's Captain Sirl Madam, the Harven Master
from Kenneth.
Speaker 6 (40:16):
Oh, yes, I'll go in and talk to him.
Speaker 3 (40:18):
Yes, madam, missus de Winter, I'm sorry.
Speaker 6 (40:23):
My husband isn't back yet.
Speaker 16 (40:25):
I know I can't get hold of mister Crawley either.
The fact is I've got some news for mister de Winter,
and I hardly know how to break it to him.
Speaker 6 (40:34):
What sort of news captain?
Speaker 16 (40:35):
So well, Missus de Winter, it isn't very pleasant for
me to tell you either. We're all very fond of
mister de Winter around here. It's hard on him and
hard on.
Speaker 3 (40:44):
You that we can't at the first like quiet, yes,
go on.
Speaker 16 (40:47):
Well, you know we sent the diver down to inspect
that ship there on the reef. Well, while he was
down there, he came across something else, the hull of
a little sailing boat lying on her side, not broken
up at all.
Speaker 3 (41:00):
He recognized it at once. That boat belonged to the
late Missus de Winter.
Speaker 6 (41:06):
Oh, I'm so sorry. Is it necessary to tell mister
de Winter? Couldn't the boat be left there as it is?
It's not doing anybody any harm, is it.
Speaker 16 (41:16):
The cabin door was tightly closed and the ports were
closed to The iver broken of the windows with a
stone from the seabed and looked into the cabin. And
then he got the fright of his life. There was
a body in there, lying on the cabin floor. Now
you understand why I have to see your husband, Missus
de Winter.
Speaker 4 (41:52):
It's all over. Now the thing has happened.
Speaker 5 (41:57):
The thing I've always foreseen the thing I've dreamt of
about day after day, night after night.
Speaker 4 (42:04):
We're not meant for happiness. You and I.
Speaker 6 (42:07):
What are you trying to tell me?
Speaker 5 (42:08):
Rebecca has won? I remember her eyes as she looked
at me before she died. I remember that slow, treacherous smile.
She knew this would happen. Even then, she knew she'd
win in the end.
Speaker 6 (42:24):
Maxim, what are you saying? What are you trying to
tell me?
Speaker 4 (42:27):
Her? Both they found it. The diver found it this afternoon.
Speaker 6 (42:30):
I know Captain solerz here and he told me you're
thinking about the body, the body that iver found in
the cabin. Yes, it means she wasn't alone. Means it
was someone out sailing with Rebecca at the time, and
you'll have to find out who it was.
Speaker 5 (42:43):
There was no one with Rebecca.
Speaker 4 (42:45):
She was alone.
Speaker 5 (42:47):
It's Rebecca's body lying there on the cabin floor. The
woman I identified wasn't Rebecca. There never was an accident.
Rebecca was not drowned at all. I killed her. I
shot Rebecca and the cottage down in the cove. I
carried her body to the cabin and took the boat
(43:09):
and sunk it there. But they found it to day.
It's Rebecca who's lying dead.
Speaker 4 (43:16):
There on the cabin floor. Will you look into my
eyes and tell me that you love me?
Speaker 6 (43:23):
Now? Oh, darling, you can't lose each other.
Speaker 7 (43:32):
Now.
Speaker 6 (43:33):
We've got to be together always, with no secrets, no shadows. Please, darling,
there's no time.
Speaker 4 (43:40):
We may have a few hours, a few days. How
can we be together now that this has happened.
Speaker 3 (43:46):
I've told you they found the boat, they found Rebeccah,
what'll you do?
Speaker 5 (43:49):
I don't know, I don't know.
Speaker 6 (43:51):
Does any one know any one at all?
Speaker 5 (43:52):
No?
Speaker 6 (43:53):
No one but you and me, No one but you
and me. Oh, why didn't you tell me? Why didn't
you tell me? The time we wasted when we might
have been together all these weeks, all days.
Speaker 5 (44:04):
You were so aloof you never came to me like this.
You were strange with me, awkward, shy.
Speaker 6 (44:10):
How could I come to you when I knew you
were thinking about Rebecca? How could I ask you to
love me? When I knew you loved Rebecca? Still and
ever who spoke to me? You looked at me. I
felt you were saying to yourself this I did with Rebecca,
and this and this?
Speaker 5 (44:27):
What are you talking about? What do you mean it
was true, wasn't it. You thought I loved Rebecca, You
thought I killed her loving her. I tell you I
hated her. Our manager was a fast from the very first.
She was vicious, damnable, rotten through and through. We never
(44:49):
loved each other. We never had one moment of happiness together.
Rebecca was incapable of love, of tenderness, of decency. She
knew how I loved Mandally. She knew how to hurt
me most. She stood there that night in the cottage,
in the cove, smiling at me. I'm going to have
(45:10):
a child, she said. It will grow up here at
Mandally bearing your name. That's a joke, isn't it. And
when you die, Mandally will be his. You can't prevent it.
Have you ever thought how hard it would be for
you to make a case against me in a court
of law? I mean, if you wanted to divorce me.
We've acted the parts of a loving husband and wife rather.
Speaker 4 (45:32):
Too well, haven't we.
Speaker 5 (45:33):
They'll be happy, won't they, all those smug friends of
yours or your blasted tenants, thinking it's your child, It's
what we've.
Speaker 4 (45:42):
Always hoped for, missus de Winter.
Speaker 5 (45:43):
They'll say, I'll be the perfect mother, Max, just as
I've never been the perfect wife. And none of them
will ever guess, none of them will ever know. She
turned and faced me, smiling. Then I killed her. She
(46:04):
was smiling still. I fired at her heart. She didn't
fall at once. She stood there looking at me, that
slow smile on her face, her eyes wide open.
Speaker 15 (46:36):
You have heard all the testimony in this case, gentlemen.
You have heard how the body of the deceased was
found in the cabin of her boat. You have heard
the testimony of the boat builder.
Speaker 3 (46:50):
You have heard mister de Winter's story.
Speaker 15 (46:53):
You have heard how on the night of the treasured day,
Missus de Winter went down to the cottage.
Speaker 3 (47:05):
How do you fight?
Speaker 12 (47:09):
Sorry, fiden.
Speaker 6 (47:16):
That you see.
Speaker 4 (47:20):
He's a jet.
Speaker 6 (47:35):
It was almost dark when he started for Manday. He
held my hand in his. He didn't speak for a
long time. I must have dozed. W I worked suddenly
with a start, he heard the first sound of thunder
in the air. The air was hot against my face.
(47:55):
The rain fell. What is it? Donning maxim maximum rise?
Speaker 4 (48:02):
So first I want to get home. I'm worried. I
have a premonition of disaster.
Speaker 6 (48:10):
When everything's over, I don't understand.
Speaker 3 (48:12):
I want to get home.
Speaker 4 (48:14):
I want to get back to Mandally.
Speaker 6 (48:16):
What time is it?
Speaker 4 (48:19):
Almost nine?
Speaker 6 (48:21):
It's funny and it's almost as though the sun were
still sitting over there beyond those hills. Can't be though, it's.
Speaker 3 (48:28):
Too late, the wrong direction. You're looking east.
Speaker 6 (48:33):
Why it's funny, isn't it It's in winter. You see
the northern lights. Isn't it not in summer?
Speaker 3 (48:43):
That's not the northern light you're looking at. That's Mandally, Maxim, Maxim,
what is it?
Speaker 6 (48:51):
I don't know, Maxim, look a fire, Maxim, it's Mandally.
Speaker 12 (48:59):
It's running.
Speaker 6 (49:16):
We have both known fear and loneliness and very great distress,
but we have come through our crisis. Of course, we
have our moments of depression. But there are other moments too,
when time, unmeasured by the clock, runs on into eternity,
and catching Maxim's smile, I know we are together at last,
(49:41):
no barrier between us. We can never go back to
Mandeley again. The past is still too close to But
(50:02):
sometimes in my dreams I go to Mandolin. I see
the gray stone shining in the moonlight. Light comes from
the windows. The curtains blow softly in the night air,
and in the library the door stands half open.
Speaker 9 (50:19):
As if we had left it.
Speaker 6 (50:21):
With my handkerchief on the table beside the bowl of
autumn roses, and the charred ends of our log fire
still smoldering against the morning.
Speaker 4 (50:48):
So ends our story.
Speaker 2 (50:50):
The Campbell Playhouse presentation of Dafty de Murray's novel Rebecca.
In a moment, I shall bring you Margaret Sullivan, an
Arson Wells in person, and Daphney de Murray on the
long distance phone from London. In the meantime, here's a
man with a message worth hearing, a man who keeps
one eye on the dining table and the other on
the pantry. Ladies and gentlemen, my friend Ernest Chappell.
Speaker 4 (51:12):
Thank you, mister Hill.
Speaker 1 (51:13):
May I remind you once again of that grand dish,
Campbell's chicken Soup. Remember what I told you about it,
and make it a point to try it soon, because
until you taste your first glorious spoonful, you're really missing something.
Imagine a rich golden broth slowly simmered from plump and
perfect chickens, simmered with all the patience and skill of
(51:33):
the most particular home cook. And imagine an abundance of
selective rice, white and fluffy, drifting all through the broth,
every grain saturated with its delicious flavor. Then add tender
pieces of chicken meat, each a delight to your taste,
and you have a picture of Campbell's chicken soup. But
only tasting can really tell you how good it is.
(51:54):
Why not plan to have Campbell's Chicken soup tomorrow. You
will please the family and incidentally make a busy day
a little easier for yourself.
Speaker 5 (52:15):
And now here's Arson Wells, ladies and gentlemen. The star
of Rebecca is standing beside me at the microphone. I'd
like to tell her that one of my favorite characters
in modern fiction was Tonight forever endowed with the personality
of miss Margaret Sullivan.
Speaker 6 (52:31):
Thank you, mister Wells. I hope the novelist approved of
me too. I want you to know how much I've
appreciated playing once more with the Campbell play House Tonight,
especially in this story, which is one of my favorites.
Speaker 5 (52:43):
It is a grand story, and I do believe the
most important factor of radio entertainment is a good story.
Speaker 6 (52:48):
I quite agree too. You know two things I like
very much. A good stories, and good soup. And when
I tell you, my dear of a great soup is
Campbell's chicken soup, that, mister Wells, is no story.
Speaker 4 (52:58):
I'm glad you feel that way. Nice of you to
say so.
Speaker 6 (53:01):
Oh, by the way, as well, that I ask you
a question, very kind of you. Can you tell me
the name of the character?
Speaker 4 (53:08):
Will you repeat that question?
Speaker 6 (53:10):
What is the name of the character I just played?
Speaker 5 (53:13):
Well, that's the major literary mystery of the year. Seriously,
she hasn't any name, and our audience, Miss Sullivan, is
probably just as curious as you are, and I haven't
the answer.
Speaker 6 (53:25):
Well, mister Murrier must know it. She's phoning us from
London in a few minutes till we'll ask her.
Speaker 5 (53:30):
You know, miss Sullivan has a question I'd like to
ask you. Yes, mister Wells, until rehearsal started for to
night's performance, I had never, to put it very bluntly,
had the pleasure of your acquaintance. Yes, Oh, now, in
six and one half minutes, Miss Sullivan, you will have
gone out of my life. The point is point is
(53:50):
I am the director of the theater, the er the Mercury,
Dear the Mercury Theater. Thanks What I started to say
was that I'd like to know you better. What are
you doing next year?
Speaker 6 (54:02):
Are you speaking as a director?
Speaker 5 (54:04):
Yes, Missus Hayward, as a theater director. If you can
be tempted, have you a script from me? I'll bring
it you tomorrow. Excuse me, ladies and gentlemen. I'm sure
you'll forgive me for trying to date up one of
the nation's most gifted and attractive young actresses. I'm sure
you sympathize, and I hope Miss Sullivan understands.
Speaker 4 (54:22):
We are ready with London. Mister Weller, Thanks, are you
ready London? Good evening, mister well Good evening, mister Moyer.
Speaker 8 (54:33):
Nearly three o'clock here in London. It's not awful, but
an also I has the chance of hearing the voice
of her own characters speaking to her from across the
Atlantic Ocean. I've enjoyed it enormously.
Speaker 4 (54:46):
Thank you and mister Moyer. May I present Miss Sullivan.
Speaker 1 (54:51):
How do you do?
Speaker 8 (54:52):
Miss Sullivan. I'd like to thank you and mister well
your splendid interpretations of mister and Missus Winter.
Speaker 6 (55:00):
Thank He's been a great privilege. Mister Maria. There are
two questions I'd like to ask you. Your descriptions of
Mandalin are so vivid. Lamerica is curious to know if
there is anywhere in England a house on a state
like Mandalay.
Speaker 8 (55:13):
When you next come to London, Miss Sullivan, get into
your train of Saddington Station and travel west. When you've
been two hundred and fifty miles, get out of that
train and walk southeast for half an hour. You'll come
to some on gates on March on a narrow, twisting drive.
If you ever find your way to the end of
(55:35):
that drive, you may discrover mandally.
Speaker 6 (55:39):
One thing more, mister Maria, can you tell us the
name of the heroine of Rebecca. You haven't named her
in the book.
Speaker 8 (55:47):
Thank you very much, Miss Sullivan, and thank you mister
World for your production of Rebecca.
Speaker 6 (55:52):
It's been very.
Speaker 5 (55:53):
Nice speaking to you bird Well, Miss Sullivan. I'm afraid
that doesn't answer your question. Hello, Miss Moyer, Mister Moyer,
mister Moyer, London off the.
Speaker 4 (56:05):
Mister Chapler, Yes it is, mister Wells. Pardon me, Miss Sullivan.
Speaker 5 (56:09):
But all we can salvage from the silence overseas is
this cryptogram just brought in to mister Chapple by carrier pigeon.
Speaker 4 (56:18):
Would you care to read it?
Speaker 6 (56:19):
And office memo from Dartne du Marier to Margaret Sullivan.
The name of the heroine of Rebecca is Missus Max
de Winter.
Speaker 5 (56:28):
Thank you, Miss Sullivan, Thank you, Miss Wells. Next week,
Miss Beatrice Lily interrupts her rehearsals of Noah Coward's new
musical to be my wife and call it a day.
This is a discreet account by miss Dotie Smith of
some indiscretions committed one Barney day in April by a
nice family who might just as well be living next
(56:49):
door to you, and you and you. It is a
composite case history in three stages and six symptoms of
that heral and delightful malady known so well to you,
and you and you and me as spring fever. Until then,
(57:10):
my sponsor and I and all of us in the
Campbell Playhouse remain obediently yours.
Speaker 1 (57:38):
Tonight's broadcast was Rebecca by Daphney de Marier, starring Margaret
Sullivan and Orson Wells. Featured were Mildred Mattwick as Missus Danvers,
Ray Collins as Frank Crawley, and the George Colorus as
Captain Searle, Frank Reddick was heard as the idiot, Alfred
Shirley as Frith, Eustace Wyatt as the coroner, and Agnes
(58:01):
Moorehead as Missus van Hopper. Music for the Campbell Playhouse
is composed and conducted by Bernard Hermann.
Speaker 2 (58:22):
The makers of Campbell's Soups invite you to join us
again next Friday evening at this same time, when Orson
Wells will present his production of Dough Dismissed. Delightful excursion
into the private lives of a typical suburban family, Call
It a Day, one of the most successful comedies of
its type, which was originally presented on Broadway by.
Speaker 4 (58:42):
The Theater Guild.
Speaker 2 (58:44):
Our guest on this program will be the always charming
and amusing Beatrice Lilly, with Jane Ware, a young lady
who was marching quite swiftly along the road to motion
picture fame out in Hollywood, and Jean Dante, who created
the part of Anne in the original New York production.
Speaker 14 (59:00):
Of College a Day.
Speaker 3 (59:02):
This is Edmond C.
Speaker 4 (59:03):
Hill speaking for Campbell Suits.
Speaker 14 (59:06):
I, thank you, and good night. This is the Columbia
(59:38):
Broadcasting System
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