August 17, 2025 • 52 mins
This adaptation of the 1938 film “Algiers” was performed live on October 8, 1939, on The Campbell’s Playhouse, a CBS Radio series sponsored by Campbell’s Soup.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
This is using Little Radio dot Com.
Speaker 2 (00:19):
From Hamball boot Bred like Campbell play House on the West.
Speaker 3 (00:24):
Little Good Evening, missus Arson Worlds.
Speaker 4 (00:43):
Tonight we bring you adventure and romance from the Motion
Pictures and from Motion Pictures one of its newest and
most colorful personalities. That's Paul It Got It and the
(01:03):
story Algiers, which I've adapted from the water Wanger production
based on the thrilling French story by Detective of Shelby.
The setting the native court are known as the Kasa.
I read your description of the Kaspa last week. It
belongs in tonight'script. Again, take my word for it as authentic, because,
believe it or not, your humble servant has lived in
(01:25):
the Casper like Shanghai and Marseille, Portside and Singapore and
Chifu and Micaio and all the rest of the wild and.
Speaker 3 (01:34):
Wicked cities of the world where.
Speaker 4 (01:36):
Anything can happen and everything does. The Causa is just
as remarkable as the sound of the word which is
its name, a casta. Look there before us is Algiers,
a modern city, and then suddenly behind that you're in
the Cospa. And from the modern city of the Cosmo's
(01:58):
oni a step that ladies and gentlemen, when you take
that step, you enter another world, a melting pot for
all the sins of the earth. Forty thousand inhabitants from
all over the world, Cattles, Chinese Chicos, flaths far from home,
and Maltese Negroes from every corner of Africa, and Spaniards
(02:19):
hot flooded and quick to hate. And women, women of
every age and every shape, women caught in.
Speaker 5 (02:27):
The net of the Chasma a Kisma, which rises like
a fortress from the sea, colorful, sordid and dangerous.
Speaker 4 (02:41):
There isn't just one cosma. There are a hundred across
and in that labyrinth that the Lamocho is at home,
and he has faced there as long as he stays,
(03:11):
and before the Kasser, before our gears and Tepulamocho, ernest chapel,
thank you Argon.
Speaker 2 (03:18):
Well, you know, I wonder if every one of us
doesn't know some small, tucked away eating place to which
the world has made a beaten past because of a
special dish served there.
Speaker 4 (03:27):
I'm thinking of a small restaurant I happen.
Speaker 2 (03:29):
To know about in Upstate New York. It's miles away
from any cities, and yet no fewer than five presidents
have stopped there to enjoy its specialty. And that specialty
is chicken. Chicken of an almost fabulous tenderness. Indeed, chicken
has probably made the reputation of more restaurants than any
other single dish, and for a.
Speaker 4 (03:47):
Very simple reason, we in this country.
Speaker 2 (03:50):
Do have a deep liking for chicken, don't you agree?
Speaker 4 (03:54):
Now? I think that liking for chicken must account for
the ever.
Speaker 2 (03:57):
Growing popularity of Campbell's Chicken soup. Certainly, anyone who likes
chicken must like this chicken soup, because Campbell's Chicken Soup
is chicken through and through.
Speaker 4 (04:07):
You'll taste chicken with.
Speaker 2 (04:08):
Your first sip and enjoy the rich chicken flavor of
the broth to the last golden drop is gone. The
fluffy white rice, too, is sweeps and chicken flavor, and
you'll discover further treasures of.
Speaker 4 (04:19):
Good eating in the pieces of melting.
Speaker 2 (04:21):
Tender chicken meat that Camble's abbed. I do hope you'll
try this homey, old time soup, and that.
Speaker 4 (04:26):
You'll try it soon, because just as sure.
Speaker 2 (04:29):
As you like chicken, you like Campbell's chicken soup. And
now arthen Well's in Algiers with our guests. Ms Poullet Goddard.
Speaker 6 (04:59):
Why you s on, Debbie Harp and this on civilized
hole when we might be in Monte Carlo tomorrow meeting
the right kind of people that I don't take it.
Speaker 7 (05:05):
I don't insist on anything. We'll do whatever you say, well, Debbie,
which is it?
Speaker 6 (05:08):
Could be? Richard, I really don't care. Pick up your mind,
my dear.
Speaker 4 (05:11):
Do we land in Algaier or do.
Speaker 6 (05:12):
We go on to the river?
Speaker 7 (05:13):
Reach it an say it doesn't matter.
Speaker 4 (05:15):
Do we land in Algiers or do we go on
to the Riviera.
Speaker 6 (05:17):
I told you what I'd like to do. I'd like
to see our dear.
Speaker 4 (05:28):
Yeah, I'm hear that.
Speaker 6 (05:29):
The party on the tender to lasting to you because
he's a prefect the police this way, sir says you
got something, all right?
Speaker 8 (05:35):
Then having your own way.
Speaker 6 (05:37):
We don't get off of that here, Richard, I really don't.
Speaker 4 (05:39):
Let's not talk about this here. We're getting off in
our Giers.
Speaker 9 (05:48):
I say that's right, and don't remat yourself.
Speaker 6 (05:50):
My name is Rubin, Prefect the police of the Territory
of Algaier.
Speaker 4 (05:53):
That an insurance if you know what I'm him. We
are very happy.
Speaker 6 (05:55):
Condition of my appreciate to night now that you will
be able to observe for yourself. Our local conditional condition
got to do with this. He is a crooker's exploits
that made him famous on both sides of the Atlasic
who kay for me off for two years ago with
a portune in jew But look in the United States,
we have heard of cases every day of the week.
It's too bad, Commissioners, that you didn't arrest him before
we left the United States.
Speaker 4 (06:13):
Who is now?
Speaker 6 (06:13):
He's been hiding here and half a mile from your
police station. What I am explaining, Commissioner.
Speaker 4 (06:17):
Inspected to name?
Speaker 6 (06:19):
He is one of our most experienced men the casta.
Just teletraate, how's f's there a kasta? And sir is
the present home? That's happen in Moco, That's what he
is called in the Kasta.
Speaker 4 (06:29):
What's been American to find him?
Speaker 6 (06:30):
Find him?
Speaker 4 (06:31):
And sir?
Speaker 6 (06:32):
I see him every day. Sometimes I have the honor
of taking.
Speaker 4 (06:35):
Lunch with him.
Speaker 6 (06:35):
Weren't sometimes dinner?
Speaker 4 (06:37):
You're sure, Inspector, that you're not too lazy to arrest
this man.
Speaker 6 (06:40):
I am nearly a casto, which means looking after your
own skin. It is the only skin I have, inspect A, mon.
Speaker 4 (06:45):
I'd like you to put twenty minute my disposal.
Speaker 6 (06:47):
Well that's when you've got as you wish you mean
on it. You're propose to raid the casta.
Speaker 4 (06:50):
You think it can be done more? No, not at all.
Speaker 6 (06:52):
It can be done that easily, Commissioner, And you will
find it a more sinfructive experience.
Speaker 10 (07:00):
Must so, yes, Dollard.
Speaker 6 (07:22):
Third, this is it, couple, Inspector. After three hundred years
they stepped here had been worn uneven. This is the
paddle section.
Speaker 11 (07:40):
See those men, they are slaves brought up from the Sudan.
Speaker 6 (07:52):
But there to the left is the way to the
moory street. The speak of the Arab women play from the.
Speaker 4 (08:00):
Grand after if jay if jay At a thursdafter.
Speaker 11 (08:14):
Queen of disease, into the saw ally has the stolen
jewelry of Europe.
Speaker 6 (08:19):
Finds this way, the fatima is, the polls stay, and
the chick or mother tickers another cabaret.
Speaker 11 (08:33):
In this house, it is said that a murderer is
always paid for the ninth of the jolly.
Speaker 4 (08:40):
Oh.
Speaker 6 (08:40):
Look out for these that are gallatiner quick for their
knives with the American plil. You go out of that
place feet foremost if you'll stay after hours, kay, pay
they do. It's not full of Here is the archet,
(09:05):
and I had to inspector the highest point of the
taskin into here and lead many of the paris have
been made in quad. Now, inspector from the arcade. Would
you like to comment your what you call it police raide?
Speaker 4 (09:18):
Yeah? Sure, let's you go on, said very well, Inspector.
Speaker 6 (09:31):
All singles into the arcade, three the art or give
any of the other print your hobby. I told you, Jenny,
we shouldn't come here on the first place. A lot
of yelling, murdering heavy into the archaic. What the mot
this way?
Speaker 12 (09:45):
Please?
Speaker 8 (09:46):
What is it?
Speaker 6 (09:47):
What's going on? It's the police moments, the liting your hey,
come on, kebby into the archey come rush Kenvy call
me where you brother? What to thank your Kenny?
Speaker 4 (09:57):
Come back entire?
Speaker 6 (10:10):
Yeah, I say nay.
Speaker 11 (10:13):
I'm afraid I made a fool of myself that time
and happen to you.
Speaker 6 (10:16):
Allow me to introduce myself mademoiselle.
Speaker 4 (10:18):
The name is the name, so very honest servants, if you.
Speaker 6 (10:23):
Would be pleased to make yourself comfortable in here, as
comfortable as you can in the store house.
Speaker 4 (10:28):
Until the shooting is over, you will be quite safe,
thank you.
Speaker 6 (10:32):
Well, what is it? What's happening? Oh it is nothing.
Speaker 7 (10:35):
You call all this nothing or.
Speaker 6 (10:37):
You know how it is with the police, mademoiselle, they
like to keep everything in a state of uproar.
Speaker 9 (10:42):
Soon they will get.
Speaker 6 (10:43):
Tired of this, running like it's from door to door
looking for a man who.
Speaker 4 (10:46):
Is never there.
Speaker 7 (10:48):
All this excitement for one man.
Speaker 6 (10:49):
Yes, yes, memodall one man, but quite an unusual man.
Speaker 4 (10:54):
His name is Peppylamco.
Speaker 12 (10:56):
Pome waiting waiting where tepy them?
Speaker 7 (11:11):
We get cram tails, Teppy on the wet there at
cram tails.
Speaker 4 (11:14):
Hurry, just say truth one of our men and ground
tear receive a storing cheoling on front. Yes we know it.
Come on, Turnton, let's go.
Speaker 6 (11:42):
Well there you are pission and the place is empty
as usual, no evidence nothing. Now are you setting?
Speaker 4 (11:47):
I'm not.
Speaker 6 (11:47):
I won't be catisfied until I've broken down every door
and search of a house in the coush box. What's
that say? Take me strong over the whole thing?
Speaker 4 (11:54):
What are they waiting for?
Speaker 12 (11:55):
It?
Speaker 4 (11:55):
And after them?
Speaker 6 (11:56):
Quick?
Speaker 4 (11:56):
All the roofs if you see him chilling the shoes.
Speaker 6 (12:05):
I am sorry, Mademoiselle, all the shooting. It gives such
a very unfortunate impression of our city. Besides, it is
such a way Swain. Of course, happy Moco will not
be captured if your natives will be shocked and one
or two improvedent firsts like yourself, Mademoiselle is I had
not been there to see to your sastic I don't believe.
(12:26):
I han't you. Oh she leave me, Mammoiselle, is a pleasure.
I only regret the inconveniency anxiety of your friends. Well
how long do you think you have to keep me
here in sation?
Speaker 4 (12:36):
Well not long, Mamaiselle. It will soon be over all
this touch typty.
Speaker 11 (12:40):
And you don't think I'll get him.
Speaker 6 (12:41):
He is very capful.
Speaker 4 (12:43):
The police have been after him for two years now.
Speaker 11 (12:45):
The police that you have a stupid and within.
Speaker 4 (12:48):
Sight of the police.
Speaker 6 (12:49):
I consider that a triumph of understatements.
Speaker 4 (12:52):
You're one of them. I have that Thutfulana.
Speaker 6 (12:55):
Well, how do you do it? Keeping a Moco or
whatever you call him?
Speaker 4 (12:59):
Bad so so nice a man?
Speaker 6 (13:07):
What aut that? Oh?
Speaker 4 (13:14):
So they shoot you in? Yes, they did it.
Speaker 6 (13:17):
Permits me to hope, which is nothing suitious.
Speaker 4 (13:20):
Thanks to the scratch for the elbow.
Speaker 11 (13:23):
It's leading not much. Yeah, let me help you.
Speaker 13 (13:26):
Thanks, it's nothing.
Speaker 11 (13:27):
I thank you, yes, yes, not very big. I'm sorry.
Speaker 4 (13:32):
Say you're an American and you're very beautiful, aren't you sell?
Speaker 13 (13:39):
That's fair? What bracelen?
Speaker 4 (13:42):
Yeah?
Speaker 11 (13:42):
How did that feel?
Speaker 4 (13:44):
Thanks? Expect that when I an jue chasing a fuck.
Speaker 6 (13:47):
It's put the chilly perform us. I've referred to use
my brain.
Speaker 4 (13:50):
Well yeah, friends said a little better than I. At
least they found me. That's pretty good for them.
Speaker 6 (13:54):
We say it sip in the right direction.
Speaker 4 (13:57):
Excuse me, man, we talked shop the inspects of me.
The hambit of eye cigarette.
Speaker 13 (14:03):
Please sorry, I can't reach it.
Speaker 4 (14:05):
Can help you in this side pocket here?
Speaker 11 (14:08):
You are nice?
Speaker 8 (14:10):
Please? Thanks?
Speaker 4 (14:15):
You know inspect that if you're kind of shared for
US police and the yours and never get me this way.
Speaker 6 (14:19):
I've tried to point that out to them.
Speaker 4 (14:22):
Once the inspector and I agree.
Speaker 6 (14:24):
I must explain mademoiselle that in the end, I am
the one who will get PEPTI.
Speaker 13 (14:28):
Yeah, I can hardly work.
Speaker 6 (14:30):
And not only Petty but all his friends Jimmy told
me Grontaire all of them.
Speaker 4 (14:37):
And when you do put us in the zoo, you'll
flatter yourself. You mean, you won't show me the cave?
Speaker 6 (14:41):
What's for? You're important now because you're free. Well, once
they are in hind bars, people will forget all about you.
Speaker 4 (14:47):
Just seems he's a very funny guy. And my friend
Inspected the main looks okay, but he's a little mixed up.
He thinks he can arrest me.
Speaker 6 (14:53):
That's exactly what I'm going to do for you, I
tell you.
Speaker 4 (14:58):
The funny guy always good bro. Yeah. One thing I
like about Inspect is Lemaine, what his faith. It's perfect
for his job to look that crooked. It's almost like
being honest. I am honored at my appearance. Please you
know they'll mention it.
Speaker 11 (15:10):
Wait listen, I don't hear anything.
Speaker 4 (15:12):
That's just shooting stuff. If they give nothing, Inspect the
poor fellows they give up so easily.
Speaker 13 (15:19):
Yea, I'll be on my way now.
Speaker 4 (15:20):
The boys will be worrying about me.
Speaker 14 (15:23):
You will have to excuse me.
Speaker 4 (15:25):
I do. Yeah, maybe I'll see against something. What's that happening?
Speaker 6 (15:33):
And don't forget I am the one who will get
you I won't forget go on so long. Ah.
Speaker 4 (15:46):
It's a shame, isn't it. What a man of the world,
an unusual intelligence.
Speaker 6 (15:52):
One hates to see him very so young ark oh,
twenty years in prison. It is the same thing put
me to so sure Inspector that he's going to say
that was a I have marked the date of his
arrest on the wall of my room, high up where
it reads black in the rays of the setting sun.
(16:18):
Take a table, Commissioner, Department of Coming Investigation, Washington, dum
happy to report Reade was carried out with nice offficiency.
Although we're now in this capture couple of Moco seriously
wounded Wallace tables reasonably his injuries may prove favor.
Speaker 4 (16:30):
Got that, yes, sir, all right, why.
Speaker 6 (16:32):
Don't you just declare him dead, Commissioner and be done
with it?
Speaker 9 (16:34):
Please?
Speaker 4 (16:34):
It's much a funny now then it is the last
thing I said.
Speaker 6 (16:38):
Without me repeat situation well in hand. Will take whatever
steps being advised, very exactly what I have been doing,
Commissioner for the past two years, and what I shall
continue to do. That from him and only one possible
way to capture Pepula Muso.
Speaker 4 (16:49):
I suppose you know I do, Commissioner, it is to
make him come out of.
Speaker 6 (16:53):
The cast part.
Speaker 4 (16:53):
You will suddenly conceive an idea. Inspect how that is
to be done.
Speaker 6 (16:56):
I think, perhaps to day, Commissioner, for the first time
in two years.
Speaker 4 (17:00):
I have an idea.
Speaker 6 (17:19):
I am very glad, Mademoiselle, you have done it the
honest to revisit the casbus. I assure you that in
the right company you will find it a most romantic and.
Speaker 4 (17:27):
Fascinating Say.
Speaker 6 (17:30):
Why hello, Pepe.
Speaker 4 (17:34):
We had some trouble finding you, Madmoiselle, and I I'm sorry.
They told us you were busy upstairs. Yeah, it's kind
of busy.
Speaker 8 (17:42):
Thanks a little drink?
Speaker 4 (17:44):
Yeah, sure, I am glad you're here, Saton.
Speaker 6 (17:47):
Mademoiselle was asking so many questions about you. Now you
can answer them for yourself.
Speaker 4 (17:52):
Why did you tell her inspector or what could I
tell her said this? Why afraid you'd be a little
upset at my past?
Speaker 6 (17:57):
No, she might be a little appalled your future. I
thought her you might get off.
Speaker 4 (18:05):
With twenty years. You wouldn't want me to get twenty years,
inspect you get too fond of me? Twenty years? Were
they good lawyers?
Speaker 6 (18:11):
What I told them, So if you'll excuse me, I
have already ex played about it that I won't belong.
I am sure you can at the same level.
Speaker 8 (18:21):
I am hopefully.
Speaker 4 (18:24):
Hey, good bye, inspector. Oh yea, I should take another
look at the wild animals not.
Speaker 11 (18:31):
So very wild?
Speaker 4 (18:33):
What do you think in my cage?
Speaker 6 (18:35):
I don't know yet?
Speaker 4 (18:38):
You are American?
Speaker 13 (18:39):
Answer?
Speaker 11 (18:39):
What do you think?
Speaker 4 (18:40):
What are you doing here? Made a streaming crew back out?
Speaker 7 (18:44):
Yes, I don't like chandling takes me homesick. If I
can't do the old when I wake up in the morning,
I don't want to go right back to sleep.
Speaker 12 (18:52):
Do you know New York?
Speaker 4 (18:53):
No?
Speaker 6 (18:53):
What I couldn't think of?
Speaker 4 (18:55):
First? Quick fourteenth Street, the battery, next night, the.
Speaker 8 (19:05):
Small Yeah, I.
Speaker 11 (19:11):
Like the long way from all that long way. It's
nice to talk about it.
Speaker 4 (19:20):
And you said, my friend inspected Flemaine to thanks for that?
Speaker 10 (19:23):
Yes?
Speaker 3 (19:24):
Was it his idea?
Speaker 4 (19:25):
And coming here again?
Speaker 11 (19:28):
So I dreamed that up.
Speaker 4 (19:29):
I'm surprised you let you come like that. What all
that stuff you have on and a heavy ice here
wearing the jewelry a little?
Speaker 13 (19:37):
What did youself?
Speaker 11 (19:39):
Not long with you?
Speaker 4 (19:42):
That's going to breaklest you goest isn't it? Yes?
Speaker 11 (19:47):
Holding the end had the way to sing about.
Speaker 4 (19:53):
And gran w I mean what I get for? Yeah?
But it's.
Speaker 11 (20:02):
You put it on for me, all right?
Speaker 8 (20:07):
Say Anne?
Speaker 11 (20:08):
Thanks?
Speaker 13 (20:10):
What's your name?
Speaker 4 (20:12):
That?
Speaker 11 (20:12):
Will they call me daddy?
Speaker 4 (20:15):
All right?
Speaker 2 (20:16):
No?
Speaker 14 (20:16):
Widow?
Speaker 6 (20:17):
No?
Speaker 13 (20:18):
Why not?
Speaker 8 (20:19):
Well you would?
Speaker 11 (20:21):
I see.
Speaker 4 (20:23):
Good?
Speaker 6 (20:24):
Richard did?
Speaker 4 (20:24):
Yeah?
Speaker 3 (20:25):
Stopping the hotel?
Speaker 4 (20:29):
What are you laughing at?
Speaker 6 (20:30):
Nothing?
Speaker 13 (20:32):
Too bad?
Speaker 6 (20:34):
Too bad?
Speaker 4 (20:34):
Too bad?
Speaker 3 (20:35):
I don't know you're better?
Speaker 4 (20:36):
Why because I slip your face when people laugh around me.
Speaker 13 (20:41):
I want to know why.
Speaker 3 (20:45):
Come on, let's get out of here.
Speaker 6 (20:47):
Up on the terrace, you see the harbor.
Speaker 4 (20:49):
From there you can see Staten Island in the palace
and the casino in the park.
Speaker 11 (20:55):
I love the casino or I kind I have to
go now.
Speaker 7 (20:58):
Richard will be wondering where I am.
Speaker 11 (21:01):
I'll come back when as soon as I sound.
Speaker 4 (21:05):
When tomorrow, I'm gonna be sure.
Speaker 6 (21:08):
Look at me.
Speaker 11 (21:09):
I'll never make a promise.
Speaker 4 (21:12):
Then do what for?
Speaker 11 (21:15):
He said?
Speaker 4 (21:15):
I asked him? Said three is.
Speaker 8 (21:18):
Th that's uh.
Speaker 3 (21:22):
Tomorrow, yes, cats.
Speaker 11 (21:28):
Tomorrow. I'm five.
Speaker 2 (21:59):
This is the gunlayhouse. You are listening to the Orson
Welles production of Algiers with our guests are ms Paul
at Goddard. This is the Columbia Broadcasting time.
Speaker 6 (22:27):
This is ernest Cape, ladies.
Speaker 2 (22:28):
And gentlemen, welcoming you back to the Campbell Playhouse. In
a moment, we shall resume our presentation of algiers. You know,
among the dishes in day to day eating, soup has
always been an important food with all peoples and in
all lands. Indeed, it said that in some countries the
broad custom decrees that the dowry of every.
Speaker 4 (22:46):
Bride shall include a soup kettle.
Speaker 2 (22:49):
Now, and I'm talking, of course, especially to the ladies.
Speaker 4 (22:52):
I dare say, a soup.
Speaker 2 (22:53):
Kettle is nuts among the things you brought to your husband,
was it? But if you happen to be making your
own soup less, then may I remind you that these days,
more and more good home cooks are letting Campbells tend
the soup kettle for them.
Speaker 4 (23:07):
These good home cooks, like.
Speaker 2 (23:08):
Yourself no soup, of course, and how.
Speaker 6 (23:11):
To make it.
Speaker 2 (23:12):
But more and more they have come to know also
what a needless boter it is when they can enjoy
the convenience and good eating of such fine soup as
Campbell's make.
Speaker 4 (23:21):
And so we are proud to make soup for them.
And we'd like to make soup for you too. Will
you try us out?
Speaker 2 (23:28):
Try anyone of the twenty one tempting times Campbell's Chicken Soup,
for instance, for its deep chicken flavor, or Campbell's Vegetable Soup,
a soup that's practically a meal in itself.
Speaker 4 (23:38):
If you do this, then compare it with your own critically,
I feel certain you let Campbell's tend the soup kettle.
Speaker 2 (23:44):
For you too from then on. Now we resume our
campbelayoffs presentation of Algiers with Polack Goddard produced by US.
Speaker 4 (23:52):
And Wells.
Speaker 6 (24:19):
Pretty Carible, Yes, Apartment of Criminal Investigation WATING and DC
Papamoco International.
Speaker 4 (24:24):
Jeweltie still at liberty local conditions in the costs bar
run the further attempts useless local condition You heard me, inspectors,
I mean in further attempts useless.
Speaker 6 (24:32):
Isn't that giving up rather easily commission is.
Speaker 4 (24:34):
Really what we're can I do? We've bred at the
cows bar. You wore me reduced with white houstless. You're right,
we've been poort an informer. You're buried in this morning
as the one of Peppi's men. You full fellow that
Pepulamco inhimself. Where is this twurther fun Captain than he
ever was there? I am happy to say you are
a mistaken Commissioner. What do you mean by that?
Speaker 6 (24:49):
I mean, Commissioner that within forty eight hours, unless my
plan is carried, I said, deliver him into your hands.
Speaker 4 (24:55):
This Pepulamco. Hoo it up Earth, you're talking tom, I said,
commission uh.
Speaker 6 (25:00):
That I had a plan inspect the Flamine wore parting
on the case of Pepela Mink on Monday po PM.
I said, forty eight hours already four hours have gone
by my time proceeds. I have an appointment at sticks
at the Hotel Arlette with mister Richard Dead.
Speaker 9 (25:29):
Inspector Lemain this for there, if you put spare me
just a few.
Speaker 6 (25:32):
Minutes of your time, why court sector once a gown
or I must say, I'm not accustoms went to dreaming,
I say, mister there I who would listen to me
a moment too?
Speaker 4 (25:41):
We'll see. What's what I have to say?
Speaker 6 (25:42):
Is that a lot of delicate and settle It concerns
Memoiselle your fiance or is Madmoiselle at home?
Speaker 8 (25:51):
Now?
Speaker 4 (25:51):
When I know the matter of facts us. She went
out for a walk, for.
Speaker 6 (25:54):
It walked exactly. Have you any idea of where Madmoiselle
goes walking, mister Ben, What do you mean by that?
Only is this? I am afraid that her brief stay
among ust, Mademoiselle has become this is too fond of
the shall we say, the local color of the Paspa.
I still don't know what you mean. Tasba is our
native quarter, mister Bed. It is hardly the place for
(26:16):
a woman alone. Yet Mademoiselle, your fiancee, has been seen
there almost every afternoon.
Speaker 4 (26:22):
I don't believe.
Speaker 6 (26:23):
There can be no doubt of it, mister Bed. There
are even rumors that she and a man who is
wanted by the police. Hearing these rumors may be unfound
of the prose, mister Bed, But it would be wiser, perhaps,
if between now and the time you sail, Mademoiselle did.
Speaker 4 (26:37):
Not return to the Paspa. Of course, she won't inspector
you can take my word for it, she won't gay. Yeah, yeah,
(27:23):
they don't know yet it might.
Speaker 13 (27:26):
Yeah, I'm beautiful getting that's easy to say.
Speaker 4 (27:32):
Maybe somebody told you what I'm telling is difference. I
don't know for me, your more than man. For two
years I've been lost, like walking around in my sleep
and sudday I wake up in the other ear and
I I don't know how I went on all that
time waiting for you, not knowing it. What did you know? What?
Speaker 8 (27:54):
Job?
Speaker 4 (27:55):
At me?
Speaker 14 (27:56):
New York, the whole town, that's you, you lovely sensationally.
Speaker 4 (28:04):
You know what you remind me of?
Speaker 13 (28:07):
The subway?
Speaker 4 (28:08):
Yes, shut your eyes listen, you can hear it.
Speaker 11 (28:13):
I help to do it.
Speaker 3 (28:14):
Go like a subway train.
Speaker 6 (28:16):
Huh.
Speaker 4 (28:17):
They're all silk and your jingle when you walk, and
with all that stuff you make.
Speaker 8 (28:21):
Me think of it the subway.
Speaker 4 (28:24):
It's funny isness and Lindy's at five in the morning.
Speaker 14 (28:30):
Hm, New York?
Speaker 4 (28:32):
At you? What'd you do before?
Speaker 14 (28:36):
Before, before those, before the diamonds?
Speaker 6 (28:41):
I wanted them?
Speaker 13 (28:43):
What are you want now?
Speaker 4 (28:46):
Suppose you don't come to mind?
Speaker 11 (28:48):
Suppose I don't. Can you ever get it?
Speaker 4 (28:50):
Make any difference? Well?
Speaker 7 (28:51):
Can't you?
Speaker 11 (28:52):
Is it true that I don't say? You said?
Speaker 4 (28:54):
Yes, it's it's true. And I'm I'm caught here. I
got there and a whole dog's barking. Guns are no
way out of it. Do you like that. No, well,
maybe it's lucky for you.
Speaker 6 (29:07):
I don't like it. You're right, you don't come back.
Speaker 13 (29:12):
I might do anything, might come down to the hotel.
Speaker 4 (29:15):
And get you.
Speaker 11 (29:16):
I'll come back again tomorrow, thank you.
Speaker 13 (29:19):
Tomorrow for sure, m for sure, it's no good. Tomorrow's five,
I got it.
Speaker 8 (29:31):
Take the young.
Speaker 4 (29:32):
Lady's the hotel Oromerengo.
Speaker 11 (29:36):
Tomorrow at five.
Speaker 13 (29:38):
Yeah, yeah, tomorrow at five.
Speaker 6 (30:09):
Inspector Snaine reporting in the case of Pepperamoco Tuesday, six pm.
I gave myself forty eight hours in which to deliver
him up. Thirty hours have run by it yesterday again,
as I thought they were together when I was down
at the hotel with there she was with him in
the tasbar. Theil fauna arvey who conducted her back to
the hotel tells me she has to meet him again
today at five. So my plan is working. Thebate has taken.
(30:32):
Now for the fish to be hooked, the.
Speaker 4 (30:35):
Date must be just away.
Speaker 7 (30:40):
I mean, satd I'm just putting on my head. Look
that way, where are you going to walk?
Speaker 4 (30:49):
Walk?
Speaker 6 (30:49):
Where? In the same to pa, should you give me
a sensible answer?
Speaker 7 (30:52):
Well, then asked me a sensible question, where could I go?
Speaker 6 (30:55):
I don't know anyone in our years.
Speaker 11 (30:56):
I just walked, stay ahead.
Speaker 4 (30:58):
And where does that take you? Every afternoon, this.
Speaker 6 (31:01):
Hotel of your scores me.
Speaker 11 (31:02):
The hitwaiter looks like an undertake, and every.
Speaker 6 (31:04):
Time I set into this apartment it looks more.
Speaker 11 (31:06):
Like a funeral parlor.
Speaker 10 (31:07):
Good I, Richard, I.
Speaker 4 (31:09):
Know where you're going. Oh you're going up to the car,
and I know where you go. You go to meet.
Speaker 11 (31:16):
And now you're spying on you're going. You don't make
it a very pleasant tosspect.
Speaker 6 (31:21):
I'm not what's going to want you to behave this way.
Speaker 11 (31:24):
I'm glad you told me what the that thing? We
might as well be on the spicy. Why do you
think I'm marrying you? Look at yourself, then look at me.
I've never lied to you.
Speaker 7 (31:35):
You knew I didn't love you, and I said I'd
marry you, and you thought it was all right.
Speaker 12 (31:38):
So and you'll we're married.
Speaker 2 (31:39):
I'll do as I.
Speaker 4 (31:40):
Please, Yebbie, I forbid you to go.
Speaker 11 (31:43):
You're wasting your time.
Speaker 4 (31:46):
And you can come back.
Speaker 6 (31:48):
You've started out pretty carefully, haven't you.
Speaker 4 (31:51):
I advise you to do the thing I haveb Oh, Richard, Okay,
leased your mind.
Speaker 11 (32:01):
Yes, I just remember if I'm not coming back.
Speaker 7 (32:04):
These the bracelet in the rings, they belong to you,
don't they here.
Speaker 6 (32:12):
Directly? I'm afraid not, Mademoiselle, what he's talking about. I
(32:36):
was hoping I would not have to tell you you're
cannot talk to the Mademoiselle really inspected.
Speaker 7 (32:43):
Will you please get out of my way?
Speaker 6 (32:44):
No, fiancee was trying to spell you, Mademoiselle. He didn't
want to tell you the truth that I have told
it to him. But you mean the truth about what
and the tense was made to capture Pepula Moco in
the chasma this afternoon, Mademoiselle.
Speaker 4 (32:58):
In a sense it was the festival.
Speaker 6 (33:01):
He is taken, not alive.
Speaker 4 (33:04):
He was killed.
Speaker 6 (33:16):
Inspect of Saname reporting on the case of Peplamoco Wednesday,
ten am, only two hours a name out of.
Speaker 4 (33:21):
The forty eighth.
Speaker 6 (33:22):
If my tan works before noon today, tap Amoco will come.
Speaker 4 (33:25):
Down out of the chasma. If not, I shall have
wasted two years until then.
Speaker 6 (33:30):
There is nothing for me to do.
Speaker 4 (33:32):
Nothing to do but wait while he makes his choice.
If he stays, he's safe.
Speaker 6 (33:37):
If he comes out, he faces sudden capture in prison
or death. It is my Catholic considered opinion that he
will come out, see Pepe.
Speaker 3 (34:09):
Yes, yes, nice lady.
Speaker 6 (34:13):
How much longer you're going to wait? Pete? Why don't
you come home? You've been hearing the cafe all night?
Speaker 9 (34:19):
Well, see what are you waiting for?
Speaker 6 (34:23):
She's not coming back, that American girl?
Speaker 4 (34:25):
Leave me alone, she's rights.
Speaker 6 (34:27):
Why do you fool yourself waiting years?
Speaker 4 (34:29):
She's not going back. Why don't mind your own business?
Has anybody seen Abby around?
Speaker 10 (34:33):
Aby?
Speaker 7 (34:34):
Why Pepe sent him with a letter down to town
last night to the hotel?
Speaker 6 (34:38):
A letty never write letters to me alone? Yes, why
don't you come?
Speaker 4 (34:45):
Will you leave me alone and stop telling me what
to do? Yes, Petty to show.
Speaker 10 (34:57):
Up?
Speaker 9 (35:00):
Ah fu sheh and shine un.
Speaker 4 (35:06):
It's a matter.
Speaker 6 (35:06):
I can't keep those get.
Speaker 9 (35:08):
Kill out, yell out m hm sif you all right.
Speaker 8 (35:22):
Right?
Speaker 4 (35:23):
I know that they are you feel I.
Speaker 11 (35:25):
Feel it too, sometimes, child, give me to stick yell
that cuts bars.
Speaker 6 (35:29):
Like you need not to be able to go down
into the song.
Speaker 4 (35:32):
Ever, nothing's going to say good bye to a year.
Speaker 7 (35:36):
When you go up the bag, you'll go quafty feet
first away they all go h and they'll take up
the stick there and let you find when your time
comes up different.
Speaker 4 (35:46):
No, they won't. I don't have to stay here. You understand.
I can go any time I want.
Speaker 6 (35:50):
Yes, I can.
Speaker 4 (35:50):
I'll go, and I feel I can't. I'm free. Put
your hair at you and that's new cross hair free.
I can go any time I want, any time, Pippy Hobby.
Speaker 6 (36:00):
Yes, said it's me. I'll be herby. I'm decking her.
Speaker 4 (36:04):
Well, you see her? Should they be?
Speaker 6 (36:07):
I thought her? Why just take old night hippie. I
couldn't help it. I waited he wait to go night
till this morning.
Speaker 4 (36:12):
I couldn't get through you my letter.
Speaker 6 (36:14):
Yes, Papy, I give it to her just now to
get an answer.
Speaker 4 (36:16):
Did you get a answer?
Speaker 9 (36:18):
She wasn't to right, but she couldn't.
Speaker 4 (36:19):
She's been closely what close if?
Speaker 6 (36:21):
But she expects you this morning. You can get down
without anywhere. Go to the deck of the hotel.
Speaker 4 (36:26):
She'll be watching from the windows. Is that all? Well?
Speaker 6 (36:29):
If she wanted to come up but she didn't get
your way, go on. She's waiting for me to bring
the answer.
Speaker 4 (36:34):
Pity, what's your lead teller? She's waiting for her. Yeah,
I'll take the answer. She's expected don't worry. Don't worry.
The boys don't take care of you. Do I get back,
don't worry. It's like they took care of Regis if
he lives a nice looking god would wait?
Speaker 13 (36:54):
Hobby?
Speaker 4 (36:55):
Yes, one thing I don't get you said, Gabby couldn't
write because she was watched. Yes, but in a little
while she'd be able to see me. He God, that's funny.
Speaker 6 (37:08):
He's going to be away to see.
Speaker 4 (37:10):
On Sae, I say, And why didn't she write me?
Speaker 12 (37:14):
He was there?
Speaker 6 (37:15):
How could he talk to you? Because because you're.
Speaker 4 (37:18):
All mixed up For a woman who's watched, it's funny
the way she can do things, very funny, I laughed.
All I wanted come here, Robbie, come on, come on, Hobby.
I gave you a letter. You went into town with it.
(37:40):
Then what happened? What happened? Nothing? Must I kill you
to make it work? Hold on? I think, well instead
of flippin, it was his bland. It made me do it.
Speaker 6 (37:54):
Do you ask me?
Speaker 8 (37:55):
Last night to me yes, go on?
Speaker 6 (37:57):
And this morning when he left me, he told me
to go go on. You mean you would come down
and the whos around to the waiting. Did you see
us no, why did you come up yesterday?
Speaker 4 (38:08):
It means he totally could be kill killed.
Speaker 6 (38:10):
Yes, that's what she thinks. That's what he told you
that you had been on.
Speaker 9 (38:14):
She's feeling she's leaving you.
Speaker 4 (38:16):
Jesus he was goodly to see. Well, I said I
could go, and I felt like it. Didn't I have
Huh I said I could go. I felt like it. Well,
I feel like it right now?
Speaker 9 (38:27):
May not about off?
Speaker 4 (38:32):
Care out of my way?
Speaker 9 (38:33):
What's going said that you can't leave me?
Speaker 6 (38:35):
What did I do stet out of.
Speaker 4 (38:36):
My way with such a fault?
Speaker 6 (38:38):
Just let you you'll begin my life.
Speaker 9 (38:41):
That dies for me.
Speaker 10 (38:42):
Don't time?
Speaker 8 (38:43):
Lets you.
Speaker 4 (40:02):
Hello?
Speaker 6 (40:09):
Hello, Commissioner Heller. This is Inspector surname, Inspector torename.
Speaker 4 (40:16):
Listen listen.
Speaker 6 (40:17):
Commissioner Sepamco is coming out. Inspector Fremaine reporting on the
case of Tapamoco. Wednesday, twelve seventeen, The case of Pepco
is closed.
Speaker 4 (40:36):
The hunt is angered today. A few minutes afternoon, papla
Moco escape.
Speaker 6 (40:55):
How he came in the first place to break through
the police cardan with which they has.
Speaker 4 (40:59):
Bowers around it.
Speaker 6 (41:01):
Easy thing.
Speaker 4 (41:01):
I shall never understand. No one but petty could have
done it.
Speaker 6 (41:06):
At twenty minutes to twelve.
Speaker 11 (41:07):
We got word that he was out.
Speaker 6 (41:09):
Soon after that he was seen entering a cab. A
few minutes later, he was reported leaving a travel agency
on the Boulevardla Victoire, headed for the harbor, presumably for
the Empress's cabin On till the duck, he was saying
in that crowd, there is a little chance of a
man being started. However intensive to search, and with the
corns around the cat by the Hotel a Letti, the
(41:32):
police if the duck was shorthanded this morning. Understand these
areough excuses. He's a fact that helped to explain what
happened next.
Speaker 10 (41:47):
You cannot get because.
Speaker 6 (41:51):
Take it, take it to the path. It was also
essential to understand exactly what the arrangements are for.
Speaker 4 (41:58):
Passengers for the big steamers.
Speaker 6 (42:00):
In the part about years at the end of the dark,
there is an iron gate with an opening in it
about two meters wide. Here in this opening stands the
ticket desk, and beyond it the turn style through which
everyone wishing to board the steamer has to pass. After that,
there is nothing more.
Speaker 9 (42:18):
You'll go through the turnstiles.
Speaker 6 (42:20):
Split up the gang plank into the ship friendly turn style.
Across the dock to the end of the gang plank
is a distance of about six meters in the clear
A man walking very fast and cross it in less
than two seconds. Way way, So you take it, please
(42:41):
all take it for the least this waifter ticket.
Speaker 4 (42:43):
Please can't you take about a later Yeah? Well then
a later level first flat to New York cabin one
and sixty eight. Here you are, here's a voucher buffer.
Speaker 6 (42:54):
Please m ever we can to rease. But they said
the premiere class around on New York the bar.
Speaker 9 (43:00):
Okay, thats why.
Speaker 4 (43:01):
Thanks for the tun dog guys, mind showing up in
a minute? You along next place your wife pet ball.
But I'm up, Peppy, up to Steve Peppy. We meet
at the appointed hour. Tell the toot, Steppy, I am
(43:27):
I almost miss the appointment a second.
Speaker 2 (43:30):
Let's go keep him up.
Speaker 4 (43:31):
Watch the head the mine. Yeah, mine, get stepping on
that thing? Oh? Does he? I keep moving one minute
the second?
Speaker 8 (43:45):
Or is it teppy for mine?
Speaker 14 (43:49):
Let me stand at the end of the dark for
a minute by the game fill the boat sails.
Speaker 13 (43:54):
Not much to ask. I can't get away.
Speaker 4 (44:00):
I want to see you, so you I like to
be generous to you, Seppy. I'm asking for one minute.
A minute is nothing, Yes, it is everything, all right?
Let him go, But I warn you, but he didn't
have my case. Com listener. I said, let him go.
Speaker 13 (44:16):
Thanks, Wamaene.
Speaker 6 (44:29):
Didn't happening thing which is as hard to describe any reports.
Speaker 4 (44:32):
Such as this.
Speaker 6 (44:34):
Heppy went to the end of the duck.
Speaker 4 (44:36):
They had him covered.
Speaker 6 (44:38):
It was just twelve and the gate that the desk
was closed and the gang plank was up.
Speaker 4 (44:43):
The ship was beginning to move heavy, went forward slowly
as far as the iron gates. Then he stopped and
stood there.
Speaker 6 (44:51):
With his hands on the bars and his eyes on
the decks above him, moving slowly away, and the ship's
railing line with the people the ship was out passed
it up, already moving out the scene.
Speaker 4 (45:04):
At that distance it is hard to distinguish.
Speaker 6 (45:07):
There was a curl at the railing looking down at
the dock.
Speaker 4 (45:12):
Peppy must have seen her tool. Perhaps he saw her
more clearly than we did. He started to run forward.
Speaker 9 (45:20):
Today a minute, don't you.
Speaker 4 (45:34):
Fool? Why did you have to do that? Hi?
Speaker 6 (45:44):
I am sorry, Pappy. They shot before I could stop him.
They thought you were going to escape.
Speaker 8 (45:54):
Escape, Yes me, escape, I don't know. I haven't spected,
so I have.
Speaker 2 (47:00):
This concludes our Campbell playoff's presentation of Algiers, as adapted
in produced.
Speaker 4 (47:04):
By Arson Wells. In just a moment, mister Wells will.
Speaker 2 (47:06):
Return to the microphone with Paulett Goddard, our guests of evening.
May I remind you, ladies and gentlemen, of the five
minute news commentary which may be heard over most of
these stations immediately following the close of this program. Because
I know how fond of chicken nearly all of us are,
I'd like to extend an invitation and also make a promise.
(47:28):
I want to invite you, if you haven't already done so,
to try Campbell's chicken soup. You see, as Campbells make
their chicken soup, every drapp holes the deep flavor of
rich chickens into the making of the broth.
Speaker 6 (47:39):
Goes not some, but all.
Speaker 2 (47:40):
The choice meat is carefully selected chickens, and in the
best tradition of all good home cooks, the broth is
slow simmered. TI leave in the snowy rice that Campbell's
ad for hearty, satisfying substance has captured the full chicken flavor,
tempting pieces of tend to chicken meat complete the good
eating in this truly old fashioned chicken soup. Won't you
enjoy it soon tomorrow night? Perhaps wooden, fragrant plates of
(48:04):
Temble's chicken soup add to the enjoyment of your dinner.
Now that's my invitation man. In extending it, I want
to make the promise I spoke of. And that promise
is this, Just as sure as you like chickens, you
like Tempble's chicken soup. And now here is aut and LOLd.
Speaker 4 (48:28):
When the world is without, it's Mary Anderson's, it's Nell Gwynn's,
it's Macteen Elliott. When there are no more greatly beautiful
ladies in the theater professions, we'd better climb right back
up into the trees, because on that dark day, the
pleasant graces of our civilization will be no more. In
the West will have declined. Indeed, but be of good cheer,
deal listener, Barbarism is not yet upon us. We are
(48:50):
living in the age of Paulette Gardage Miscarda who just
played Gabby Algiers, is waiting at the microphone to be
interduce to you. Before the ensuing formalities. I cannot refrain
from mentioning that she is exactly why television is inevitable
and positively everything the camera has led you to believe
more Excuse me, Miss Goddard is indicating by subtle gestures
the clenched fist, for example, the bed though pearly teeth,
(49:13):
the flashing eye, and all the rest of it, including
that fast right leg which is just one for in
the new motion picture The Women, the uncontested title of
the Hollywood Bomber, implying by these and other delicate indications
of a becoming named stunning modesty, that she Paul Hat
Goddard would like to be presented without the adjectives, and
would like it if I didn't go on and on
and on and on. I won't, but I'd like to
(49:35):
ladies and gentlemen, miss Paul Hatt God good.
Speaker 7 (49:37):
Evening, and thanks sousin for being so nice to me.
An appearance on the Campbell Playhouse is an old ambiious mine.
Speaker 11 (49:43):
It's been a real thrill to fulfillip you.
Speaker 4 (49:45):
Know, Pullet, I wish you could tell us about your
new picture is going to be one of the great pictures.
We're all horribly certain of that, But Ladies and Gentlemen,
for several reasons, every one of which it's self evident,
its character and its story must remain until it's completion,
something of a secret Pleathfullet you can tell us.
Speaker 6 (49:58):
The title I wish I could right now.
Speaker 11 (50:00):
It's called Production number six.
Speaker 4 (50:02):
Well tell us just this much more. What part are
you playing for it?
Speaker 6 (50:06):
Well, there's a big jump from what I'm doing in
the Dictator to Gabby and ALGIEZ.
Speaker 11 (50:11):
I'm playing a household judge.
Speaker 4 (50:13):
And the picture Ladies and Gentlemen, who probably gets is
Charles Chaplin's latest to spend before the cameras about four
weeks now, and it's expected to take at least another
five months. Philett, would you tell will you be all
that time before the camera?
Speaker 11 (50:25):
No, A great many of my scenes are being shoped now,
so I'll be free for.
Speaker 4 (50:28):
Other pictures, every one of which we're looking forward to.
As a matter of fact, the Production number six, let
me tell you, Ladies and Gentlemen, I spent three of
the really breathless and magical hours of my lifetime not
so many weeks ago. It was just before Production number
six went into production, when charl Chaplin himself described some
of the scenes to me. Let me tell you that
hearing some of it from his own lips, exposure to
his own radiant enthusiasm as an experience at once priceless
(50:51):
and indescribable. You don't know it. Pett even did some
of your scenes to me, And although it sounds silly,
he was wonderful.
Speaker 6 (50:57):
I'm sure of it.
Speaker 4 (50:58):
I only hope that I won't disp you won't pull it.
Excuse me and believe me, he only quitted my appetite.
And now for let god it, Thanks for coming, Thanks
for your performance in Algiers, and please visit it soon
again at the Campbell playoffs. Now, ladies and gentlemen, ask
the next week, let me ask you to do this.
Put yourself in the position of mister Matt Dennis. You
(51:19):
haven't been pretending to be fishing for trout, but you
haven't any baits. As a matter of fact, you haven't
any trousers, and you hope it won't be necessary for
you to stand up. Eventually, however, you will have to,
and you have to run as fat as your undressed
legs can carry you, because you're wanted for murder. As
a matter of fact, I don't wish you the luck
of Captain Matt Dennant, who was the hero of next
week's broadcast, but I think you'll sympathize with and through
(51:41):
out and be interested in the remarkable events which followers
escape from sing sing. The story is John Goldsworthy's notable
comedy Escapes. I think I mentioned Wendy Berry, and I
hope you remember next Sunday night at the same time.
Until then, until escape, my sponsors, the makers of Campbell Soups,
and all of us in the Campbell Playoffs remain as
always obediently.
Speaker 2 (52:00):
Yours make it the Tembull ships join Arson Wells and
inviting you to be with us at the Campbell Playhouse
again next Sunday evening, when we represent John Goldsworthy's delightful
comedy Escape with that comming motion picture personality, Wendy Berry.
Remember Campbell Playhouse next Sunday evening.
Speaker 4 (52:20):
Meanwhile, if you've enjoyed tonight's presentation, won't you take your
grocery so tomorrow when you order Campbell's chicken soup. This
is Ernest Chapple.
Speaker 2 (52:27):
Saying thank you and good night.
Speaker 4 (52:30):
That's days for Columbia Broadcasting.
Speaker 8 (52:32):
Sisty Hudson River Radio dot com,
This is using Little Radio dot Com.
Speaker 2 (00:19):
From Hamball boot Bred like Campbell play House on the West.
Speaker 3 (00:24):
Little Good Evening, missus Arson Worlds.
Speaker 4 (00:43):
Tonight we bring you adventure and romance from the Motion
Pictures and from Motion Pictures one of its newest and
most colorful personalities. That's Paul It Got It and the
(01:03):
story Algiers, which I've adapted from the water Wanger production
based on the thrilling French story by Detective of Shelby.
The setting the native court are known as the Kasa.
I read your description of the Kaspa last week. It
belongs in tonight'script. Again, take my word for it as authentic, because,
believe it or not, your humble servant has lived in
(01:25):
the Casper like Shanghai and Marseille, Portside and Singapore and
Chifu and Micaio and all the rest of the wild and.
Speaker 3 (01:34):
Wicked cities of the world where.
Speaker 4 (01:36):
Anything can happen and everything does. The Causa is just
as remarkable as the sound of the word which is
its name, a casta. Look there before us is Algiers,
a modern city, and then suddenly behind that you're in
the Cospa. And from the modern city of the Cosmo's
(01:58):
oni a step that ladies and gentlemen, when you take
that step, you enter another world, a melting pot for
all the sins of the earth. Forty thousand inhabitants from
all over the world, Cattles, Chinese Chicos, flaths far from home,
and Maltese Negroes from every corner of Africa, and Spaniards
(02:19):
hot flooded and quick to hate. And women, women of
every age and every shape, women caught in.
Speaker 5 (02:27):
The net of the Chasma a Kisma, which rises like
a fortress from the sea, colorful, sordid and dangerous.
Speaker 4 (02:41):
There isn't just one cosma. There are a hundred across
and in that labyrinth that the Lamocho is at home,
and he has faced there as long as he stays,
(03:11):
and before the Kasser, before our gears and Tepulamocho, ernest chapel,
thank you Argon.
Speaker 2 (03:18):
Well, you know, I wonder if every one of us
doesn't know some small, tucked away eating place to which
the world has made a beaten past because of a
special dish served there.
Speaker 4 (03:27):
I'm thinking of a small restaurant I happen.
Speaker 2 (03:29):
To know about in Upstate New York. It's miles away
from any cities, and yet no fewer than five presidents
have stopped there to enjoy its specialty. And that specialty
is chicken. Chicken of an almost fabulous tenderness. Indeed, chicken
has probably made the reputation of more restaurants than any
other single dish, and for a.
Speaker 4 (03:47):
Very simple reason, we in this country.
Speaker 2 (03:50):
Do have a deep liking for chicken, don't you agree?
Speaker 4 (03:54):
Now? I think that liking for chicken must account for
the ever.
Speaker 2 (03:57):
Growing popularity of Campbell's Chicken soup. Certainly, anyone who likes
chicken must like this chicken soup, because Campbell's Chicken Soup
is chicken through and through.
Speaker 4 (04:07):
You'll taste chicken with.
Speaker 2 (04:08):
Your first sip and enjoy the rich chicken flavor of
the broth to the last golden drop is gone. The
fluffy white rice, too, is sweeps and chicken flavor, and
you'll discover further treasures of.
Speaker 4 (04:19):
Good eating in the pieces of melting.
Speaker 2 (04:21):
Tender chicken meat that Camble's abbed. I do hope you'll
try this homey, old time soup, and that.
Speaker 4 (04:26):
You'll try it soon, because just as sure.
Speaker 2 (04:29):
As you like chicken, you like Campbell's chicken soup. And
now arthen Well's in Algiers with our guests. Ms Poullet Goddard.
Speaker 6 (04:59):
Why you s on, Debbie Harp and this on civilized
hole when we might be in Monte Carlo tomorrow meeting
the right kind of people that I don't take it.
Speaker 7 (05:05):
I don't insist on anything. We'll do whatever you say, well, Debbie,
which is it?
Speaker 6 (05:08):
Could be? Richard, I really don't care. Pick up your mind,
my dear.
Speaker 4 (05:11):
Do we land in Algaier or do.
Speaker 6 (05:12):
We go on to the river?
Speaker 7 (05:13):
Reach it an say it doesn't matter.
Speaker 4 (05:15):
Do we land in Algiers or do we go on
to the Riviera.
Speaker 6 (05:17):
I told you what I'd like to do. I'd like
to see our dear.
Speaker 4 (05:28):
Yeah, I'm hear that.
Speaker 6 (05:29):
The party on the tender to lasting to you because
he's a prefect the police this way, sir says you
got something, all right?
Speaker 8 (05:35):
Then having your own way.
Speaker 6 (05:37):
We don't get off of that here, Richard, I really don't.
Speaker 4 (05:39):
Let's not talk about this here. We're getting off in
our Giers.
Speaker 9 (05:48):
I say that's right, and don't remat yourself.
Speaker 6 (05:50):
My name is Rubin, Prefect the police of the Territory
of Algaier.
Speaker 4 (05:53):
That an insurance if you know what I'm him. We
are very happy.
Speaker 6 (05:55):
Condition of my appreciate to night now that you will
be able to observe for yourself. Our local conditional condition
got to do with this. He is a crooker's exploits
that made him famous on both sides of the Atlasic
who kay for me off for two years ago with
a portune in jew But look in the United States,
we have heard of cases every day of the week.
It's too bad, Commissioners, that you didn't arrest him before
we left the United States.
Speaker 4 (06:13):
Who is now?
Speaker 6 (06:13):
He's been hiding here and half a mile from your
police station. What I am explaining, Commissioner.
Speaker 4 (06:17):
Inspected to name?
Speaker 6 (06:19):
He is one of our most experienced men the casta.
Just teletraate, how's f's there a kasta? And sir is
the present home? That's happen in Moco, That's what he
is called in the Kasta.
Speaker 4 (06:29):
What's been American to find him?
Speaker 6 (06:30):
Find him?
Speaker 4 (06:31):
And sir?
Speaker 6 (06:32):
I see him every day. Sometimes I have the honor
of taking.
Speaker 4 (06:35):
Lunch with him.
Speaker 6 (06:35):
Weren't sometimes dinner?
Speaker 4 (06:37):
You're sure, Inspector, that you're not too lazy to arrest
this man.
Speaker 6 (06:40):
I am nearly a casto, which means looking after your
own skin. It is the only skin I have, inspect A, mon.
Speaker 4 (06:45):
I'd like you to put twenty minute my disposal.
Speaker 6 (06:47):
Well that's when you've got as you wish you mean
on it. You're propose to raid the casta.
Speaker 4 (06:50):
You think it can be done more? No, not at all.
Speaker 6 (06:52):
It can be done that easily, Commissioner, And you will
find it a more sinfructive experience.
Speaker 10 (07:00):
Must so, yes, Dollard.
Speaker 6 (07:22):
Third, this is it, couple, Inspector. After three hundred years
they stepped here had been worn uneven. This is the
paddle section.
Speaker 11 (07:40):
See those men, they are slaves brought up from the Sudan.
Speaker 6 (07:52):
But there to the left is the way to the
moory street. The speak of the Arab women play from the.
Speaker 4 (08:00):
Grand after if jay if jay At a thursdafter.
Speaker 11 (08:14):
Queen of disease, into the saw ally has the stolen
jewelry of Europe.
Speaker 6 (08:19):
Finds this way, the fatima is, the polls stay, and
the chick or mother tickers another cabaret.
Speaker 11 (08:33):
In this house, it is said that a murderer is
always paid for the ninth of the jolly.
Speaker 4 (08:40):
Oh.
Speaker 6 (08:40):
Look out for these that are gallatiner quick for their
knives with the American plil. You go out of that
place feet foremost if you'll stay after hours, kay, pay
they do. It's not full of Here is the archet,
(09:05):
and I had to inspector the highest point of the
taskin into here and lead many of the paris have
been made in quad. Now, inspector from the arcade. Would
you like to comment your what you call it police raide?
Speaker 4 (09:18):
Yeah? Sure, let's you go on, said very well, Inspector.
Speaker 6 (09:31):
All singles into the arcade, three the art or give
any of the other print your hobby. I told you, Jenny,
we shouldn't come here on the first place. A lot
of yelling, murdering heavy into the archaic. What the mot
this way?
Speaker 12 (09:45):
Please?
Speaker 8 (09:46):
What is it?
Speaker 6 (09:47):
What's going on? It's the police moments, the liting your hey,
come on, kebby into the archey come rush Kenvy call
me where you brother? What to thank your Kenny?
Speaker 4 (09:57):
Come back entire?
Speaker 6 (10:10):
Yeah, I say nay.
Speaker 11 (10:13):
I'm afraid I made a fool of myself that time
and happen to you.
Speaker 6 (10:16):
Allow me to introduce myself mademoiselle.
Speaker 4 (10:18):
The name is the name, so very honest servants, if you.
Speaker 6 (10:23):
Would be pleased to make yourself comfortable in here, as
comfortable as you can in the store house.
Speaker 4 (10:28):
Until the shooting is over, you will be quite safe,
thank you.
Speaker 6 (10:32):
Well, what is it? What's happening? Oh it is nothing.
Speaker 7 (10:35):
You call all this nothing or.
Speaker 6 (10:37):
You know how it is with the police, mademoiselle, they
like to keep everything in a state of uproar.
Speaker 9 (10:42):
Soon they will get.
Speaker 6 (10:43):
Tired of this, running like it's from door to door
looking for a man who.
Speaker 4 (10:46):
Is never there.
Speaker 7 (10:48):
All this excitement for one man.
Speaker 6 (10:49):
Yes, yes, memodall one man, but quite an unusual man.
Speaker 4 (10:54):
His name is Peppylamco.
Speaker 12 (10:56):
Pome waiting waiting where tepy them?
Speaker 7 (11:11):
We get cram tails, Teppy on the wet there at
cram tails.
Speaker 4 (11:14):
Hurry, just say truth one of our men and ground
tear receive a storing cheoling on front. Yes we know it.
Come on, Turnton, let's go.
Speaker 6 (11:42):
Well there you are pission and the place is empty
as usual, no evidence nothing. Now are you setting?
Speaker 4 (11:47):
I'm not.
Speaker 6 (11:47):
I won't be catisfied until I've broken down every door
and search of a house in the coush box. What's
that say? Take me strong over the whole thing?
Speaker 4 (11:54):
What are they waiting for?
Speaker 12 (11:55):
It?
Speaker 4 (11:55):
And after them?
Speaker 6 (11:56):
Quick?
Speaker 4 (11:56):
All the roofs if you see him chilling the shoes.
Speaker 6 (12:05):
I am sorry, Mademoiselle, all the shooting. It gives such
a very unfortunate impression of our city. Besides, it is
such a way Swain. Of course, happy Moco will not
be captured if your natives will be shocked and one
or two improvedent firsts like yourself, Mademoiselle is I had
not been there to see to your sastic I don't believe.
(12:26):
I han't you. Oh she leave me, Mammoiselle, is a pleasure.
I only regret the inconveniency anxiety of your friends. Well
how long do you think you have to keep me
here in sation?
Speaker 4 (12:36):
Well not long, Mamaiselle. It will soon be over all
this touch typty.
Speaker 11 (12:40):
And you don't think I'll get him.
Speaker 6 (12:41):
He is very capful.
Speaker 4 (12:43):
The police have been after him for two years now.
Speaker 11 (12:45):
The police that you have a stupid and within.
Speaker 4 (12:48):
Sight of the police.
Speaker 6 (12:49):
I consider that a triumph of understatements.
Speaker 4 (12:52):
You're one of them. I have that Thutfulana.
Speaker 6 (12:55):
Well, how do you do it? Keeping a Moco or
whatever you call him?
Speaker 4 (12:59):
Bad so so nice a man?
Speaker 6 (13:07):
What aut that? Oh?
Speaker 4 (13:14):
So they shoot you in? Yes, they did it.
Speaker 6 (13:17):
Permits me to hope, which is nothing suitious.
Speaker 4 (13:20):
Thanks to the scratch for the elbow.
Speaker 11 (13:23):
It's leading not much. Yeah, let me help you.
Speaker 13 (13:26):
Thanks, it's nothing.
Speaker 11 (13:27):
I thank you, yes, yes, not very big. I'm sorry.
Speaker 4 (13:32):
Say you're an American and you're very beautiful, aren't you sell?
Speaker 13 (13:39):
That's fair? What bracelen?
Speaker 4 (13:42):
Yeah?
Speaker 11 (13:42):
How did that feel?
Speaker 4 (13:44):
Thanks? Expect that when I an jue chasing a fuck.
Speaker 6 (13:47):
It's put the chilly perform us. I've referred to use
my brain.
Speaker 4 (13:50):
Well yeah, friends said a little better than I. At
least they found me. That's pretty good for them.
Speaker 6 (13:54):
We say it sip in the right direction.
Speaker 4 (13:57):
Excuse me, man, we talked shop the inspects of me.
The hambit of eye cigarette.
Speaker 13 (14:03):
Please sorry, I can't reach it.
Speaker 4 (14:05):
Can help you in this side pocket here?
Speaker 11 (14:08):
You are nice?
Speaker 8 (14:10):
Please? Thanks?
Speaker 4 (14:15):
You know inspect that if you're kind of shared for
US police and the yours and never get me this way.
Speaker 6 (14:19):
I've tried to point that out to them.
Speaker 4 (14:22):
Once the inspector and I agree.
Speaker 6 (14:24):
I must explain mademoiselle that in the end, I am
the one who will get PEPTI.
Speaker 13 (14:28):
Yeah, I can hardly work.
Speaker 6 (14:30):
And not only Petty but all his friends Jimmy told
me Grontaire all of them.
Speaker 4 (14:37):
And when you do put us in the zoo, you'll
flatter yourself. You mean, you won't show me the cave?
Speaker 6 (14:41):
What's for? You're important now because you're free. Well, once
they are in hind bars, people will forget all about you.
Speaker 4 (14:47):
Just seems he's a very funny guy. And my friend
Inspected the main looks okay, but he's a little mixed up.
He thinks he can arrest me.
Speaker 6 (14:53):
That's exactly what I'm going to do for you, I
tell you.
Speaker 4 (14:58):
The funny guy always good bro. Yeah. One thing I
like about Inspect is Lemaine, what his faith. It's perfect
for his job to look that crooked. It's almost like
being honest. I am honored at my appearance. Please you
know they'll mention it.
Speaker 11 (15:10):
Wait listen, I don't hear anything.
Speaker 4 (15:12):
That's just shooting stuff. If they give nothing, Inspect the
poor fellows they give up so easily.
Speaker 13 (15:19):
Yea, I'll be on my way now.
Speaker 4 (15:20):
The boys will be worrying about me.
Speaker 14 (15:23):
You will have to excuse me.
Speaker 4 (15:25):
I do. Yeah, maybe I'll see against something. What's that happening?
Speaker 6 (15:33):
And don't forget I am the one who will get
you I won't forget go on so long. Ah.
Speaker 4 (15:46):
It's a shame, isn't it. What a man of the world,
an unusual intelligence.
Speaker 6 (15:52):
One hates to see him very so young ark oh,
twenty years in prison. It is the same thing put
me to so sure Inspector that he's going to say
that was a I have marked the date of his
arrest on the wall of my room, high up where
it reads black in the rays of the setting sun.
(16:18):
Take a table, Commissioner, Department of Coming Investigation, Washington, dum
happy to report Reade was carried out with nice offficiency.
Although we're now in this capture couple of Moco seriously
wounded Wallace tables reasonably his injuries may prove favor.
Speaker 4 (16:30):
Got that, yes, sir, all right, why.
Speaker 6 (16:32):
Don't you just declare him dead, Commissioner and be done
with it?
Speaker 9 (16:34):
Please?
Speaker 4 (16:34):
It's much a funny now then it is the last
thing I said.
Speaker 6 (16:38):
Without me repeat situation well in hand. Will take whatever
steps being advised, very exactly what I have been doing,
Commissioner for the past two years, and what I shall
continue to do. That from him and only one possible
way to capture Pepula Muso.
Speaker 4 (16:49):
I suppose you know I do, Commissioner, it is to
make him come out of.
Speaker 6 (16:53):
The cast part.
Speaker 4 (16:53):
You will suddenly conceive an idea. Inspect how that is
to be done.
Speaker 6 (16:56):
I think, perhaps to day, Commissioner, for the first time
in two years.
Speaker 4 (17:00):
I have an idea.
Speaker 6 (17:19):
I am very glad, Mademoiselle, you have done it the
honest to revisit the casbus. I assure you that in
the right company you will find it a most romantic and.
Speaker 4 (17:27):
Fascinating Say.
Speaker 6 (17:30):
Why hello, Pepe.
Speaker 4 (17:34):
We had some trouble finding you, Madmoiselle, and I I'm sorry.
They told us you were busy upstairs. Yeah, it's kind
of busy.
Speaker 8 (17:42):
Thanks a little drink?
Speaker 4 (17:44):
Yeah, sure, I am glad you're here, Saton.
Speaker 6 (17:47):
Mademoiselle was asking so many questions about you. Now you
can answer them for yourself.
Speaker 4 (17:52):
Why did you tell her inspector or what could I
tell her said this? Why afraid you'd be a little
upset at my past?
Speaker 6 (17:57):
No, she might be a little appalled your future. I
thought her you might get off.
Speaker 4 (18:05):
With twenty years. You wouldn't want me to get twenty years,
inspect you get too fond of me? Twenty years? Were
they good lawyers?
Speaker 6 (18:11):
What I told them, So if you'll excuse me, I
have already ex played about it that I won't belong.
I am sure you can at the same level.
Speaker 8 (18:21):
I am hopefully.
Speaker 4 (18:24):
Hey, good bye, inspector. Oh yea, I should take another
look at the wild animals not.
Speaker 11 (18:31):
So very wild?
Speaker 4 (18:33):
What do you think in my cage?
Speaker 6 (18:35):
I don't know yet?
Speaker 4 (18:38):
You are American?
Speaker 13 (18:39):
Answer?
Speaker 11 (18:39):
What do you think?
Speaker 4 (18:40):
What are you doing here? Made a streaming crew back out?
Speaker 7 (18:44):
Yes, I don't like chandling takes me homesick. If I
can't do the old when I wake up in the morning,
I don't want to go right back to sleep.
Speaker 12 (18:52):
Do you know New York?
Speaker 4 (18:53):
No?
Speaker 6 (18:53):
What I couldn't think of?
Speaker 4 (18:55):
First? Quick fourteenth Street, the battery, next night, the.
Speaker 8 (19:05):
Small Yeah, I.
Speaker 11 (19:11):
Like the long way from all that long way. It's
nice to talk about it.
Speaker 4 (19:20):
And you said, my friend inspected Flemaine to thanks for that?
Speaker 10 (19:23):
Yes?
Speaker 3 (19:24):
Was it his idea?
Speaker 4 (19:25):
And coming here again?
Speaker 11 (19:28):
So I dreamed that up.
Speaker 4 (19:29):
I'm surprised you let you come like that. What all
that stuff you have on and a heavy ice here
wearing the jewelry a little?
Speaker 13 (19:37):
What did youself?
Speaker 11 (19:39):
Not long with you?
Speaker 4 (19:42):
That's going to breaklest you goest isn't it? Yes?
Speaker 11 (19:47):
Holding the end had the way to sing about.
Speaker 4 (19:53):
And gran w I mean what I get for? Yeah?
But it's.
Speaker 11 (20:02):
You put it on for me, all right?
Speaker 8 (20:07):
Say Anne?
Speaker 11 (20:08):
Thanks?
Speaker 13 (20:10):
What's your name?
Speaker 4 (20:12):
That?
Speaker 11 (20:12):
Will they call me daddy?
Speaker 4 (20:15):
All right?
Speaker 2 (20:16):
No?
Speaker 14 (20:16):
Widow?
Speaker 6 (20:17):
No?
Speaker 13 (20:18):
Why not?
Speaker 8 (20:19):
Well you would?
Speaker 11 (20:21):
I see.
Speaker 4 (20:23):
Good?
Speaker 6 (20:24):
Richard did?
Speaker 4 (20:24):
Yeah?
Speaker 3 (20:25):
Stopping the hotel?
Speaker 4 (20:29):
What are you laughing at?
Speaker 6 (20:30):
Nothing?
Speaker 13 (20:32):
Too bad?
Speaker 6 (20:34):
Too bad?
Speaker 4 (20:34):
Too bad?
Speaker 3 (20:35):
I don't know you're better?
Speaker 4 (20:36):
Why because I slip your face when people laugh around me.
Speaker 13 (20:41):
I want to know why.
Speaker 3 (20:45):
Come on, let's get out of here.
Speaker 6 (20:47):
Up on the terrace, you see the harbor.
Speaker 4 (20:49):
From there you can see Staten Island in the palace
and the casino in the park.
Speaker 11 (20:55):
I love the casino or I kind I have to
go now.
Speaker 7 (20:58):
Richard will be wondering where I am.
Speaker 11 (21:01):
I'll come back when as soon as I sound.
Speaker 4 (21:05):
When tomorrow, I'm gonna be sure.
Speaker 6 (21:08):
Look at me.
Speaker 11 (21:09):
I'll never make a promise.
Speaker 4 (21:12):
Then do what for?
Speaker 11 (21:15):
He said?
Speaker 4 (21:15):
I asked him? Said three is.
Speaker 8 (21:18):
Th that's uh.
Speaker 3 (21:22):
Tomorrow, yes, cats.
Speaker 11 (21:28):
Tomorrow. I'm five.
Speaker 2 (21:59):
This is the gunlayhouse. You are listening to the Orson
Welles production of Algiers with our guests are ms Paul
at Goddard. This is the Columbia Broadcasting time.
Speaker 6 (22:27):
This is ernest Cape, ladies.
Speaker 2 (22:28):
And gentlemen, welcoming you back to the Campbell Playhouse. In
a moment, we shall resume our presentation of algiers. You know,
among the dishes in day to day eating, soup has
always been an important food with all peoples and in
all lands. Indeed, it said that in some countries the
broad custom decrees that the dowry of every.
Speaker 4 (22:46):
Bride shall include a soup kettle.
Speaker 2 (22:49):
Now, and I'm talking, of course, especially to the ladies.
Speaker 4 (22:52):
I dare say, a soup.
Speaker 2 (22:53):
Kettle is nuts among the things you brought to your husband,
was it? But if you happen to be making your
own soup less, then may I remind you that these days,
more and more good home cooks are letting Campbells tend
the soup kettle for them.
Speaker 4 (23:07):
These good home cooks, like.
Speaker 2 (23:08):
Yourself no soup, of course, and how.
Speaker 6 (23:11):
To make it.
Speaker 2 (23:12):
But more and more they have come to know also
what a needless boter it is when they can enjoy
the convenience and good eating of such fine soup as
Campbell's make.
Speaker 4 (23:21):
And so we are proud to make soup for them.
And we'd like to make soup for you too. Will
you try us out?
Speaker 2 (23:28):
Try anyone of the twenty one tempting times Campbell's Chicken Soup,
for instance, for its deep chicken flavor, or Campbell's Vegetable Soup,
a soup that's practically a meal in itself.
Speaker 4 (23:38):
If you do this, then compare it with your own critically,
I feel certain you let Campbell's tend the soup kettle.
Speaker 2 (23:44):
For you too from then on. Now we resume our
campbelayoffs presentation of Algiers with Polack Goddard produced by US.
Speaker 4 (23:52):
And Wells.
Speaker 6 (24:19):
Pretty Carible, Yes, Apartment of Criminal Investigation WATING and DC
Papamoco International.
Speaker 4 (24:24):
Jeweltie still at liberty local conditions in the costs bar
run the further attempts useless local condition You heard me, inspectors,
I mean in further attempts useless.
Speaker 6 (24:32):
Isn't that giving up rather easily commission is.
Speaker 4 (24:34):
Really what we're can I do? We've bred at the
cows bar. You wore me reduced with white houstless. You're right,
we've been poort an informer. You're buried in this morning
as the one of Peppi's men. You full fellow that
Pepulamco inhimself. Where is this twurther fun Captain than he
ever was there? I am happy to say you are
a mistaken Commissioner. What do you mean by that?
Speaker 6 (24:49):
I mean, Commissioner that within forty eight hours, unless my
plan is carried, I said, deliver him into your hands.
Speaker 4 (24:55):
This Pepulamco. Hoo it up Earth, you're talking tom, I said,
commission uh.
Speaker 6 (25:00):
That I had a plan inspect the Flamine wore parting
on the case of Pepela Mink on Monday po PM.
I said, forty eight hours already four hours have gone
by my time proceeds. I have an appointment at sticks
at the Hotel Arlette with mister Richard Dead.
Speaker 9 (25:29):
Inspector Lemain this for there, if you put spare me
just a few.
Speaker 6 (25:32):
Minutes of your time, why court sector once a gown
or I must say, I'm not accustoms went to dreaming,
I say, mister there I who would listen to me
a moment too?
Speaker 4 (25:41):
We'll see. What's what I have to say?
Speaker 6 (25:42):
Is that a lot of delicate and settle It concerns
Memoiselle your fiance or is Madmoiselle at home?
Speaker 8 (25:51):
Now?
Speaker 4 (25:51):
When I know the matter of facts us. She went
out for a walk, for.
Speaker 6 (25:54):
It walked exactly. Have you any idea of where Madmoiselle
goes walking, mister Ben, What do you mean by that?
Only is this? I am afraid that her brief stay
among ust, Mademoiselle has become this is too fond of
the shall we say, the local color of the Paspa.
I still don't know what you mean. Tasba is our
native quarter, mister Bed. It is hardly the place for
(26:16):
a woman alone. Yet Mademoiselle, your fiancee, has been seen
there almost every afternoon.
Speaker 4 (26:22):
I don't believe.
Speaker 6 (26:23):
There can be no doubt of it, mister Bed. There
are even rumors that she and a man who is
wanted by the police. Hearing these rumors may be unfound
of the prose, mister Bed, But it would be wiser, perhaps,
if between now and the time you sail, Mademoiselle did.
Speaker 4 (26:37):
Not return to the Paspa. Of course, she won't inspector
you can take my word for it, she won't gay. Yeah, yeah,
(27:23):
they don't know yet it might.
Speaker 13 (27:26):
Yeah, I'm beautiful getting that's easy to say.
Speaker 4 (27:32):
Maybe somebody told you what I'm telling is difference. I
don't know for me, your more than man. For two
years I've been lost, like walking around in my sleep
and sudday I wake up in the other ear and
I I don't know how I went on all that
time waiting for you, not knowing it. What did you know? What?
Speaker 8 (27:54):
Job?
Speaker 4 (27:55):
At me?
Speaker 14 (27:56):
New York, the whole town, that's you, you lovely sensationally.
Speaker 4 (28:04):
You know what you remind me of?
Speaker 13 (28:07):
The subway?
Speaker 4 (28:08):
Yes, shut your eyes listen, you can hear it.
Speaker 11 (28:13):
I help to do it.
Speaker 3 (28:14):
Go like a subway train.
Speaker 6 (28:16):
Huh.
Speaker 4 (28:17):
They're all silk and your jingle when you walk, and
with all that stuff you make.
Speaker 8 (28:21):
Me think of it the subway.
Speaker 4 (28:24):
It's funny isness and Lindy's at five in the morning.
Speaker 14 (28:30):
Hm, New York?
Speaker 4 (28:32):
At you? What'd you do before?
Speaker 14 (28:36):
Before, before those, before the diamonds?
Speaker 6 (28:41):
I wanted them?
Speaker 13 (28:43):
What are you want now?
Speaker 4 (28:46):
Suppose you don't come to mind?
Speaker 11 (28:48):
Suppose I don't. Can you ever get it?
Speaker 4 (28:50):
Make any difference? Well?
Speaker 7 (28:51):
Can't you?
Speaker 11 (28:52):
Is it true that I don't say? You said?
Speaker 4 (28:54):
Yes, it's it's true. And I'm I'm caught here. I
got there and a whole dog's barking. Guns are no
way out of it. Do you like that. No, well,
maybe it's lucky for you.
Speaker 6 (29:07):
I don't like it. You're right, you don't come back.
Speaker 13 (29:12):
I might do anything, might come down to the hotel.
Speaker 4 (29:15):
And get you.
Speaker 11 (29:16):
I'll come back again tomorrow, thank you.
Speaker 13 (29:19):
Tomorrow for sure, m for sure, it's no good. Tomorrow's five,
I got it.
Speaker 8 (29:31):
Take the young.
Speaker 4 (29:32):
Lady's the hotel Oromerengo.
Speaker 11 (29:36):
Tomorrow at five.
Speaker 13 (29:38):
Yeah, yeah, tomorrow at five.
Speaker 6 (30:09):
Inspector Snaine reporting in the case of Pepperamoco Tuesday, six pm.
I gave myself forty eight hours in which to deliver
him up. Thirty hours have run by it yesterday again,
as I thought they were together when I was down
at the hotel with there she was with him in
the tasbar. Theil fauna arvey who conducted her back to
the hotel tells me she has to meet him again
today at five. So my plan is working. Thebate has taken.
(30:32):
Now for the fish to be hooked, the.
Speaker 4 (30:35):
Date must be just away.
Speaker 7 (30:40):
I mean, satd I'm just putting on my head. Look
that way, where are you going to walk?
Speaker 4 (30:49):
Walk?
Speaker 6 (30:49):
Where? In the same to pa, should you give me
a sensible answer?
Speaker 7 (30:52):
Well, then asked me a sensible question, where could I go?
Speaker 6 (30:55):
I don't know anyone in our years.
Speaker 11 (30:56):
I just walked, stay ahead.
Speaker 4 (30:58):
And where does that take you? Every afternoon, this.
Speaker 6 (31:01):
Hotel of your scores me.
Speaker 11 (31:02):
The hitwaiter looks like an undertake, and every.
Speaker 6 (31:04):
Time I set into this apartment it looks more.
Speaker 11 (31:06):
Like a funeral parlor.
Speaker 10 (31:07):
Good I, Richard, I.
Speaker 4 (31:09):
Know where you're going. Oh you're going up to the car,
and I know where you go. You go to meet.
Speaker 11 (31:16):
And now you're spying on you're going. You don't make
it a very pleasant tosspect.
Speaker 6 (31:21):
I'm not what's going to want you to behave this way.
Speaker 11 (31:24):
I'm glad you told me what the that thing? We
might as well be on the spicy. Why do you
think I'm marrying you? Look at yourself, then look at me.
I've never lied to you.
Speaker 7 (31:35):
You knew I didn't love you, and I said I'd
marry you, and you thought it was all right.
Speaker 12 (31:38):
So and you'll we're married.
Speaker 2 (31:39):
I'll do as I.
Speaker 4 (31:40):
Please, Yebbie, I forbid you to go.
Speaker 11 (31:43):
You're wasting your time.
Speaker 4 (31:46):
And you can come back.
Speaker 6 (31:48):
You've started out pretty carefully, haven't you.
Speaker 4 (31:51):
I advise you to do the thing I haveb Oh, Richard, Okay,
leased your mind.
Speaker 11 (32:01):
Yes, I just remember if I'm not coming back.
Speaker 7 (32:04):
These the bracelet in the rings, they belong to you,
don't they here.
Speaker 6 (32:12):
Directly? I'm afraid not, Mademoiselle, what he's talking about. I
(32:36):
was hoping I would not have to tell you you're
cannot talk to the Mademoiselle really inspected.
Speaker 7 (32:43):
Will you please get out of my way?
Speaker 6 (32:44):
No, fiancee was trying to spell you, Mademoiselle. He didn't
want to tell you the truth that I have told
it to him. But you mean the truth about what
and the tense was made to capture Pepula Moco in
the chasma this afternoon, Mademoiselle.
Speaker 4 (32:58):
In a sense it was the festival.
Speaker 6 (33:01):
He is taken, not alive.
Speaker 4 (33:04):
He was killed.
Speaker 6 (33:16):
Inspect of Saname reporting on the case of Peplamoco Wednesday,
ten am, only two hours a name out of.
Speaker 4 (33:21):
The forty eighth.
Speaker 6 (33:22):
If my tan works before noon today, tap Amoco will come.
Speaker 4 (33:25):
Down out of the chasma. If not, I shall have
wasted two years until then.
Speaker 6 (33:30):
There is nothing for me to do.
Speaker 4 (33:32):
Nothing to do but wait while he makes his choice.
If he stays, he's safe.
Speaker 6 (33:37):
If he comes out, he faces sudden capture in prison
or death. It is my Catholic considered opinion that he
will come out, see Pepe.
Speaker 3 (34:09):
Yes, yes, nice lady.
Speaker 6 (34:13):
How much longer you're going to wait? Pete? Why don't
you come home? You've been hearing the cafe all night?
Speaker 9 (34:19):
Well, see what are you waiting for?
Speaker 6 (34:23):
She's not coming back, that American girl?
Speaker 4 (34:25):
Leave me alone, she's rights.
Speaker 6 (34:27):
Why do you fool yourself waiting years?
Speaker 4 (34:29):
She's not going back. Why don't mind your own business?
Has anybody seen Abby around?
Speaker 10 (34:33):
Aby?
Speaker 7 (34:34):
Why Pepe sent him with a letter down to town
last night to the hotel?
Speaker 6 (34:38):
A letty never write letters to me alone? Yes, why
don't you come?
Speaker 4 (34:45):
Will you leave me alone and stop telling me what
to do? Yes, Petty to show.
Speaker 10 (34:57):
Up?
Speaker 9 (35:00):
Ah fu sheh and shine un.
Speaker 4 (35:06):
It's a matter.
Speaker 6 (35:06):
I can't keep those get.
Speaker 9 (35:08):
Kill out, yell out m hm sif you all right.
Speaker 8 (35:22):
Right?
Speaker 4 (35:23):
I know that they are you feel I.
Speaker 11 (35:25):
Feel it too, sometimes, child, give me to stick yell
that cuts bars.
Speaker 6 (35:29):
Like you need not to be able to go down
into the song.
Speaker 4 (35:32):
Ever, nothing's going to say good bye to a year.
Speaker 7 (35:36):
When you go up the bag, you'll go quafty feet
first away they all go h and they'll take up
the stick there and let you find when your time
comes up different.
Speaker 4 (35:46):
No, they won't. I don't have to stay here. You understand.
I can go any time I want.
Speaker 6 (35:50):
Yes, I can.
Speaker 4 (35:50):
I'll go, and I feel I can't. I'm free. Put
your hair at you and that's new cross hair free.
I can go any time I want, any time, Pippy Hobby.
Speaker 6 (36:00):
Yes, said it's me. I'll be herby. I'm decking her.
Speaker 4 (36:04):
Well, you see her? Should they be?
Speaker 6 (36:07):
I thought her? Why just take old night hippie. I
couldn't help it. I waited he wait to go night
till this morning.
Speaker 4 (36:12):
I couldn't get through you my letter.
Speaker 6 (36:14):
Yes, Papy, I give it to her just now to
get an answer.
Speaker 4 (36:16):
Did you get a answer?
Speaker 9 (36:18):
She wasn't to right, but she couldn't.
Speaker 4 (36:19):
She's been closely what close if?
Speaker 6 (36:21):
But she expects you this morning. You can get down
without anywhere. Go to the deck of the hotel.
Speaker 4 (36:26):
She'll be watching from the windows. Is that all? Well?
Speaker 6 (36:29):
If she wanted to come up but she didn't get
your way, go on. She's waiting for me to bring
the answer.
Speaker 4 (36:34):
Pity, what's your lead teller? She's waiting for her. Yeah,
I'll take the answer. She's expected don't worry. Don't worry.
The boys don't take care of you. Do I get back,
don't worry. It's like they took care of Regis if
he lives a nice looking god would wait?
Speaker 13 (36:54):
Hobby?
Speaker 4 (36:55):
Yes, one thing I don't get you said, Gabby couldn't
write because she was watched. Yes, but in a little
while she'd be able to see me. He God, that's funny.
Speaker 6 (37:08):
He's going to be away to see.
Speaker 4 (37:10):
On Sae, I say, And why didn't she write me?
Speaker 12 (37:14):
He was there?
Speaker 6 (37:15):
How could he talk to you? Because because you're.
Speaker 4 (37:18):
All mixed up For a woman who's watched, it's funny
the way she can do things, very funny, I laughed.
All I wanted come here, Robbie, come on, come on, Hobby.
I gave you a letter. You went into town with it.
(37:40):
Then what happened? What happened? Nothing? Must I kill you
to make it work? Hold on? I think, well instead
of flippin, it was his bland. It made me do it.
Speaker 6 (37:54):
Do you ask me?
Speaker 8 (37:55):
Last night to me yes, go on?
Speaker 6 (37:57):
And this morning when he left me, he told me
to go go on. You mean you would come down
and the whos around to the waiting. Did you see
us no, why did you come up yesterday?
Speaker 4 (38:08):
It means he totally could be kill killed.
Speaker 6 (38:10):
Yes, that's what she thinks. That's what he told you
that you had been on.
Speaker 9 (38:14):
She's feeling she's leaving you.
Speaker 4 (38:16):
Jesus he was goodly to see. Well, I said I
could go, and I felt like it. Didn't I have
Huh I said I could go. I felt like it. Well,
I feel like it right now?
Speaker 9 (38:27):
May not about off?
Speaker 4 (38:32):
Care out of my way?
Speaker 9 (38:33):
What's going said that you can't leave me?
Speaker 6 (38:35):
What did I do stet out of.
Speaker 4 (38:36):
My way with such a fault?
Speaker 6 (38:38):
Just let you you'll begin my life.
Speaker 9 (38:41):
That dies for me.
Speaker 10 (38:42):
Don't time?
Speaker 8 (38:43):
Lets you.
Speaker 4 (40:02):
Hello?
Speaker 6 (40:09):
Hello, Commissioner Heller. This is Inspector surname, Inspector torename.
Speaker 4 (40:16):
Listen listen.
Speaker 6 (40:17):
Commissioner Sepamco is coming out. Inspector Fremaine reporting on the
case of Tapamoco. Wednesday, twelve seventeen, The case of Pepco
is closed.
Speaker 4 (40:36):
The hunt is angered today. A few minutes afternoon, papla
Moco escape.
Speaker 6 (40:55):
How he came in the first place to break through
the police cardan with which they has.
Speaker 4 (40:59):
Bowers around it.
Speaker 6 (41:01):
Easy thing.
Speaker 4 (41:01):
I shall never understand. No one but petty could have
done it.
Speaker 6 (41:06):
At twenty minutes to twelve.
Speaker 11 (41:07):
We got word that he was out.
Speaker 6 (41:09):
Soon after that he was seen entering a cab. A
few minutes later, he was reported leaving a travel agency
on the Boulevardla Victoire, headed for the harbor, presumably for
the Empress's cabin On till the duck, he was saying
in that crowd, there is a little chance of a
man being started. However intensive to search, and with the
corns around the cat by the Hotel a Letti, the
(41:32):
police if the duck was shorthanded this morning. Understand these
areough excuses. He's a fact that helped to explain what
happened next.
Speaker 10 (41:47):
You cannot get because.
Speaker 6 (41:51):
Take it, take it to the path. It was also
essential to understand exactly what the arrangements are for.
Speaker 4 (41:58):
Passengers for the big steamers.
Speaker 6 (42:00):
In the part about years at the end of the dark,
there is an iron gate with an opening in it
about two meters wide. Here in this opening stands the
ticket desk, and beyond it the turn style through which
everyone wishing to board the steamer has to pass. After that,
there is nothing more.
Speaker 9 (42:18):
You'll go through the turnstiles.
Speaker 6 (42:20):
Split up the gang plank into the ship friendly turn style.
Across the dock to the end of the gang plank
is a distance of about six meters in the clear
A man walking very fast and cross it in less
than two seconds. Way way, So you take it, please
(42:41):
all take it for the least this waifter ticket.
Speaker 4 (42:43):
Please can't you take about a later Yeah? Well then
a later level first flat to New York cabin one
and sixty eight. Here you are, here's a voucher buffer.
Speaker 6 (42:54):
Please m ever we can to rease. But they said
the premiere class around on New York the bar.
Speaker 9 (43:00):
Okay, thats why.
Speaker 4 (43:01):
Thanks for the tun dog guys, mind showing up in
a minute? You along next place your wife pet ball.
But I'm up, Peppy, up to Steve Peppy. We meet
at the appointed hour. Tell the toot, Steppy, I am
(43:27):
I almost miss the appointment a second.
Speaker 2 (43:30):
Let's go keep him up.
Speaker 4 (43:31):
Watch the head the mine. Yeah, mine, get stepping on
that thing? Oh? Does he? I keep moving one minute
the second?
Speaker 8 (43:45):
Or is it teppy for mine?
Speaker 14 (43:49):
Let me stand at the end of the dark for
a minute by the game fill the boat sails.
Speaker 13 (43:54):
Not much to ask. I can't get away.
Speaker 4 (44:00):
I want to see you, so you I like to
be generous to you, Seppy. I'm asking for one minute.
A minute is nothing, Yes, it is everything, all right?
Let him go, But I warn you, but he didn't
have my case. Com listener. I said, let him go.
Speaker 13 (44:16):
Thanks, Wamaene.
Speaker 6 (44:29):
Didn't happening thing which is as hard to describe any reports.
Speaker 4 (44:32):
Such as this.
Speaker 6 (44:34):
Heppy went to the end of the duck.
Speaker 4 (44:36):
They had him covered.
Speaker 6 (44:38):
It was just twelve and the gate that the desk
was closed and the gang plank was up.
Speaker 4 (44:43):
The ship was beginning to move heavy, went forward slowly
as far as the iron gates. Then he stopped and
stood there.
Speaker 6 (44:51):
With his hands on the bars and his eyes on
the decks above him, moving slowly away, and the ship's
railing line with the people the ship was out passed
it up, already moving out the scene.
Speaker 4 (45:04):
At that distance it is hard to distinguish.
Speaker 6 (45:07):
There was a curl at the railing looking down at
the dock.
Speaker 4 (45:12):
Peppy must have seen her tool. Perhaps he saw her
more clearly than we did. He started to run forward.
Speaker 9 (45:20):
Today a minute, don't you.
Speaker 4 (45:34):
Fool? Why did you have to do that? Hi?
Speaker 6 (45:44):
I am sorry, Pappy. They shot before I could stop him.
They thought you were going to escape.
Speaker 8 (45:54):
Escape, Yes me, escape, I don't know. I haven't spected,
so I have.
Speaker 2 (47:00):
This concludes our Campbell playoff's presentation of Algiers, as adapted
in produced.
Speaker 4 (47:04):
By Arson Wells. In just a moment, mister Wells will.
Speaker 2 (47:06):
Return to the microphone with Paulett Goddard, our guests of evening.
May I remind you, ladies and gentlemen, of the five
minute news commentary which may be heard over most of
these stations immediately following the close of this program. Because
I know how fond of chicken nearly all of us are,
I'd like to extend an invitation and also make a promise.
(47:28):
I want to invite you, if you haven't already done so,
to try Campbell's chicken soup. You see, as Campbells make
their chicken soup, every drapp holes the deep flavor of
rich chickens into the making of the broth.
Speaker 6 (47:39):
Goes not some, but all.
Speaker 2 (47:40):
The choice meat is carefully selected chickens, and in the
best tradition of all good home cooks, the broth is
slow simmered. TI leave in the snowy rice that Campbell's
ad for hearty, satisfying substance has captured the full chicken flavor,
tempting pieces of tend to chicken meat complete the good
eating in this truly old fashioned chicken soup. Won't you
enjoy it soon tomorrow night? Perhaps wooden, fragrant plates of
(48:04):
Temble's chicken soup add to the enjoyment of your dinner.
Now that's my invitation man. In extending it, I want
to make the promise I spoke of. And that promise
is this, Just as sure as you like chickens, you
like Tempble's chicken soup. And now here is aut and LOLd.
Speaker 4 (48:28):
When the world is without, it's Mary Anderson's, it's Nell Gwynn's,
it's Macteen Elliott. When there are no more greatly beautiful
ladies in the theater professions, we'd better climb right back
up into the trees, because on that dark day, the
pleasant graces of our civilization will be no more. In
the West will have declined. Indeed, but be of good cheer,
deal listener, Barbarism is not yet upon us. We are
(48:50):
living in the age of Paulette Gardage Miscarda who just
played Gabby Algiers, is waiting at the microphone to be
interduce to you. Before the ensuing formalities. I cannot refrain
from mentioning that she is exactly why television is inevitable
and positively everything the camera has led you to believe
more Excuse me, Miss Goddard is indicating by subtle gestures
the clenched fist, for example, the bed though pearly teeth,
(49:13):
the flashing eye, and all the rest of it, including
that fast right leg which is just one for in
the new motion picture The Women, the uncontested title of
the Hollywood Bomber, implying by these and other delicate indications
of a becoming named stunning modesty, that she Paul Hat
Goddard would like to be presented without the adjectives, and
would like it if I didn't go on and on
and on and on. I won't, but I'd like to
(49:35):
ladies and gentlemen, miss Paul Hatt God good.
Speaker 7 (49:37):
Evening, and thanks sousin for being so nice to me.
An appearance on the Campbell Playhouse is an old ambiious mine.
Speaker 11 (49:43):
It's been a real thrill to fulfillip you.
Speaker 4 (49:45):
Know, Pullet, I wish you could tell us about your
new picture is going to be one of the great pictures.
We're all horribly certain of that, But Ladies and Gentlemen,
for several reasons, every one of which it's self evident,
its character and its story must remain until it's completion,
something of a secret Pleathfullet you can tell us.
Speaker 6 (49:58):
The title I wish I could right now.
Speaker 11 (50:00):
It's called Production number six.
Speaker 4 (50:02):
Well tell us just this much more. What part are
you playing for it?
Speaker 6 (50:06):
Well, there's a big jump from what I'm doing in
the Dictator to Gabby and ALGIEZ.
Speaker 11 (50:11):
I'm playing a household judge.
Speaker 4 (50:13):
And the picture Ladies and Gentlemen, who probably gets is
Charles Chaplin's latest to spend before the cameras about four
weeks now, and it's expected to take at least another
five months. Philett, would you tell will you be all
that time before the camera?
Speaker 11 (50:25):
No, A great many of my scenes are being shoped now,
so I'll be free for.
Speaker 4 (50:28):
Other pictures, every one of which we're looking forward to.
As a matter of fact, the Production number six, let
me tell you, Ladies and Gentlemen, I spent three of
the really breathless and magical hours of my lifetime not
so many weeks ago. It was just before Production number
six went into production, when charl Chaplin himself described some
of the scenes to me. Let me tell you that
hearing some of it from his own lips, exposure to
his own radiant enthusiasm as an experience at once priceless
(50:51):
and indescribable. You don't know it. Pett even did some
of your scenes to me, And although it sounds silly,
he was wonderful.
Speaker 6 (50:57):
I'm sure of it.
Speaker 4 (50:58):
I only hope that I won't disp you won't pull it.
Excuse me and believe me, he only quitted my appetite.
And now for let god it, Thanks for coming, Thanks
for your performance in Algiers, and please visit it soon
again at the Campbell playoffs. Now, ladies and gentlemen, ask
the next week, let me ask you to do this.
Put yourself in the position of mister Matt Dennis. You
(51:19):
haven't been pretending to be fishing for trout, but you
haven't any baits. As a matter of fact, you haven't
any trousers, and you hope it won't be necessary for
you to stand up. Eventually, however, you will have to,
and you have to run as fat as your undressed
legs can carry you, because you're wanted for murder. As
a matter of fact, I don't wish you the luck
of Captain Matt Dennant, who was the hero of next
week's broadcast, but I think you'll sympathize with and through
(51:41):
out and be interested in the remarkable events which followers
escape from sing sing. The story is John Goldsworthy's notable
comedy Escapes. I think I mentioned Wendy Berry, and I
hope you remember next Sunday night at the same time.
Until then, until escape, my sponsors, the makers of Campbell Soups,
and all of us in the Campbell Playoffs remain as
always obediently.
Speaker 2 (52:00):
Yours make it the Tembull ships join Arson Wells and
inviting you to be with us at the Campbell Playhouse
again next Sunday evening, when we represent John Goldsworthy's delightful
comedy Escape with that comming motion picture personality, Wendy Berry.
Remember Campbell Playhouse next Sunday evening.
Speaker 4 (52:20):
Meanwhile, if you've enjoyed tonight's presentation, won't you take your
grocery so tomorrow when you order Campbell's chicken soup. This
is Ernest Chapple.
Speaker 2 (52:27):
Saying thank you and good night.
Speaker 4 (52:30):
That's days for Columbia Broadcasting.
Speaker 8 (52:32):
Sisty Hudson River Radio dot com,
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