June 26, 2024 • 60 mins
The Mercury Theatre on the Air was a captivating radio series created and hosted by Orson Welles. This weekly hour-long show featured live radio dramas performed by Welles’s celebrated Mercury Theatre repertory company. They presented classic literary works, accompanied by music composed or arranged by Bernard Herrmann.
The series began in July 1938 and aired on the CBS Radio network. Notably, their broadcast of “The War of the Worlds” on October 30 caused quite a stir, allegedly leading to panic among listeners. After this memorable episode, the Campbell Soup Company became the show’s sponsor. The Mercury Theatre on the Air concluded its run on December 4, and shortly thereafter, The Campbell Playhouse took its place.
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Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
The series began in July 1938 and aired on the CBS Radio network. Notably, their broadcast of “The War of the Worlds” on October 30 caused quite a stir, allegedly leading to panic among listeners. After this memorable episode, the Campbell Soup Company became the show’s sponsor. The Mercury Theatre on the Air concluded its run on December 4, and shortly thereafter, The Campbell Playhouse took its place.
Listen to our radio station Old Time Radio https://link.radioking.com/otradio
Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Mercury Lender on the Edge. TheColumbia Broadcasting System welcomes you to a seventh
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program in the distinctive series of weeklyproductions featuring Orson Wells and the Mercury Theater
on the air. In addition tothe costekast audience reached by the regular CBS
stations, to night's performance is beingcarried to our friends in Canada through the
facilities of the Canadian Broadcasting Corporation.This Evening, the Mercury Theater brings us
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the Affairs of Anatole by Arthur Schnitzler, with Orson Wells in the part of
Anatol. And here is the director, star and producer of these broadcasts,
Orson Wells. Good evening, Ladiesand gentlemen. Arthur Schnitzer died in nineteen
thirty one, six years before Austriawas finally erased off the map of Europe.
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He said once speaking of a friend'sdeath, but a man is not
really dead until all those who knewhim and loved him are dead too.
In a much deeper sense, thisis true of a city. Vienna still
lives to day in the music andthe words of the men who knew her
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and loved her, not the cityof ghosts and shadows that she had become
since the war, but the flashingImperial Vienna that she was at the turn
of the century, when young ArthurSchnitzler, as a young man, gave
up his medical practice to become herfavorite writer. The Affairs of Anatore is
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Schnitzler's first and most popular work.Subsequently, he wrote plays, novels and
short stories, and almost every wordhe wrote is about the city in which
she spent the seventy years of hislife. The streets of Vienna, the
parks, the Viennese woods. Theseare the places where Schnitzler is most at
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home. With a few deaf touches, he can conjure up the old world
charm, this easy going, pleasureloving spirit that is so typically Viennese.
One can almost feel the cobblestones inthe old and narrow streets. Here,
the icy wind piping around the cornerof the stefan Platz, see the exquisite
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carved outlines of the scheffan Kersch meltinto the snow. A few words.
We see the Prata at night,bright with gaslight, the lines of carriages
outside the theaters, the lovers underthe willow trees along the Danube, among
the distant waltzes. Here in thisbrilliant, charming city live the man Schnitzer
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has created for us. And herelive the women who love and for whom
love and happiness are just half understood, enchanting melodies that drift on the wind,
who never think of the future orthe past, who live from moment
to moment, untroubled by the depthof their emotions, who carelessly receive and
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waste the fragments of happiness that fallto their lot. From among these people,
Arthur Schnitzler spins his wistful, humorousand tragic story, The Affairs of
anatom I am max for better off, for worse. I am Anatole's best
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friend. We were at school together, and then in the Hussars. I
remember that winter. Well, itwas the winter we had the Golden Room
as sacers every night for supper.It was the winter it snowed so much.
It was the winter clear Demerow dancedfor six weeks to Bonbonniere, the
Winter Rico. That gypsy played hisviolin at the Bristol before he eloped with
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the Queen of Saxony. It wasthe winter I was in love twice an
Anatole seven times altogether. It startedas a very gay winner. But later
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that winter something happened. Anatole beganto behave very curiously now and then people
reported meeting him in the stranger places, in the snowy sweets, and beyond
the ring of twilights, in littlerestaurants in the suburbs. And then suddenly
it was Christmas Eve and Vienna,and there were wreaths and candles from the
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windows. The shops and the Kurtisstrata were full of people buying presents for
each other and then hurrying home fordinner in the snow as evening, veils
began to ring high up in thestable tower. Dear lady, Oh,
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dear lady, what is it?Oh, it's you ran at all?
What are you doing with all thoseparcels and no umbrella? I'm trying to
find a cab how, but it'ssnowing. That's the reason I've been buying
presents. Oh, let me carrysome of them, please. Oh,
it doesn't you really must in trouble. Oh, let me be a little
attentive for once in a while.Well take this, then, oh,
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that one doesn't amount anything. Agive it this good, big one.
No, I can manage that,I insist very well. Then won't you
believe that I like being polite?As one only notices it when it's snowing
and Christmas Eve warm weather for Christmas? Isn't it very marvelous to see you
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at all not being the call oncethis year? Is that what you mean?
Oh? Haven't you thanktius? I'venot been anyway much? How would
your husbands? How are they?Dear children? Why ask that you don't
in the least want to know?You read me like a book. It's
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such very large print. I wishyou knew more of it. By hearts.
Don't say things like that. Theyjust spring for me. Give me
back my parcel. Oh no,don't be angry, please please, I'll
be good. Oh there's a cab. Oh no, it's full. Oh
dear, do say something? Saysomething? H say something. I'm longing
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to. The censorship is a strictYou can tell me your news, can't
you? Ages? Since we met? What are you doing now? Nothing
as usual? Nothing rather less thannothing? Isn't that? Why say that
when you don't in the least care. You shouldn't take that for granted,
if I'm wasting my life, whosefault is it? Whose? Would you
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mind telling me? Dear lady?Give me back that past. I didn't
imply it was anyone's fault in particular. I just wanted your valuable opinion.
I'm not idling tonight. I'm asbusy as you are. What I'm buying
Christmas presents? Too? Are you? If I could only find something worth
buying, I've been looking at theshops for weeks. They had a notion
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among them. That's for the customerto supply. An idle person like you
ought to be thinking out his presentsall summer. Dear lady, how do
I know in summer whom I wantto give presents to? A Christmas?
So here? It is only twohours before they light the candles and the
Christmas trees, and I'm still emptyhanded? Could I help? Dear lady,
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you're a darling now, don't takethe parcels away from me. I
may call you a darling, willyou fun? I'm as quite as can
be. Where should we go?What sort of a present shall we get?
Who is it for? How shallI tell you it's for a woman?
Of course? Didn't I say youcould read me like a book.
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What sort of a woman is it? Someone I know not at all?
I think I know your taste somethingfrom the Suburbs. Slim and blonde,
a blonde, Yes, I admitthat much. I might have known it,
and I don't sneer. Can sheread you like a book? Heaven
forbid? In the Suburbs, Iam loved in society, only understood.
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You know, I really don't knowwhat you're talking about. Now. Look,
he's a wonderful shop. This isjust the place for you. Why
yes, looking here the little casesof scent in the window, one with
three sorts, Petuly Jockey Club,cherry blossom. I'm sure that's the very
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things you're unkind. Wait a minute, look at this window here wrote and
things. Look at this pian herewith six paste diamonds in it. Six?
Oh, how sparkling. Or abracelet with charms hung round, or
a long bead necklace quite savage?That at the tease in the Suburbs.
I'm afraid you know nothing about theSuburbs. Oh here, quick, quick,
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look here, how perfectly charming?What do you think of that hat?
But the bow is too large,of course, and they put a
few severs, too many, Butit's adorable. That really would be a
sensation in the summer. I thinkyou'll probably underestimate the taste of the suburbs.
It's so hard to be helpful makea suggestion yourself. You're waiting to
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laugh at it. I won't laugh. Tell me about it. I don't
think I can. Of course youcan. How long have you known it?
Oh? Well? Ever, sowrong? It would be so difficult
tell me all about it. There'snothing to tell her? Oh what nonsense?
Where did you meet her? Whatyou like? What's her age?
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Is she? Sure's? It's alldark affair? It lonely boy? You
know it, won't I've always wantedto know about that sort of person,
of what they're like. My dearlady, you'll never know, why not
as long as you really believe thatwomen you haven't called on don't really exist
at all. But I want tolearn better. Please go on telling me
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about about your friend. You simplymust know, must jew certainly I must.
What's her name, Louise? Howdid you first meet? How does
one meet people in the streets onthe sea side, in a bus sharing
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an umbrella? Never mind? Howone meets people how did you meet her?
The girl we're finding a Christmas presentfor. I'm sure she's like nobody
else. She's just as like everyother girl of her sort, as you
were like every other woman of yours, am, I indeed, don't be
offended, or as I'm like everyother man of my sort? What is
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your sort? I madam? Iam a toy philosopher and mine. You're
a married lady. And what's she? She? She? She's just a
dear little girl. Then let's hearall about your dear little girl. That's
not that she's so beautiful or sovery smart. She certainly isn't so terribly
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clever, mind, she's not well. She has the soft charm of a
spring evening, the grace of herfairy princess, and the soul of a
girl who knows what love means.That sort of soul is to be found
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quite frequently in the suburbs. Ibelieve, dear lady. I'm sorry,
I believe in your fairy princess.What sort of a castle does the princess
live in? Can you imagine afairy princess in anything but the smartest of
drawing rooms? Thank you? Ican, because this one is in a
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little dim room, very small,with painted walls and a few Christmas numbers
hanging about, and a white paintedlamp on her table. You can see
the sun set from the window,over the roofs through the chimneys, and
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in the spring you can almost smellthe flowers in a garden across the way.
Must see a sign of great happinesslooking forward to the spring. Yes,
yes, I am happy. Andthen it's getting late. You must
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buy her something, something from thatroom of hers. Well, she thinks
it's so pretty as it is.Is she waiting for you? Now?
Certainly she's waiting. Tell me howwill she receive you? Oh? The
usual way she hears your step onthe stairs, doesn't She sometimes goes to
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the door, Yes, throws herarms around your neck and kisses you and
says, what does she say?Oh? What one usually says in such
cases? Well, for instance,I know of no particular instance. What
did she say yesterday? Nothing special? Sounds silly if you didn't hear the
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way she says it. I'll tryand imagine that. Tell me the words,
it's good to have you back again. It's good, is that it
to have you back again? That'svery beautiful. You see, she means
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it. And she lives there alone. Yes, yes, she's quite alone.
She has no father, no mother, not even an aunt, and
you are all the world to her. Possibly, I'm afraid I'm getting cold
walking in the snow like this.All the cats seemed to before. Oh,
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I'm so sorry. I should lookkept her. And it's your home.
Yes, they'll be waiting for meat home. What about your plase?
Never mind, some mind. II have find something, will you?
But I wanted to help you byOh no, you must in trouble.
I wish I could be there whenyou give it to her. I
wish I could see that little roomand that dear little girl. She doesn't
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know how lucky she is. Well, there's a menty cab. Now would
you call it? Please? Oh? Well, it's hurry all of a
subject, as I say, allright, all right, you late a
cab cab and uh give me mypossibles. Hey, I send her something?
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You take of these flowers? Willyou give her a message as well?
Of course? Promise, I promise. Why shouldn't I This is a
message. Yes, tell her Theseflowers, dear little girl, are from
someone who might have been as happyas you. You hadn't the courage.
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Goodbye an goodbye, goodbye cab cabI s a cab oh cab. Anatole
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gets in, he gives the driverin the dress in the suburbs. Then
he settles back on the cushions,for he has a long drive before him,
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and soon the streets full of Christmasshoppers are left behind. One evening
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in February was the week Pritty Chefwas singing at the kindergarten. Anatole laked
me to meet him for supper.At Suppers, the golden room had been
reserved by an Hungarian duke with currymustachus, so we had the red room
on the second floor with the gingerbreadmirrors and the crimson flush. Anatole took
a long time ordering supper that night, And with that a white moose a
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winter that's right, yester, andwith a pilleral proof champagne third Preco nineteen
oh six, uh, Prica nineteenout six. What do you think?
Man? And it's all haven't youdone ordering yet? I've children? Max
is a very critical occasion. Yes, it's Preco nineteen oh six. Yes,
and so you know after that vanillacream Ala sacher. It's her favorite
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dessert, vanilla creams. Yeah,yes, sup of three. You can
service as soon as the lady rise, Yes, sir, very good.
Hm hmm. Suppose she doesn't turnup, after all, it's only ten
quarter after. Couldn't be here yet, the valley must have been over long
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ago. I'll give her time totake a makeup on and get dressed,
I think, Max. Should Igo over and wait for her? Got
spoil the girl? Hahahapo, spoiler. I know you behave like a blilk
to her. Well, that's oneway of spoiling a woman, no doubt,
you know acts. I feel verycalmn tonight, Palumn. Have you
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asked her to marry you? Worsethan that you have married her? I
have not. What makes this eveningso solemn, my friend, is that
it is the end. What yes, our farewell supper? But am I
to for you, my best andoldest friend. You are to be the
undertaker to our dead love. Thankyou. I shall have a very charming
evening all week I've been putting offthis supper. You must have quite an
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appetite for this time. Oh we'vehad supper every night, but I've never
known how to begin the right wordsto use right, tell you, Max,
it's nervous work. Do you expectme to prompt you? Oh?
I expect you to stand by me, smooth things down, you know,
keep a quiet explain. And supposeyou explain first with pleasure? I see,
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and there's someone else who yes,ah m, the other the other?
Oh, no type at all,Max, something quite new, quite
wonderful. You know. She makesme feel as I've never felt before.
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She I can't describe her. She'slike a Viennese waltz, simple, sentimental
dreamy, a little blonde head,you know, blue eyes, can't you
see? And of course you can't. And how can I explain? If
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I take her a bunch of violets, she receives it with a tear in
the corner of her eye, fireover the bracelet. Sometimes I knew you
wouldn't understand. In the least Ishould no more think of bringing her to
a place like this with people likeyou. You know where she likes to
go. Oh, now, youdon't have to go to little, cheap,
quiet places with flowered wallpaper and aphonograph in a corner. Yes,
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we've been to one every night thisweek. You said you had supper with
me now, So I have SoI have two suppers every night this week,
one with a girl I'm trying towin, the other with a girl
I'm trying to lose. I haven'tdone either yet. But I suppose you
take me me to the little cheaprestaurant, So bring the new blonde here.
That might do it. That chosehow you understand such a child?
You'd seen her face when I ordereda bottle of wine. Here's in the
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corner of the eye. She simplywouldn't let me. What have you been
drinking all week? Oh? Beer? After ten? Hmm? Thatch is
life? You're alive. But I'vehad enough of it to a man with
my nice sense of honor, I'mmy nice sense of honor, and I've
heard you the first time. IfI go on much longer with this double
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life, I shall lose my selfrespect. I remember telling me mee,
in so many words soon after wemet, when we swore that nothing should
ever partis Mimia, I said,Mimi, Mimi, whichever of us first
discovers that our love is over musttell the other quietly and calmly. Besides
swearing that nothing you'd ever part,you good if I have said it once,
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Max, I have said it fiftytimes. Mimi. I have said,
we are both perfectly free. Isaid, we shall go each our
own way, calmly, Max,and quietly. Only remember Mimi. I
said, if there's one thing Ican't stand, its deceit, then it's
ought to be quite easy to beeasy. I I don't know. It
comes to the point them I can'ttell her, Oh she'll cry, Max,
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I know she'll cry. I can'tbear that. Suppose she cries and
I fall in love with her again. That wouldn't be fair to the other
one. And if there's one thingyou can't dad is deceit. And what
do I do here tonight? Oh? Be easier with you here, old
man? Happy to oblige? Howshould I start? Tell her she's better
off without you? Is that whatyou want to do? It's something I
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sort tell us. She won't theeyou're losing so much? No, Yes,
I had a hundreds of better lookingmen, better looking, richer men,
handsomer richer, and I shouldn't exaggerate. I come in the lady,
sir, I assure him this way, Oh, so here you are,
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Yes, here we are, here, we are. Let's take your wrap.
You're a nice one, aren't you. I looked all over the theater.
Good thing you hadn't fart come.You said you'd be there. You
ought to be there. Hello,Max, let's be come in if you
knocking forward again? You can servesomething. Yes, you went out fun
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tonight. No, no, Iwasn't. You didn't miss much was awful,
anatole. I have a bit ofnews for you, have you,
my dear? Have you important?Yes? It's makes as you were a
bit perhaps well, I have abit of news for you too, my
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dear. Oysters, madame that crossI want oyster. You needn't stay waiter,
we will ring well, my dear, I think perhaps it will surprise
you, anatole, though I don'tsee why I should. And then again
perhaps it won't. Shouldn't really,don't tell me they've raised your salary.
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Don't interrupt next? No, whyshould I say? Are these English or
Belgian? Oyster? Belgian? Belgian? Oh? I do like oysters.
They're the only things you can goon eating and eating, eating and eating
and eating. And that's what Ialways say, eat it well, it's
just important news. Do you remembersomething you said? One? I say
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so many things. Oh, Iremember your saying it. You said,
Mimi, Mimi, if there's onething I can't bear, it's deceased.
Go On, go on, Alwaystell each other the whole truth before it's
too late. That's what you said. Yes, I'm anatole. Suppose it
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is too late. That's that's allright. It's isn't too late. I'm
telling you in time, Just intime, Mimi, Are you crazy?
You stop staring at me and eatyour Oyster's anatole or I won't say a
word found the oyster. Eat Yougo on with what you were saying.
I don't like these jokes. Now. Didn't we agree that when the time
came, we wouldn't make any fuss. We'd tell each other quite calmly and
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quietly. Well, the time hascome, mean, yes, I do
it. This is the last timewe have supper together. Would you mind
explaining all is over between you?Is it admirable? Nothing admirable about it?
It's true, my dear Nini.I'd like to understand. Has someone
asked you to marry him? Oh, anatole. I wouldn't throw you over
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for that, throw me over.It's no use, anatole. I'm in
love, madly in love. There'snothing to last at mah, mind him,
come in here, Amy, thankyou? Owe me an explanation,
and I'm giving it to you.I'm in love with somebody else, and
I'm telling you straight out like youtold me to. Calmly, May I
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inquire what sort of a load?No, my dear, don't I demand?
I demand to know? Do ringthe bell? Max. I'm so
hungry, hungry, such a momenthungry. Well, remember, old man,
this would be the first supper.She come in? What do you
want? Where's the wine, waiter? Where's the why are you a sea
tonight waiter? The wine is onthe tape, the champagne? Very good?
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Now, then you will please explain. Never take a man at his
words. Sounded so nice when yousaid it. When we see it coming
to an end, you said,think so, and we'll each go our
own ways. Calmly. Why that'swhat you said for the last time?
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Mimi, are you going to tellme? He calls this being calm and
quiet? My dear girl, doesn'tit occur to you that I had some
right to what wonderful, wonderful wine? Drink it up, drink it up?
What's a hurry, you'll generally getit down quick enough. Oh,
but it's goodbye to whine too,anatole maybe for you, maybe forever?
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Oh oh why no more motel forme, no more oysters, no more
champagne, and no more file.It's all over now? And then who's
the lucky teller? If I toldyou wouldn't be an little wisest? Well?
What sort of a champ is there? How'd come across him? How
does he look drunk? He's aperfect picture of a man. That's fun.
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Yes, that's fun. There'll beno more oysters? Yes he said
that, No more champagne, can'tfind it. There must be something else
to tell about him, beside thefact that he can't buy you. Oye
doesn't champagne? If that isn't whatyou call it? Oh, you make
me sick? How do I care? As long as I love him,
I'm going to try throwing myself awayfor one. I've never felt this way
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about anyone before ever. Is hea clerk? Mimi? Is your chimney
sweep? Is he a candlestick maker? He's an artist? What kind of
an artist? A trapeze artist?He's a fellow artist, an old friend.
Hey, you've been seeing a lotof him. Heh. Do you
think i'd be telling you a firehead? I'm taking out your words. I'm
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telling you about it now. It'stoo late. You're in love with him?
Oh do I know the fellow?I don't suppose you've ever noticed him.
He's in the cars, but he'llgo fast. Why did the thing
start? That's not true? Ohyes it is tonight. I knew it
was my face, your fate maxher faith? Yes, my faith?
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Why not faith? Meani? Iwanted the whole story. I have a
right to know. Now how longhas this been going on? But did
it begin? When? Had thatfell at the country? You really all
tell? So this is all thethanks I get for doing the straight things.
Give me some more, champagne.Haven't you had enough? What was
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the last? I'll get for aweek or so whatever, I'm going to
stick to car. I love Karlfor himself alone. He won't bully me,
darling, mem Maybe I want thetruth? How long has this been?
Things been going on? Underni thatI knows how long? Memes tonight
in d don't believe it. Ifyou don't want mam, tell the truth,
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you would add a toole kind partfriends unless you do, and after
that, I have a bit ofnews for you. Yes, well,
it began like this, Champagne,here you are go on? Well?
Or two weeks ago he brought mea room. Oh so shy one.
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I couldn't help it. Why didn'tyou tell me? They hung around at
rehearsals and maybe across at first,and then it didn't. I'm sure it
didn't. And then we began tohave little chats, and then I began
to take such a fancy to him. What did you chat about? All
things? He got to sell fromschool? And then he went into business
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and that wasn't any good, Andthen he thought perhaps that, and never
a word to me about all that. And then we found out that we
used to look close to each otheras children, just both touching, wasn't
well, Champagee, it's my fate. Can struggle against your fate, can
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can struggle against MEMI? I stillhaven't been told what happened tonight? What
happened Jesus see, Oh we'll wakeup. I know what's happened tonight.
Me Me, me me tonight hetold me love me? What did you
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say? I said? I wasawfully glad and I must be straight with
him. Wasn't that? So it'sgoodbye to you, Anatole. I don't
think I ever really liked you,Anatole, not really. Thank you,
thank you. I'm happy to saythat leaves me cold. Would you be
surprised to hear that I hope toget on very well without you for the
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future. Really? Yes, Iam in love too, and have been
for some time, asked Max,I was telling him when you came in.
Yes, I'm sure you. Yeah, she's younger, rather prettier than
you. I'm sure she and I'dthrow six hundred and seventy of your sort
into the sea for one of them. You need to laugh, as Max,
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if I were, you up alittle. But it's true. It's
true. I'm not chard about you, since you've been boring me till I
can early stay in the room withyou. But sitting and thinking of heard
that, whoa, that's not all? Say? Did it to this?
If you can what I could havetold you all you've been telling me months
ago and days ago. I couldhave told you good to your more.
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Yes, yes, I do.I behave very badly to you. Dear
me me, Oh you pad,that's give me my things close. It
only goes to show, doesn't itshow? What a yes her brute,
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Oh brute. After all, Inever told you that, never told me
what I never would have told youeither. Only a man could be so
low the desert vanilla cream, giveme myne quick. Can you eat vanilla
cream at a moment like this?Yes, of poor she can. It's
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a goodbye to vanilla cream forever morea little cream. No more moselle,
no more champagne, no more.I stood, and thank goodness, no
more anusole. Oh waiter, thegod the biggest you have. Yes,
they're not from me, They're forhymns. And then I love bye.
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There you see it's very easy.After all. You are listening to the
(35:55):
CBS presentation of Horse and Wells andthe Mercury Theater on the air in Schnitzler's
The Affairs of Anatol. The programwill continue in just a moment. This
is the Columbia Broadcasting System. Wecontinue now with the performance of the Affairs
(36:52):
of Anatole, featuring Orson Welles andthe Mercury Theater on the air. Now
(37:15):
comes a sad day for the ladiesof Vienna. It is spring the woods
of stummering are full of lovers andthe vine velt. The chestnut trees are
in blooms and large luk Luis Ferdinandsuzzars are out on their black posses and
their tight silk uniforms are blue andcrimson. But for the ladies of Vienna
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it is a sad day. Theserooms on the Drabin, the rooms they
know so well, with the highmolded windows and the shining floors. Anatole
A wakes for the last time,did you ring sir? Yes, yes,
yes, great, very good sir. Uh. Breakfast to one,
(38:02):
sir, yes, breakfast one inFrance? When is that box? A
box is looking ideayesterday, the onewith the letters sir. There it is,
sir, right side. Oh thankyou. Friends. There's someone at
(38:22):
the door this time of the morning, answered France. Yes, sir no,
I don't feel them at least likegetting married at France. No,
sir no. Oh hell, breakfastfor two frands. Told old fellow Max,
(38:43):
what are you doing here at eighto'clock in the morning? What are
you doing here at ten o'clock inthe morning? Say you're very jumpy?
What's the matter? Yes, Imean very jumpy today You shouldn't be jumping.
Oh what is it you want?What's about this wedding? The wedding.
You know your cousin Alvan was oneof the bridesmaids about her blou cat.
I forgot to order it. Iforgot to ask her what color she's
(39:04):
wedding? What do you think white? To think of blue or green?
Not green? You know Alma neverwears green. How do I know?
WoT? It's nothing to be excitedabout. You know what colors you'll be
wedding at your wedding this morning?Yes, pink or blue? Who cares
hauntal at the bouquet is supposed to? No order to you can wear the
other and your hair. That's silly. You'll be making a sillier one in
an hour or two. The cheerfulbridegroom. I must say, what if
(39:27):
you got there all those letters andthings, Those letters and things are my
past. You're what my past,my dead and buried past. Yes,
Max, I'm going to ask youto take care of for me your past.
Better burn it. I should thinkI can't do that. Why not?
Well, I'm true to them,to all a woman, all the
(39:52):
women I've ever loved. No,I never forget a single one, Max,
I have only to turn over theseletters and dead flowers and locks of
hair. You'll have to let mecome around to your place and turn them
over occasionally, Max, and youknow, back they'll come to me.
(40:14):
I'll be in love with them allagain, and I'll adore them this before.
Yes, the idea of being thatyou want to use my rooms at
the meeting place with your dead loves. Suppose there were some magic phrase,
Max, that could force them allto appear, call them back out of
they utter nothingness. Well, let'sthink of a phrase, what about uh,
(40:37):
my only love? Yes, yes, my only love? And then
they'd all come, one from avilla in the suburbs, one from her
crowded drawing room, one from herdressing room at the theater, several from
their dressing rooms, the one froma shop, one from the grave,
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one from here, one from theremy ownly love. You see, Max,
I'm a methodical man. Is itdone alphabetically? Oh no, there's
a label for each, like themotto and a cracker. A verse sort
of phrase will recall the whole thingto me. Oh no, names Susan
(41:25):
and Jane and Mary suggest nothing.May I look I wonder if I can
still remember them all. Next,I kind of looked at some of them
for years. I loved her.When she left me, I thought I
should have killed her. My kisseson your neck remain and nothing else.
(41:46):
Matilda? But that's her name?What a name, Matilda? And there
wasn't her real name. Next,i'd written killed her, and there aren't
many rhymes to that. I alwaysdid kiss her on the next. Oh,
it doesn't matter. I loved heronce. It's all the rest.
(42:08):
I'll stand down the tillow. Shedoesn't small anyhow. It's one lock of
hair. No letters, letters fromMachilder that would have inked her fingers.
Don't you sometimes wish women weren't taughtto write? Exit Matilda, poor Mathilda.
No, no, no, youmustn't insult her. I've I've loved
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her. She's sacred. How stupidof me? Who's next? When sad
my child and sick of earth?My pops to your young man? Fly
far? And then I laugh forall I'm word. Oh dear, how
funny some things are? So theywere? What's inside a photograph? She
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and the young man? Oh?Did you know him too? Yeah,
that's what's so funny. He reallyworth quite an exceptional fool. Stand down,
my child, with your exceptionally foolishand must provoking young man. What's
this? I was a box onthe ear? Oh? Yes, yes,
is that how it ended? Noagain? Ah? Oh? She
(43:20):
always carried her curlings, you knowshe always did. Then it didn't matter
what happened. I tell you shewas. I found it pretty. That
one was as a bit of aveil left is in there? Feels like
that? How did I lose you? How did you lose that? That's
the point I never knew, youknow? Next one fine day she just
wasn't matter how you leave your umbrellasomewhere? You don't sing? A little
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days later? No idea where heput it down? Who said to well?
My loss umbrella? I see what'sthis? One? Sweet and dear?
You were to me? Girl withroughened finger tips. Oh that was
Hilda. You remember Hilda? Whatbecame of her? She married a milkman?
(44:06):
Did she know that's what happens?I love a girl, I'm all
the world to her, and thenshe marries a milkman. Were all in
love? Hello? Yes, Madameone moment, Madame Frank Frank one moment,
(44:27):
madame, who is it, Franz. It's a lady, sir,
I am asked. I'm afraid sheheard you, sir. All right,
excuse me for a moment. Hello. Uh oh, there's hello, daring,
Yes, beautiful, and you aresplendid, splendid. What what what's
(44:59):
that breakfast? Oh? No,darling, not this morning. It's not
possible, No, darling, Itell you, no, no, not
this morning. You can't come tobreakfast here this morning? Why why?
Because I've got a man here,a man with some papers. Yes,
that's right, a whole sack ofpapers. What's that I said? I
(45:24):
said last night, mum, forevermy own love. Oh what oh of
course I'm men. No, Ihave a word of it. But not
this morning. What's that coming rightover? Y? You're coming right over?
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I tell you can't. Just aminute, my darling, I tell
you where? Where? Really?Have it all? Explain? If this
is how you begin your life,don't be an ass. I'm not a
moral man myself, But hang on, would you let me explain? Hurry
up? Then it's almost eleven inyour weddings at half past twelve, So
it is what it is? Well? Last night I was at a past.
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I know that I was there,So you were, so you were?
I forgot you were all there.You were all very lively, Yes
there was. That's a champagne.Oh you drank my health and Louise's health.
I drank your health and her healthand wished you both passes. Oh
you did happiness, Yes, thankyou very much? Thanks me? Last
night? Did I did? I? We broke up about half past twelve,
(46:38):
didn't we? Yes. I gaveLouise a kiss and she gave me
a kiss. Well, well,well it was snowing after the party was
over and you'd all left. ThenI was all alone in the street,
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by myself, poor old boy,alone in the cold and in the snow,
great big flakes. There was agood beastly So what did you do?
So? So I thought I'd goto the ball at the opera,
you see, Max. It suddenlycame over me, made me perfectly wretched
(47:22):
that I wasn't going to be afree man anymore, never more a jolly
patcher. My last night out LanThey were in full swing at the opera
and I got to hand. Iwatched for a bit and I plunged in.
(47:43):
I wanted to breathe in the soundand the scent of it all bathed
in them for the last time.Time is getting on? What happened then?
Was I drunk at popin laws?Not a bit? Then I must
have got drunk with that dancing maddrunk. It was my opera ball Mine,
given by the City of Via.Let us say good bye to me
(48:05):
forever? And then then then Imet a friend, an old friend,
can't you guess? You know?Max and I got engaged. I had
to tell quite a few stories,you know, going away for a bit
back soon, you know. Therewas one in particular, Lona. Lona,
we met and sat under a palm. You're back again, she said,
(48:30):
yes, Yes, I said,when she said, not til last
night? And why haven't you written? Well, unless you've been far far
away, I said, but I'mback again. Do you still love me?
I love you still? And don'tI love you still? She said?
(48:51):
We'll never be parted again? Shesaid never, I said. The
waiter brought champagne and we were veryhappy. Well, I'm blessed, and
now she's coming to breakfast em youknow, looks at it's a certain light.
This is pathetic, it's perfectly disgraceful. Yes, it is disgraceful.
It is very pathetic too. Hello, hello, wow, so there really
(49:17):
is a man here? Only well, why didn't you tell me? How
are you? Mags? And whatdo you think of this scoundrel? I
think that's just what he is,a scoundrel. I've been crying my eyes
out for him for months, andall that time he's been at all Where
have you been? Whoas did mewrite to you? Either? But now
(49:38):
I've got him safe, he doesn'tget away again, never to part darling,
give me a kiss, doesn't mind? Do you? Max? What
a face? Look pleasant? That'sall that? Breakfast and be happy?
Certainly, I'm afraid I can't stay, and I really don't see him.
Anato, anata, it's high timethat you time for what he offered?
(50:01):
Breath. He can stay at hometoday, my dear, I'm afraid I
can't. You can if you try. I'm asked out. You send a
message and say you can't go,you must go. I'm asked you a
wedding that doesn't but it does matter. And what you might call the best
man? And are all the bridesmaiddesperately in love with you? Let's not
(50:23):
go into that. I am sohe much better stay at home with me,
my dear child. I must go, he really must for a couple
of hours. I sit down bothof you and let's have breakfast there.
Yeah, how many lump snacks Ireally ought to be going? How many
loves? You know? I alwaystake to cream or lemon? You know?
I take lemon, lemon and twolumps of sugar. I remember,
(50:45):
I say, I'm going. Ohno, no, no, first,
yes, my dear, I simplymust go and change. What time is
this today? Weddings? Well youasked to yes, who's the man?
No? One you know? Is? It's my secret? Is it the
whole thing? Did you see hispeople? Dear boys that you're lying in
(51:06):
your teeth? I beg your pardon. It doesn't matter. You go where
you like. Max Anatot stays herewith me? Should I can't? The
man's my best friend. I mustget him married. What do you say,
Max? Should I let him go? Here? A Lona? I
think you'd better? Where did itbe? Do you want to know that?
For I'd like to go and lookon you mustn't do that. I
must have a look at your bridesmaid. Anatole best men alto marry bridesmaids.
Don't say I can't have you gettingmarried? What would you do if he
(51:29):
did? But did the band?Would you know? Ah? I might
make a scene at the church,best dog, Or I wouldn't do that.
No, no, But why don'twe invent something new? For instance,
turning up at the wedding dressed likea bride too, That would be
very striking. I must go,okay, he Lona, I simply must
change. I shall be late,just to anatole. What is it,
(51:52):
France? The flowers of concerts?What flowers? The flowers? I'll take
them. Let me see. It'sthe bookay for his bridesmaid? Oh,
orange blossom. It's a bribe bouquetif I haven't taken yeah, my goodness.
If I'm said the wrong one,France, France, fend back that
bouquet at once, at once,leave it in the hall. There you
(52:15):
were, I fen fants back withit but myself, and see if they
get the right one. You arecoming back? Ah, thank goodness,
you's gone, darling, darling,Oh, be nicer than that. Unless
(52:46):
you go to this silly wedding.I can't get out of it. Shall
I drive with you to the church? Better? My dear you tonight supper
at the time France, France,so perss you put up by things.
Your wedding things is the things inwhich I always go to weddings. Very
good, sir. After the theater, then that's all set all. I
(53:07):
thought we'd have such a jolly dayto get don't be childish, my dear.
Jolly days have to give way tomore important matters. I do love
you, anatore. Yes, no, no, your things are laid out
in your dressing. Thank you,thank you at the door? Are you
(53:28):
really going to change? I wouldn'tgo to a wedding like this, could
I must you go now? Let'sme get all over again this evening,
I said after the theater, don'tbe late late? Why should I be
late? You kept me waiting atall? One? Did I? I
d say, I did, Anatole, What is it? Where did you
go when you were away? Itold you I did last night. Well
(53:51):
I've forgotten. I went to Bohemia. Why Bohemia shooting? No, not
shooting? Yes, rabbits for threemonths every day. Why don't you come
and say goodbye to me before youwere I just thought I wouldn't try to
give me the slep. Didn't you? Oh no, no, you did
try one as I tried. What'sthat? I said? I tried,
(54:15):
I tried hard, but it didn'tcome off. I should say, no,
it's not likely to ha ha,What did you say? I said?
Ha ha? Mumble away in thenext room. You wouldn't say I
come out here and say that tomy face. Ha ha. Come back
here. That's all right, mydarling. You won't get rid of me
(54:37):
in a hurry. I think not. I'm sure, not quite sure,
I'm quite quite sure to see aboutthat. Let you go when you can't
help it. When will that whenI get married? And when will that
be? My precious? Soon,my precious? How so don't shout this
time next year I may be quitean old married man. Idiots suppose I
(55:00):
get married in a month or twowaiting marriage there is at this very moment,
or even less. You needn't laugh. You needn't laugh. I'll be
married in a week. You needn'tlaugh, Alona, I said, you
needn't laugh. When are you goingto be married at twelve thirty? Twelve
thirty, my dear, I'm prettyserious. I'm going to be married at
(55:22):
twelve thirty to day after thirty franchbring those flowers here. Thank your friend
now, then looks carefully, lookscarefully, Alona, you see orange blottoms?
Then quite quite true? Hey,what are you up to? What
are you doing? My bride's bouquet? It's here, l is it?
(55:45):
I'll show here Max, Perhaps youbreak you up? Sell? What are
you doing? That's my bouque?Loona Elona, to be reasonable, look
at the thing, hit, I'llshow you your s thing. What are
you going to do? Now?Tell me you let me gold of what
are you up to? Let mecall me reasonable? In loader my house,
(56:07):
my teacos, my picture, bravebelader. Excuse me, sir.
The carriage is at the door,sir, Oh is it come back?
Come on, say my hand,hold on my hand while shut up?
(56:37):
Hi, amato, take the Louiseto be my lawful wedded wife, to
have him to hold from this dayforward, for better, for worse,
for richer or for poorer, insickness, and to love and to cherish.
(57:13):
From tonight, the Columbia Broadcasting Systemdrew its affiliated station's coast to coast,
(57:45):
and the network of the Canadian BroadcastingCorporation has brought you Orson Wells as
Anatole in a dramatized version of Artishnesswith Viennese narrative, The Affairs of Anatol.
The adaptation for radio was made byOrson Wells, the brilliant, young
starred director and producer of these weeklybroadcasts by the Mercury Theater on the air.
(58:05):
And here is Orson Wells to tellyou about next week's broadcast, Ladies
and gentlemen. First of all,I'd like you to tell you about the
cast to night Gabrielle, the firstof Anatole's three affairs this evening was played
by Miss Alice Frost. Mimi Sheof the Oysters and the Champagne and the
(58:28):
Moselle and the cigars was Miss HelenLewis. Ilona, who tried to ruin
the wedding morning was Miss Arleen FrancisFrance. The servant was mister William Alland,
and finally Max was mister Ray Collins. We've heard mister Ray Collins a
(58:54):
good deal on these programs. Hecommenced on the stage playing nine hundred parts.
He has joined radio and has beenheard in our series of the Sea
Captain, then Gunn Billy Bones,Frampton, knuttle Bert, the man with
the hooded eyes and thirty nine steps, and goodness only knows what he'll play
in the Count of Monte Cristo,which is next week's show, So tune
(59:16):
in then and until then, goodbye, thanks everybody, and good night.
(59:43):
In tonight's program, Bernard Hermann conductedthe orchestra and Davidson Taylor supervised the
production for Columbia, dan Seymour speaking, we invite you to join us again
next Monday evening at this same timefor the eighth broadcast in this unique series
featuring Orson Wells and the M threeTinter on the air the play Dumas the
Count of Monte Cristo. This isthe Columbia Broadcasting System.
Mercury Lender on the Edge. TheColumbia Broadcasting System welcomes you to a seventh
(01:03):
program in the distinctive series of weeklyproductions featuring Orson Wells and the Mercury Theater
on the air. In addition tothe costekast audience reached by the regular CBS
stations, to night's performance is beingcarried to our friends in Canada through the
facilities of the Canadian Broadcasting Corporation.This Evening, the Mercury Theater brings us
(01:23):
the Affairs of Anatole by Arthur Schnitzler, with Orson Wells in the part of
Anatol. And here is the director, star and producer of these broadcasts,
Orson Wells. Good evening, Ladiesand gentlemen. Arthur Schnitzer died in nineteen
thirty one, six years before Austriawas finally erased off the map of Europe.
(01:47):
He said once speaking of a friend'sdeath, but a man is not
really dead until all those who knewhim and loved him are dead too.
In a much deeper sense, thisis true of a city. Vienna still
lives to day in the music andthe words of the men who knew her
(02:10):
and loved her, not the cityof ghosts and shadows that she had become
since the war, but the flashingImperial Vienna that she was at the turn
of the century, when young ArthurSchnitzler, as a young man, gave
up his medical practice to become herfavorite writer. The Affairs of Anatore is
(02:35):
Schnitzler's first and most popular work.Subsequently, he wrote plays, novels and
short stories, and almost every wordhe wrote is about the city in which
she spent the seventy years of hislife. The streets of Vienna, the
parks, the Viennese woods. Theseare the places where Schnitzler is most at
(02:59):
home. With a few deaf touches, he can conjure up the old world
charm, this easy going, pleasureloving spirit that is so typically Viennese.
One can almost feel the cobblestones inthe old and narrow streets. Here,
the icy wind piping around the cornerof the stefan Platz, see the exquisite
(03:22):
carved outlines of the scheffan Kersch meltinto the snow. A few words.
We see the Prata at night,bright with gaslight, the lines of carriages
outside the theaters, the lovers underthe willow trees along the Danube, among
the distant waltzes. Here in thisbrilliant, charming city live the man Schnitzer
(03:47):
has created for us. And herelive the women who love and for whom
love and happiness are just half understood, enchanting melodies that drift on the wind,
who never think of the future orthe past, who live from moment
to moment, untroubled by the depthof their emotions, who carelessly receive and
(04:12):
waste the fragments of happiness that fallto their lot. From among these people,
Arthur Schnitzler spins his wistful, humorousand tragic story, The Affairs of
anatom I am max for better off, for worse. I am Anatole's best
(05:14):
friend. We were at school together, and then in the Hussars. I
remember that winter. Well, itwas the winter we had the Golden Room
as sacers every night for supper.It was the winter it snowed so much.
It was the winter clear Demerow dancedfor six weeks to Bonbonniere, the
Winter Rico. That gypsy played hisviolin at the Bristol before he eloped with
(05:35):
the Queen of Saxony. It wasthe winter I was in love twice an
Anatole seven times altogether. It startedas a very gay winner. But later
(06:01):
that winter something happened. Anatole beganto behave very curiously now and then people
reported meeting him in the stranger places, in the snowy sweets, and beyond
the ring of twilights, in littlerestaurants in the suburbs. And then suddenly
it was Christmas Eve and Vienna,and there were wreaths and candles from the
(06:25):
windows. The shops and the Kurtisstrata were full of people buying presents for
each other and then hurrying home fordinner in the snow as evening, veils
began to ring high up in thestable tower. Dear lady, Oh,
(07:11):
dear lady, what is it?Oh, it's you ran at all?
What are you doing with all thoseparcels and no umbrella? I'm trying to
find a cab how, but it'ssnowing. That's the reason I've been buying
presents. Oh, let me carrysome of them, please. Oh,
it doesn't you really must in trouble. Oh, let me be a little
attentive for once in a while.Well take this, then, oh,
(07:34):
that one doesn't amount anything. Agive it this good, big one.
No, I can manage that,I insist very well. Then won't you
believe that I like being polite?As one only notices it when it's snowing
and Christmas Eve warm weather for Christmas? Isn't it very marvelous to see you
(07:56):
at all not being the call oncethis year? Is that what you mean?
Oh? Haven't you thanktius? I'venot been anyway much? How would
your husbands? How are they?Dear children? Why ask that you don't
in the least want to know?You read me like a book. It's
(08:16):
such very large print. I wishyou knew more of it. By hearts.
Don't say things like that. Theyjust spring for me. Give me
back my parcel. Oh no,don't be angry, please please, I'll
be good. Oh there's a cab. Oh no, it's full. Oh
dear, do say something? Saysomething? H say something. I'm longing
(08:46):
to. The censorship is a strictYou can tell me your news, can't
you? Ages? Since we met? What are you doing now? Nothing
as usual? Nothing rather less thannothing? Isn't that? Why say that
when you don't in the least care. You shouldn't take that for granted,
if I'm wasting my life, whosefault is it? Whose? Would you
(09:09):
mind telling me? Dear lady?Give me back that past. I didn't
imply it was anyone's fault in particular. I just wanted your valuable opinion.
I'm not idling tonight. I'm asbusy as you are. What I'm buying
Christmas presents? Too? Are you? If I could only find something worth
buying, I've been looking at theshops for weeks. They had a notion
(09:30):
among them. That's for the customerto supply. An idle person like you
ought to be thinking out his presentsall summer. Dear lady, how do
I know in summer whom I wantto give presents to? A Christmas?
So here? It is only twohours before they light the candles and the
Christmas trees, and I'm still emptyhanded? Could I help? Dear lady,
(09:50):
you're a darling now, don't takethe parcels away from me. I
may call you a darling, willyou fun? I'm as quite as can
be. Where should we go?What sort of a present shall we get?
Who is it for? How shallI tell you it's for a woman?
Of course? Didn't I say youcould read me like a book.
(10:11):
What sort of a woman is it? Someone I know not at all?
I think I know your taste somethingfrom the Suburbs. Slim and blonde,
a blonde, Yes, I admitthat much. I might have known it,
and I don't sneer. Can sheread you like a book? Heaven
forbid? In the Suburbs, Iam loved in society, only understood.
(10:35):
You know, I really don't knowwhat you're talking about. Now. Look,
he's a wonderful shop. This isjust the place for you. Why
yes, looking here the little casesof scent in the window, one with
three sorts, Petuly Jockey Club,cherry blossom. I'm sure that's the very
(10:56):
things you're unkind. Wait a minute, look at this window here wrote and
things. Look at this pian herewith six paste diamonds in it. Six?
Oh, how sparkling. Or abracelet with charms hung round, or
a long bead necklace quite savage?That at the tease in the Suburbs.
I'm afraid you know nothing about theSuburbs. Oh here, quick, quick,
(11:16):
look here, how perfectly charming?What do you think of that hat?
But the bow is too large,of course, and they put a
few severs, too many, Butit's adorable. That really would be a
sensation in the summer. I thinkyou'll probably underestimate the taste of the suburbs.
It's so hard to be helpful makea suggestion yourself. You're waiting to
(11:39):
laugh at it. I won't laugh. Tell me about it. I don't
think I can. Of course youcan. How long have you known it?
Oh? Well? Ever, sowrong? It would be so difficult
tell me all about it. There'snothing to tell her? Oh what nonsense?
Where did you meet her? Whatyou like? What's her age?
(12:01):
Is she? Sure's? It's alldark affair? It lonely boy? You
know it, won't I've always wantedto know about that sort of person,
of what they're like. My dearlady, you'll never know, why not
as long as you really believe thatwomen you haven't called on don't really exist
at all. But I want tolearn better. Please go on telling me
(12:22):
about about your friend. You simplymust know, must jew certainly I must.
What's her name, Louise? Howdid you first meet? How does
one meet people in the streets onthe sea side, in a bus sharing
(12:45):
an umbrella? Never mind? Howone meets people how did you meet her?
The girl we're finding a Christmas presentfor. I'm sure she's like nobody
else. She's just as like everyother girl of her sort, as you
were like every other woman of yours, am, I indeed, don't be
offended, or as I'm like everyother man of my sort? What is
(13:07):
your sort? I madam? Iam a toy philosopher and mine. You're
a married lady. And what's she? She? She? She's just a
dear little girl. Then let's hearall about your dear little girl. That's
not that she's so beautiful or sovery smart. She certainly isn't so terribly
(13:31):
clever, mind, she's not well. She has the soft charm of a
spring evening, the grace of herfairy princess, and the soul of a
girl who knows what love means.That sort of soul is to be found
(13:54):
quite frequently in the suburbs. Ibelieve, dear lady. I'm sorry,
I believe in your fairy princess.What sort of a castle does the princess
live in? Can you imagine afairy princess in anything but the smartest of
drawing rooms? Thank you? Ican, because this one is in a
(14:15):
little dim room, very small,with painted walls and a few Christmas numbers
hanging about, and a white paintedlamp on her table. You can see
the sun set from the window,over the roofs through the chimneys, and
(14:37):
in the spring you can almost smellthe flowers in a garden across the way.
Must see a sign of great happinesslooking forward to the spring. Yes,
yes, I am happy. Andthen it's getting late. You must
(15:01):
buy her something, something from thatroom of hers. Well, she thinks
it's so pretty as it is.Is she waiting for you? Now?
Certainly she's waiting. Tell me howwill she receive you? Oh? The
usual way she hears your step onthe stairs, doesn't She sometimes goes to
(15:26):
the door, Yes, throws herarms around your neck and kisses you and
says, what does she say?Oh? What one usually says in such
cases? Well, for instance,I know of no particular instance. What
did she say yesterday? Nothing special? Sounds silly if you didn't hear the
(15:50):
way she says it. I'll tryand imagine that. Tell me the words,
it's good to have you back again. It's good, is that it
to have you back again? That'svery beautiful. You see, she means
(16:11):
it. And she lives there alone. Yes, yes, she's quite alone.
She has no father, no mother, not even an aunt, and
you are all the world to her. Possibly, I'm afraid I'm getting cold
walking in the snow like this.All the cats seemed to before. Oh,
(16:33):
I'm so sorry. I should lookkept her. And it's your home.
Yes, they'll be waiting for meat home. What about your plase?
Never mind, some mind. II have find something, will you?
But I wanted to help you byOh no, you must in trouble.
I wish I could be there whenyou give it to her. I
wish I could see that little roomand that dear little girl. She doesn't
(16:56):
know how lucky she is. Well, there's a menty cab. Now would
you call it? Please? Oh? Well, it's hurry all of a
subject, as I say, allright, all right, you late a
cab cab and uh give me mypossibles. Hey, I send her something?
(17:22):
You take of these flowers? Willyou give her a message as well?
Of course? Promise, I promise. Why shouldn't I This is a
message. Yes, tell her Theseflowers, dear little girl, are from
someone who might have been as happyas you. You hadn't the courage.
(17:48):
Goodbye an goodbye, goodbye cab cabI s a cab oh cab. Anatole
(18:23):
gets in, he gives the driverin the dress in the suburbs. Then
he settles back on the cushions,for he has a long drive before him,
(18:44):
and soon the streets full of Christmasshoppers are left behind. One evening
(19:25):
in February was the week Pritty Chefwas singing at the kindergarten. Anatole laked
me to meet him for supper.At Suppers, the golden room had been
reserved by an Hungarian duke with currymustachus, so we had the red room
on the second floor with the gingerbreadmirrors and the crimson flush. Anatole took
a long time ordering supper that night, And with that a white moose a
(20:03):
winter that's right, yester, andwith a pilleral proof champagne third Preco nineteen
oh six, uh, Prica nineteenout six. What do you think?
Man? And it's all haven't youdone ordering yet? I've children? Max
is a very critical occasion. Yes, it's Preco nineteen oh six. Yes,
and so you know after that vanillacream Ala sacher. It's her favorite
(20:27):
dessert, vanilla creams. Yeah,yes, sup of three. You can
service as soon as the lady rise, Yes, sir, very good.
Hm hmm. Suppose she doesn't turnup, after all, it's only ten
quarter after. Couldn't be here yet, the valley must have been over long
(20:51):
ago. I'll give her time totake a makeup on and get dressed,
I think, Max. Should Igo over and wait for her? Got
spoil the girl? Hahahapo, spoiler. I know you behave like a blilk
to her. Well, that's oneway of spoiling a woman, no doubt,
you know acts. I feel verycalmn tonight, Palumn. Have you
(21:14):
asked her to marry you? Worsethan that you have married her? I
have not. What makes this eveningso solemn, my friend, is that
it is the end. What yes, our farewell supper? But am I
to for you, my best andoldest friend. You are to be the
undertaker to our dead love. Thankyou. I shall have a very charming
evening all week I've been putting offthis supper. You must have quite an
(21:37):
appetite for this time. Oh we'vehad supper every night, but I've never
known how to begin the right wordsto use right, tell you, Max,
it's nervous work. Do you expectme to prompt you? Oh?
I expect you to stand by me, smooth things down, you know,
keep a quiet explain. And supposeyou explain first with pleasure? I see,
(21:57):
and there's someone else who yes,ah m, the other the other?
Oh, no type at all,Max, something quite new, quite
wonderful. You know. She makesme feel as I've never felt before.
(22:18):
She I can't describe her. She'slike a Viennese waltz, simple, sentimental
dreamy, a little blonde head,you know, blue eyes, can't you
see? And of course you can't. And how can I explain? If
(22:45):
I take her a bunch of violets, she receives it with a tear in
the corner of her eye, fireover the bracelet. Sometimes I knew you
wouldn't understand. In the least Ishould no more think of bringing her to
a place like this with people likeyou. You know where she likes to
go. Oh, now, youdon't have to go to little, cheap,
quiet places with flowered wallpaper and aphonograph in a corner. Yes,
(23:08):
we've been to one every night thisweek. You said you had supper with
me now, So I have SoI have two suppers every night this week,
one with a girl I'm trying towin, the other with a girl
I'm trying to lose. I haven'tdone either yet. But I suppose you
take me me to the little cheaprestaurant, So bring the new blonde here.
That might do it. That chosehow you understand such a child?
You'd seen her face when I ordereda bottle of wine. Here's in the
(23:30):
corner of the eye. She simplywouldn't let me. What have you been
drinking all week? Oh? Beer? After ten? Hmm? Thatch is
life? You're alive. But I'vehad enough of it to a man with
my nice sense of honor, I'mmy nice sense of honor, and I've
heard you the first time. IfI go on much longer with this double
(23:51):
life, I shall lose my selfrespect. I remember telling me mee,
in so many words soon after wemet, when we swore that nothing should
ever partis Mimia, I said,Mimi, Mimi, whichever of us first
discovers that our love is over musttell the other quietly and calmly. Besides
swearing that nothing you'd ever part,you good if I have said it once,
(24:15):
Max, I have said it fiftytimes. Mimi. I have said,
we are both perfectly free. Isaid, we shall go each our
own way, calmly, Max,and quietly. Only remember Mimi. I
said, if there's one thing Ican't stand, its deceit, then it's
ought to be quite easy to beeasy. I I don't know. It
comes to the point them I can'ttell her, Oh she'll cry, Max,
(24:37):
I know she'll cry. I can'tbear that. Suppose she cries and
I fall in love with her again. That wouldn't be fair to the other
one. And if there's one thingyou can't dad is deceit. And what
do I do here tonight? Oh? Be easier with you here, old
man? Happy to oblige? Howshould I start? Tell her she's better
off without you? Is that whatyou want to do? It's something I
(24:57):
sort tell us. She won't theeyou're losing so much? No, Yes,
I had a hundreds of better lookingmen, better looking, richer men,
handsomer richer, and I shouldn't exaggerate. I come in the lady,
sir, I assure him this way, Oh, so here you are,
(25:18):
Yes, here we are, here, we are. Let's take your wrap.
You're a nice one, aren't you. I looked all over the theater.
Good thing you hadn't fart come.You said you'd be there. You
ought to be there. Hello,Max, let's be come in if you
knocking forward again? You can servesomething. Yes, you went out fun
(25:42):
tonight. No, no, Iwasn't. You didn't miss much was awful,
anatole. I have a bit ofnews for you, have you,
my dear? Have you important?Yes? It's makes as you were a
bit perhaps well, I have abit of news for you too, my
(26:04):
dear. Oysters, madame that crossI want oyster. You needn't stay waiter,
we will ring well, my dear, I think perhaps it will surprise
you, anatole, though I don'tsee why I should. And then again
perhaps it won't. Shouldn't really,don't tell me they've raised your salary.
(26:25):
Don't interrupt next? No, whyshould I say? Are these English or
Belgian? Oyster? Belgian? Belgian? Oh? I do like oysters.
They're the only things you can goon eating and eating, eating and eating
and eating. And that's what Ialways say, eat it well, it's
just important news. Do you remembersomething you said? One? I say
(26:47):
so many things. Oh, Iremember your saying it. You said,
Mimi, Mimi, if there's onething I can't bear, it's deceased.
Go On, go on, Alwaystell each other the whole truth before it's
too late. That's what you said. Yes, I'm anatole. Suppose it
(27:07):
is too late. That's that's allright. It's isn't too late. I'm
telling you in time, Just intime, Mimi, Are you crazy?
You stop staring at me and eatyour Oyster's anatole or I won't say a
word found the oyster. Eat Yougo on with what you were saying.
I don't like these jokes. Now. Didn't we agree that when the time
came, we wouldn't make any fuss. We'd tell each other quite calmly and
(27:27):
quietly. Well, the time hascome, mean, yes, I do
it. This is the last timewe have supper together. Would you mind
explaining all is over between you?Is it admirable? Nothing admirable about it?
It's true, my dear Nini.I'd like to understand. Has someone
asked you to marry him? Oh, anatole. I wouldn't throw you over
(27:49):
for that, throw me over.It's no use, anatole. I'm in
love, madly in love. There'snothing to last at mah, mind him,
come in here, Amy, thankyou? Owe me an explanation,
and I'm giving it to you.I'm in love with somebody else, and
I'm telling you straight out like youtold me to. Calmly, May I
(28:14):
inquire what sort of a load?No, my dear, don't I demand?
I demand to know? Do ringthe bell? Max. I'm so
hungry, hungry, such a momenthungry. Well, remember, old man,
this would be the first supper.She come in? What do you
want? Where's the wine, waiter? Where's the why are you a sea
tonight waiter? The wine is onthe tape, the champagne? Very good?
(28:41):
Now, then you will please explain. Never take a man at his
words. Sounded so nice when yousaid it. When we see it coming
to an end, you said,think so, and we'll each go our
own ways. Calmly. Why that'swhat you said for the last time?
(29:03):
Mimi, are you going to tellme? He calls this being calm and
quiet? My dear girl, doesn'tit occur to you that I had some
right to what wonderful, wonderful wine? Drink it up, drink it up?
What's a hurry, you'll generally getit down quick enough. Oh,
but it's goodbye to whine too,anatole maybe for you, maybe forever?
(29:26):
Oh oh why no more motel forme, no more oysters, no more
champagne, and no more file.It's all over now? And then who's
the lucky teller? If I toldyou wouldn't be an little wisest? Well?
What sort of a champ is there? How'd come across him? How
does he look drunk? He's aperfect picture of a man. That's fun.
(29:48):
Yes, that's fun. There'll beno more oysters? Yes he said
that, No more champagne, can'tfind it. There must be something else
to tell about him, beside thefact that he can't buy you. Oye
doesn't champagne? If that isn't whatyou call it? Oh, you make
me sick? How do I care? As long as I love him,
I'm going to try throwing myself awayfor one. I've never felt this way
(30:10):
about anyone before ever. Is hea clerk? Mimi? Is your chimney
sweep? Is he a candlestick maker? He's an artist? What kind of
an artist? A trapeze artist?He's a fellow artist, an old friend.
Hey, you've been seeing a lotof him. Heh. Do you
think i'd be telling you a firehead? I'm taking out your words. I'm
(30:33):
telling you about it now. It'stoo late. You're in love with him?
Oh do I know the fellow?I don't suppose you've ever noticed him.
He's in the cars, but he'llgo fast. Why did the thing
start? That's not true? Ohyes it is tonight. I knew it
was my face, your fate maxher faith? Yes, my faith?
(30:53):
Why not faith? Meani? Iwanted the whole story. I have a
right to know. Now how longhas this been going on? But did
it begin? When? Had thatfell at the country? You really all
tell? So this is all thethanks I get for doing the straight things.
Give me some more, champagne.Haven't you had enough? What was
(31:15):
the last? I'll get for aweek or so whatever, I'm going to
stick to car. I love Karlfor himself alone. He won't bully me,
darling, mem Maybe I want thetruth? How long has this been?
Things been going on? Underni thatI knows how long? Memes tonight
in d don't believe it. Ifyou don't want mam, tell the truth,
(31:37):
you would add a toole kind partfriends unless you do, and after
that, I have a bit ofnews for you. Yes, well,
it began like this, Champagne,here you are go on? Well?
Or two weeks ago he brought mea room. Oh so shy one.
(32:00):
I couldn't help it. Why didn'tyou tell me? They hung around at
rehearsals and maybe across at first,and then it didn't. I'm sure it
didn't. And then we began tohave little chats, and then I began
to take such a fancy to him. What did you chat about? All
things? He got to sell fromschool? And then he went into business
(32:22):
and that wasn't any good, Andthen he thought perhaps that, and never
a word to me about all that. And then we found out that we
used to look close to each otheras children, just both touching, wasn't
well, Champagee, it's my fate. Can struggle against your fate, can
(32:42):
can struggle against MEMI? I stillhaven't been told what happened tonight? What
happened Jesus see, Oh we'll wakeup. I know what's happened tonight.
Me Me, me me tonight hetold me love me? What did you
(33:04):
say? I said? I wasawfully glad and I must be straight with
him. Wasn't that? So it'sgoodbye to you, Anatole. I don't
think I ever really liked you,Anatole, not really. Thank you,
thank you. I'm happy to saythat leaves me cold. Would you be
surprised to hear that I hope toget on very well without you for the
(33:29):
future. Really? Yes, Iam in love too, and have been
for some time, asked Max,I was telling him when you came in.
Yes, I'm sure you. Yeah, she's younger, rather prettier than
you. I'm sure she and I'dthrow six hundred and seventy of your sort
into the sea for one of them. You need to laugh, as Max,
(33:50):
if I were, you up alittle. But it's true. It's
true. I'm not chard about you, since you've been boring me till I
can early stay in the room withyou. But sitting and thinking of heard
that, whoa, that's not all? Say? Did it to this?
If you can what I could havetold you all you've been telling me months
ago and days ago. I couldhave told you good to your more.
(34:12):
Yes, yes, I do.I behave very badly to you. Dear
me me, Oh you pad,that's give me my things close. It
only goes to show, doesn't itshow? What a yes her brute,
(34:34):
Oh brute. After all, Inever told you that, never told me
what I never would have told youeither. Only a man could be so
low the desert vanilla cream, giveme myne quick. Can you eat vanilla
cream at a moment like this?Yes, of poor she can. It's
(34:57):
a goodbye to vanilla cream forever morea little cream. No more moselle,
no more champagne, no more.I stood, and thank goodness, no
more anusole. Oh waiter, thegod the biggest you have. Yes,
they're not from me, They're forhymns. And then I love bye.
(35:27):
There you see it's very easy.After all. You are listening to the
(35:55):
CBS presentation of Horse and Wells andthe Mercury Theater on the air in Schnitzler's
The Affairs of Anatol. The programwill continue in just a moment. This
is the Columbia Broadcasting System. Wecontinue now with the performance of the Affairs
(36:52):
of Anatole, featuring Orson Welles andthe Mercury Theater on the air. Now
(37:15):
comes a sad day for the ladiesof Vienna. It is spring the woods
of stummering are full of lovers andthe vine velt. The chestnut trees are
in blooms and large luk Luis Ferdinandsuzzars are out on their black posses and
their tight silk uniforms are blue andcrimson. But for the ladies of Vienna
(37:36):
it is a sad day. Theserooms on the Drabin, the rooms they
know so well, with the highmolded windows and the shining floors. Anatole
A wakes for the last time,did you ring sir? Yes, yes,
yes, great, very good sir. Uh. Breakfast to one,
(38:02):
sir, yes, breakfast one inFrance? When is that box? A
box is looking ideayesterday, the onewith the letters sir. There it is,
sir, right side. Oh thankyou. Friends. There's someone at
(38:22):
the door this time of the morning, answered France. Yes, sir no,
I don't feel them at least likegetting married at France. No,
sir no. Oh hell, breakfastfor two frands. Told old fellow Max,
(38:43):
what are you doing here at eighto'clock in the morning? What are
you doing here at ten o'clock inthe morning? Say you're very jumpy?
What's the matter? Yes, Imean very jumpy today You shouldn't be jumping.
Oh what is it you want?What's about this wedding? The wedding.
You know your cousin Alvan was oneof the bridesmaids about her blou cat.
I forgot to order it. Iforgot to ask her what color she's
(39:04):
wedding? What do you think white? To think of blue or green?
Not green? You know Alma neverwears green. How do I know?
WoT? It's nothing to be excitedabout. You know what colors you'll be
wedding at your wedding this morning?Yes, pink or blue? Who cares
hauntal at the bouquet is supposed to? No order to you can wear the
other and your hair. That's silly. You'll be making a sillier one in
an hour or two. The cheerfulbridegroom. I must say, what if
(39:27):
you got there all those letters andthings, Those letters and things are my
past. You're what my past,my dead and buried past. Yes,
Max, I'm going to ask youto take care of for me your past.
Better burn it. I should thinkI can't do that. Why not?
Well, I'm true to them,to all a woman, all the
(39:52):
women I've ever loved. No,I never forget a single one, Max,
I have only to turn over theseletters and dead flowers and locks of
hair. You'll have to let mecome around to your place and turn them
over occasionally, Max, and youknow, back they'll come to me.
(40:14):
I'll be in love with them allagain, and I'll adore them this before.
Yes, the idea of being thatyou want to use my rooms at
the meeting place with your dead loves. Suppose there were some magic phrase,
Max, that could force them allto appear, call them back out of
they utter nothingness. Well, let'sthink of a phrase, what about uh,
(40:37):
my only love? Yes, yes, my only love? And then
they'd all come, one from avilla in the suburbs, one from her
crowded drawing room, one from herdressing room at the theater, several from
their dressing rooms, the one froma shop, one from the grave,
(41:02):
one from here, one from theremy ownly love. You see, Max,
I'm a methodical man. Is itdone alphabetically? Oh no, there's
a label for each, like themotto and a cracker. A verse sort
of phrase will recall the whole thingto me. Oh no, names Susan
(41:25):
and Jane and Mary suggest nothing.May I look I wonder if I can
still remember them all. Next,I kind of looked at some of them
for years. I loved her.When she left me, I thought I
should have killed her. My kisseson your neck remain and nothing else.
(41:46):
Matilda? But that's her name?What a name, Matilda? And there
wasn't her real name. Next,i'd written killed her, and there aren't
many rhymes to that. I alwaysdid kiss her on the next. Oh,
it doesn't matter. I loved heronce. It's all the rest.
(42:08):
I'll stand down the tillow. Shedoesn't small anyhow. It's one lock of
hair. No letters, letters fromMachilder that would have inked her fingers.
Don't you sometimes wish women weren't taughtto write? Exit Matilda, poor Mathilda.
No, no, no, youmustn't insult her. I've I've loved
(42:30):
her. She's sacred. How stupidof me? Who's next? When sad
my child and sick of earth?My pops to your young man? Fly
far? And then I laugh forall I'm word. Oh dear, how
funny some things are? So theywere? What's inside a photograph? She
(42:55):
and the young man? Oh?Did you know him too? Yeah,
that's what's so funny. He reallyworth quite an exceptional fool. Stand down,
my child, with your exceptionally foolishand must provoking young man. What's
this? I was a box onthe ear? Oh? Yes, yes,
is that how it ended? Noagain? Ah? Oh? She
(43:20):
always carried her curlings, you knowshe always did. Then it didn't matter
what happened. I tell you shewas. I found it pretty. That
one was as a bit of aveil left is in there? Feels like
that? How did I lose you? How did you lose that? That's
the point I never knew, youknow? Next one fine day she just
wasn't matter how you leave your umbrellasomewhere? You don't sing? A little
(43:45):
days later? No idea where heput it down? Who said to well?
My loss umbrella? I see what'sthis? One? Sweet and dear?
You were to me? Girl withroughened finger tips. Oh that was
Hilda. You remember Hilda? Whatbecame of her? She married a milkman?
(44:06):
Did she know that's what happens?I love a girl, I'm all
the world to her, and thenshe marries a milkman. Were all in
love? Hello? Yes, Madameone moment, Madame Frank Frank one moment,
(44:27):
madame, who is it, Franz. It's a lady, sir,
I am asked. I'm afraid sheheard you, sir. All right,
excuse me for a moment. Hello. Uh oh, there's hello, daring,
Yes, beautiful, and you aresplendid, splendid. What what what's
(44:59):
that breakfast? Oh? No,darling, not this morning. It's not
possible, No, darling, Itell you, no, no, not
this morning. You can't come tobreakfast here this morning? Why why?
Because I've got a man here,a man with some papers. Yes,
that's right, a whole sack ofpapers. What's that I said? I
(45:24):
said last night, mum, forevermy own love. Oh what oh of
course I'm men. No, Ihave a word of it. But not
this morning. What's that coming rightover? Y? You're coming right over?
(45:50):
I tell you can't. Just aminute, my darling, I tell
you where? Where? Really?Have it all? Explain? If this
is how you begin your life,don't be an ass. I'm not a
moral man myself, But hang on, would you let me explain? Hurry
up? Then it's almost eleven inyour weddings at half past twelve, So
it is what it is? Well? Last night I was at a past.
(46:15):
I know that I was there,So you were, so you were?
I forgot you were all there.You were all very lively, Yes
there was. That's a champagne.Oh you drank my health and Louise's health.
I drank your health and her healthand wished you both passes. Oh
you did happiness, Yes, thankyou very much? Thanks me? Last
night? Did I did? I? We broke up about half past twelve,
(46:38):
didn't we? Yes. I gaveLouise a kiss and she gave me
a kiss. Well, well,well it was snowing after the party was
over and you'd all left. ThenI was all alone in the street,
(47:01):
by myself, poor old boy,alone in the cold and in the snow,
great big flakes. There was agood beastly So what did you do?
So? So I thought I'd goto the ball at the opera,
you see, Max. It suddenlycame over me, made me perfectly wretched
(47:22):
that I wasn't going to be afree man anymore, never more a jolly
patcher. My last night out LanThey were in full swing at the opera
and I got to hand. Iwatched for a bit and I plunged in.
(47:43):
I wanted to breathe in the soundand the scent of it all bathed
in them for the last time.Time is getting on? What happened then?
Was I drunk at popin laws?Not a bit? Then I must
have got drunk with that dancing maddrunk. It was my opera ball Mine,
given by the City of Via.Let us say good bye to me
(48:05):
forever? And then then then Imet a friend, an old friend,
can't you guess? You know?Max and I got engaged. I had
to tell quite a few stories,you know, going away for a bit
back soon, you know. Therewas one in particular, Lona. Lona,
we met and sat under a palm. You're back again, she said,
(48:30):
yes, Yes, I said,when she said, not til last
night? And why haven't you written? Well, unless you've been far far
away, I said, but I'mback again. Do you still love me?
I love you still? And don'tI love you still? She said?
(48:51):
We'll never be parted again? Shesaid never, I said. The
waiter brought champagne and we were veryhappy. Well, I'm blessed, and
now she's coming to breakfast em youknow, looks at it's a certain light.
This is pathetic, it's perfectly disgraceful. Yes, it is disgraceful.
It is very pathetic too. Hello, hello, wow, so there really
(49:17):
is a man here? Only well, why didn't you tell me? How
are you? Mags? And whatdo you think of this scoundrel? I
think that's just what he is,a scoundrel. I've been crying my eyes
out for him for months, andall that time he's been at all Where
have you been? Whoas did mewrite to you? Either? But now
(49:38):
I've got him safe, he doesn'tget away again, never to part darling,
give me a kiss, doesn't mind? Do you? Max? What
a face? Look pleasant? That'sall that? Breakfast and be happy?
Certainly, I'm afraid I can't stay, and I really don't see him.
Anato, anata, it's high timethat you time for what he offered?
(50:01):
Breath. He can stay at hometoday, my dear, I'm afraid I
can't. You can if you try. I'm asked out. You send a
message and say you can't go,you must go. I'm asked you a
wedding that doesn't but it does matter. And what you might call the best
man? And are all the bridesmaiddesperately in love with you? Let's not
(50:23):
go into that. I am sohe much better stay at home with me,
my dear child. I must go, he really must for a couple
of hours. I sit down bothof you and let's have breakfast there.
Yeah, how many lump snacks Ireally ought to be going? How many
loves? You know? I alwaystake to cream or lemon? You know?
I take lemon, lemon and twolumps of sugar. I remember,
(50:45):
I say, I'm going. Ohno, no, no, first,
yes, my dear, I simplymust go and change. What time is
this today? Weddings? Well youasked to yes, who's the man?
No? One you know? Is? It's my secret? Is it the
whole thing? Did you see hispeople? Dear boys that you're lying in
(51:06):
your teeth? I beg your pardon. It doesn't matter. You go where
you like. Max Anatot stays herewith me? Should I can't? The
man's my best friend. I mustget him married. What do you say,
Max? Should I let him go? Here? A Lona? I
think you'd better? Where did itbe? Do you want to know that?
For I'd like to go and lookon you mustn't do that. I
must have a look at your bridesmaid. Anatole best men alto marry bridesmaids.
Don't say I can't have you gettingmarried? What would you do if he
(51:29):
did? But did the band?Would you know? Ah? I might
make a scene at the church,best dog, Or I wouldn't do that.
No, no, But why don'twe invent something new? For instance,
turning up at the wedding dressed likea bride too, That would be
very striking. I must go,okay, he Lona, I simply must
change. I shall be late,just to anatole. What is it,
(51:52):
France? The flowers of concerts?What flowers? The flowers? I'll take
them. Let me see. It'sthe bookay for his bridesmaid? Oh,
orange blossom. It's a bribe bouquetif I haven't taken yeah, my goodness.
If I'm said the wrong one,France, France, fend back that
bouquet at once, at once,leave it in the hall. There you
(52:15):
were, I fen fants back withit but myself, and see if they
get the right one. You arecoming back? Ah, thank goodness,
you's gone, darling, darling,Oh, be nicer than that. Unless
(52:46):
you go to this silly wedding.I can't get out of it. Shall
I drive with you to the church? Better? My dear you tonight supper
at the time France, France,so perss you put up by things.
Your wedding things is the things inwhich I always go to weddings. Very
good, sir. After the theater, then that's all set all. I
(53:07):
thought we'd have such a jolly dayto get don't be childish, my dear.
Jolly days have to give way tomore important matters. I do love
you, anatore. Yes, no, no, your things are laid out
in your dressing. Thank you,thank you at the door? Are you
(53:28):
really going to change? I wouldn'tgo to a wedding like this, could
I must you go now? Let'sme get all over again this evening,
I said after the theater, don'tbe late late? Why should I be
late? You kept me waiting atall? One? Did I? I
d say, I did, Anatole, What is it? Where did you
go when you were away? Itold you I did last night. Well
(53:51):
I've forgotten. I went to Bohemia. Why Bohemia shooting? No, not
shooting? Yes, rabbits for threemonths every day. Why don't you come
and say goodbye to me before youwere I just thought I wouldn't try to
give me the slep. Didn't you? Oh no, no, you did
try one as I tried. What'sthat? I said? I tried,
(54:15):
I tried hard, but it didn'tcome off. I should say, no,
it's not likely to ha ha,What did you say? I said?
Ha ha? Mumble away in thenext room. You wouldn't say I
come out here and say that tomy face. Ha ha. Come back
here. That's all right, mydarling. You won't get rid of me
(54:37):
in a hurry. I think not. I'm sure, not quite sure,
I'm quite quite sure to see aboutthat. Let you go when you can't
help it. When will that whenI get married? And when will that
be? My precious? Soon,my precious? How so don't shout this
time next year I may be quitean old married man. Idiots suppose I
(55:00):
get married in a month or twowaiting marriage there is at this very moment,
or even less. You needn't laugh. You needn't laugh. I'll be
married in a week. You needn'tlaugh, Alona, I said, you
needn't laugh. When are you goingto be married at twelve thirty? Twelve
thirty, my dear, I'm prettyserious. I'm going to be married at
(55:22):
twelve thirty to day after thirty franchbring those flowers here. Thank your friend
now, then looks carefully, lookscarefully, Alona, you see orange blottoms?
Then quite quite true? Hey,what are you up to? What
are you doing? My bride's bouquet? It's here, l is it?
(55:45):
I'll show here Max, Perhaps youbreak you up? Sell? What are
you doing? That's my bouque?Loona Elona, to be reasonable, look
at the thing, hit, I'llshow you your s thing. What are
you going to do? Now?Tell me you let me gold of what
are you up to? Let mecall me reasonable? In loader my house,
(56:07):
my teacos, my picture, bravebelader. Excuse me, sir.
The carriage is at the door,sir, Oh is it come back?
Come on, say my hand,hold on my hand while shut up?
(56:37):
Hi, amato, take the Louiseto be my lawful wedded wife, to
have him to hold from this dayforward, for better, for worse,
for richer or for poorer, insickness, and to love and to cherish.
(57:13):
From tonight, the Columbia Broadcasting Systemdrew its affiliated station's coast to coast,
(57:45):
and the network of the Canadian BroadcastingCorporation has brought you Orson Wells as
Anatole in a dramatized version of Artishnesswith Viennese narrative, The Affairs of Anatol.
The adaptation for radio was made byOrson Wells, the brilliant, young
starred director and producer of these weeklybroadcasts by the Mercury Theater on the air.
(58:05):
And here is Orson Wells to tellyou about next week's broadcast, Ladies
and gentlemen. First of all,I'd like you to tell you about the
cast to night Gabrielle, the firstof Anatole's three affairs this evening was played
by Miss Alice Frost. Mimi Sheof the Oysters and the Champagne and the
(58:28):
Moselle and the cigars was Miss HelenLewis. Ilona, who tried to ruin
the wedding morning was Miss Arleen FrancisFrance. The servant was mister William Alland,
and finally Max was mister Ray Collins. We've heard mister Ray Collins a
(58:54):
good deal on these programs. Hecommenced on the stage playing nine hundred parts.
He has joined radio and has beenheard in our series of the Sea
Captain, then Gunn Billy Bones,Frampton, knuttle Bert, the man with
the hooded eyes and thirty nine steps, and goodness only knows what he'll play
in the Count of Monte Cristo,which is next week's show, So tune
(59:16):
in then and until then, goodbye, thanks everybody, and good night.
(59:43):
In tonight's program, Bernard Hermann conductedthe orchestra and Davidson Taylor supervised the
production for Columbia, dan Seymour speaking, we invite you to join us again
next Monday evening at this same timefor the eighth broadcast in this unique series
featuring Orson Wells and the M threeTinter on the air the play Dumas the
Count of Monte Cristo. This isthe Columbia Broadcasting System.
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