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The fifth episode of The Campbell Playhouse, titled “I Lost My Girlish Laughter,” is a radio adaptation of the novel by Jane Allen. This episode originally aired on January 27, 1939, and features Orson Welles in a prominent role.

The Campbell Playhouse was a radio drama series that aired on CBS from 1938 to 1941. Here's a breakdown of what made it interesting:

Star Power: It was directed by and starred the legendary Orson Welles, known for his innovative use of sound effects and captivating voice.

Classic Adaptations: During its first two seasons (1938-1940), the show focused on hour-long adaptations of classic plays, novels, and even some popular movies. Think "The Count of Monte Cristo" or "Rebecca" brought to life through radio.

Shifting Format: After Welles left, the show continued for a season with a shorter format (30 minutes) and a focus on lighter fare, often featuring Hollywood actors.

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

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/

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Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

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Transcript
00:00The
00:24makers of Campbell's Soups present the Campbell Playhouse. Orson Welles, producer.
00:47Good evening, this is Orson Welles. Hollywood is where the movies come from. And relevant
00:51to tonight's broadcast, nobody's had more fun poking fun at Hollywood than George Kaufman.
00:58I have reference not only to Mertner, the movies, and Once in a Lifetime, but also to
01:02the whole legend of things George Kaufman has said about the movies. I lost my girlish
01:08laughter at the name of tonight's broadcast, and it's the bestseller which it deserves
01:12to be. And tonight, besides Mr. Kaufman, other guests on the Campbell Playhouse are Ilka
01:18Chase, who has been very important in The Animal Kingdom, The Women, and a dozen other
01:22Broadway hits, and Tamara Javer, who is a graduate of Ziegfeld's Whoopi, Gordon's Three's
01:27a Crowd, Wyman's On Your Toes, and just last season, the extremely successful London production
01:32of Idiot's Delight. There's also Frank Reddick, Agnes Moorhead, Myron McCormick, Ray Collins,
01:38and finally, our author herself. But just now, I'd like you to hear a word from Ernest
01:44Chapel. Each Friday evening, since the new Campbell Playhouse broadcast began, I've been
01:52talking to you about Campbell's chicken soup. Tonight I want to tell you some things about
01:57the most popular soup in all the world, Campbell's tomato soup. Year by year, day in and day
02:02out, this one soup is served more often than any other. If you and I could sweep across
02:07the country looking in at dining room windows any noon or any night, we'd see again and
02:11again people drawing up their chairs to bright steaming plates of Campbell's tomato soup.
02:16These are facts. You can check them with your own grocer and among your friends. Why is
02:21this one soup so often eaten by so many people? One reason is that mothers like to serve it
02:26to their families, particularly their children, because it provides the nourishment of fresh,
02:30sun-ripened tomatoes. Then people are captivated by its inviting color and its delightful smoothness.
02:37But the reason most folks like to have it is its flavor. It's a magic flavor created
02:41by an exclusive recipe of superb, luscious tomatoes, fine table butter, and delicate
02:46seasoning. People say the flavor of Campbell's tomato soup cannot be matched, and indeed
02:51it has something about it that folks never tire of, that young and old enjoy again and
02:55again each time it's served, each spoonful they sip. Are you at your house enjoying Campbell's
03:01tomato soup often these days? And now for tonight's story. Orson Welles in his own radio
03:07arrangement of the bestseller, I Lost My Girlish Laughter, with Ilka Chase, Tamara Jeeva, and
03:13the distinguished American playwright, George Kaufman, making his debut on the air tonight
03:17as an actor.
03:18Good evening, Mr. Tussler.
03:19Thank you, Colt. Mr. Tussler.
03:20How are you doing tonight, Mr. Tussler?
03:21Oh, fine, thanks.
03:22Mr. Anders come in yet?
03:23I didn't see him, Mr. Tussler. Jim, have you seen Mr. Anders tonight?
03:24No, I haven't seen him yet, Mr. Tussler.
03:25Oh, say, what time is it, Jimmy?
03:26It's 20 to 12, Mr. Tussler.
03:27Oh, you mind if I turn on your radio, Jimmy? There's something I want to catch.
03:28You sure can, Mr. Tussler.
03:29It's one of the most spectacular openings of the season, and so is the Dulles night
03:30hit, Boston-y brand of Silver Hill, as Man of the Beach stood up cheering in the aisles
03:31of the Carpe Circle in Hollywood tonight.
03:32Oh, that's something about a movie.
03:33And so it is, Mr. Tussler.
03:34And so it is, Mr. Tussler.
03:36Oh, say, what time is it, Jimmy?
03:37It's 20 to 12, Mr. Tussler.
03:38Oh, you mind if I turn on your radio, Jimmy? There's something I want to catch.
03:39You sure can, Mr. Tussler.
03:40It's one of the most spectacular openings of the season, and so is the Dulles night
03:41hit, Boston-y brand of Silver Hill, as Man of the Beach stood up cheering in the aisles
03:42of the Carpe Circle in Hollywood tonight.
03:43Oh, that's something about a movie.
03:44And right here on 56th Street, New York City, the first erratic hit of the season opened
03:45tonight at the V&A Guild.
03:46Oh, that's your play, Mr. Tussler.
03:47Oh, that's your play, Mr. Tussler.
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06:11Uh, this is Mr. Brand's secretary speaking.
06:13Will you send samples of that finesse and nursery wallpaper out to Mr. Brand's residence, please?
06:18What's that?
06:19Yes, yes, most any day now.
06:21Research department calling for Mr. Brand.
06:24Check on jokes to be used in Russian barbershop before the revolution.
06:28Super Film Studios, good morning.
06:29I'm sorry Mr. Brand can't be disturbed. He's in conference.
06:32Now then, boys, everybody here?
06:34Everybody here, Mr. Brand.
06:35Thanks, Roy.
06:36Boys, Super Films is about to embark on the most important picture in its history.
06:39You're just the man to do it, Mr. Brand.
06:41Thanks, Roy.
06:42And it's my single privilege to announce to you that Super Films has just signed a five-year contract with Europe's most glamorous actress, Saria Tan.
06:48Boy, that's terrific.
06:49Thanks, Roy.
06:50Palmer, Miss Tan's American debut must be the most significant event in the history of motion pictures.
06:54It must be the most exciting event in the history of motion pictures.
06:56Also profitable.
06:57Palmer, I sent you a message to find writers for Miss Tan.
07:00Where are they? I don't see them.
07:01But, Mr. Brand.
07:02What about stories? Why the New York office suggestions?
07:04That's a great idea, boys.
07:05Thanks, Roy.
07:06And what about the new Theater Guild play, Palmer?
07:07I hear Metro and Warner's are bidding heavily for it.
07:09I haven't heard there was a Theater Guild play, but I've got a scenario department.
07:12What's that for?
07:13Look, Mr. Brand.
07:14I sent you a copy of that play six weeks ago, Sinners in Asylum.
07:16Oh, yes, I remember.
07:17Get me a copy of that play.
07:18What's the name of it?
07:19It's called Sinners in Asylum, Mr. Brand.
07:21What's that red-bound script on your telephone there?
07:24Oh, this?
07:25Sinners in Asylum.
07:26Oh, it's quite a play.
07:28Quite a play, Roy.
07:29Yes, boss.
07:30Call up our New York office and authorize them to offer the Theater Guild $100,000 for Sinners in Asylum.
07:33Tell them to get it to us.
07:34Right, boss.
07:35And a thousand a week for the author.
07:36That's plenty.
07:37It sure is, boss.
07:38Thanks, Roy.
07:39All right, boys.
07:40That's the offer this morning.
07:41We'll pick it again after lunch.
07:42Right after lunch, boss.
07:43Thanks, Roy.
07:44Make that call right away.
07:45Sure thing, boss.
07:50Hello.
07:51Mr. Brand's office.
07:52Miss Lawrence speaking.
07:53One moment, please.
07:54It's New York office calling, Mr. Brand.
07:56Hello.
07:57Francis.
07:58Why don't you get that play for me?
07:59What?
08:00What's that?
08:01They turned it down there.
08:02What?
08:03The robbers.
08:04Who's the agent?
08:05Leland Haywood, huh?
08:06I might have known it.
08:07Well, how much do you want?
08:08Two...
08:09Two...
08:10$200,000?
08:11$2,000 a week for the author.
08:12The robbers.
08:13Close the deal.
08:14$200,000 and $200,000 a week for the author.
08:16I mean $2,000.
08:17$200,000 for a stage play and $2,000.
08:19Can you imagine that?
08:20Well, let's get back to work.
08:21Check with the costume department.
08:22The costume's on Love Is All.
08:23Yes, Mr. Brand.
08:24Oh, Mr. Brand.
08:25Yeah, what is it, Madge?
08:26Shall I notify Palmer about Sinners in Asylum?
08:27What Sinners in Asylum?
08:28Well, that's the picture you're producing, Mr. Brand.
08:30You just bought it for $200,000.
08:32Oh, yes.
08:33That's right.
08:34All right.
08:35Check with Palmer on the banner line.
08:36The transcript.
08:37Sawyer Times, American debut in this season's greatest play,
08:38Sinners in Asylum, by America's outstanding playwright...
08:40America's outstanding playwright...
08:42Uh, Tussler, Mr. Brand.
08:43John Tussler.
08:44Tussler.
08:45Tussler.
08:46Tussler.
08:47Tussler.
08:48Tussler.
08:49Tussler.
08:50Tussler.
08:51Tussler.
08:52Tussler.
08:53Tussler.
08:54Tussler.
08:55Tussler.
08:56Tussler.
08:57Tussler.
08:58Tussler.
08:59Tussler.
09:00Tussler.
09:01Because he didn't take time out to read it first!
09:05Frank, the Hayes office and Sidney Brand of Superfilm
09:08have kissed and made up.
09:12The heroine of Sinners in Asylum is being changed to said poultry.
09:17Sidney Brand, Sidney Brand.
09:18Superfilm, Hollywood, California.
09:20Sidney Brand, Superfilm, Hollywood, California.
09:22What do you mean, you're making her stanning?
09:23Stop.
09:24The whole point of the play will be lost.
09:25Stop.
09:26We'll not be party to any such low commercialism.
09:28Stop.
09:29My play goes on as is or else.
09:30is or else. Signed, John Cutler. My goodness, John Cutler, Theatre Guild, New York City.
09:35For 2,000 weekly you should be willing, Sir Paul Barrett, your own funeral. Stop.
09:39Expect you soon. Stop. Is it my fault if his office won't let me be artistic? Stop.
09:43Best wishes. Signed, Sidney Brands.
09:56Yes? Is this Mr. Brands' office?
09:59Yes. I wonder if I could see Mr. Brands.
10:02Well, I'm sorry. Mr. Brands is in conference. Oh, well, should I wait, do you think?
10:07Well, I wouldn't if I were you. Thank you.
10:10Would you mind very much telling me your name? No, I wouldn't mind. My name is Cutler,
10:16John Cutler. Oh, I'm so sorry. I'll tell Mr. Brands you're here.
10:20You think he'll be glad? Yes, what is it?
10:22Mr. Cutler's here, Mr. Brands. Cutler, Cutler, Cutler.
10:25Yes, Mr. Brands. I can't see him. I'm in conference.
10:27Mr. Brands. Yes, what is it?
10:28Mr. Cutler is the author of Sinners in Asylum. Well, why didn't you say so? Turn him in, sir.
10:33You can go right in, Mr. Cutler. Thank you.
10:35Good luck. You think I'll need it?
10:38Mr. Cutler? Yes, this is Mr. Cutler.
10:39Thanks. Mr. Cutler?
10:41Yes, I am. Mr. Cutler?
10:42I'm looking for... Mr. Cutler?
10:44I had an appointment. This way.
10:45I beg your pardon. I'm looking... Oh, Cutler.
10:47Glad to have you with us, Cutler. Did you have a nice trip out?
10:49Uh, what can you say? Yes, it was very nice.
10:51It was very... No, I'm not speaking to Roy here.
10:53I beg your pardon. Roy.
10:54Yeah, chief. Oh, sir. Cutler, yeah.
10:56Uh, we're gonna do big things for this play of yours, Cutler.
10:58It'll cost a million dollars before you can get on the set.
11:00And what a cast I'm giving you.
11:02Sire Tongue, Europe's most glamorous star, Cutler.
11:05And I'm working on a deal for Tyrone Power.
11:07Tyrone Power? Gee, chief, he'll be perfect.
11:09Thanks, Roy. Boys, this is Mr. Cutler.
11:11Cutler, meet Mr. Faye. He's gonna direct your picture.
11:13His picture? Well, he wrote the play, you know.
11:15Oh, he wrote the play.
11:16Cutler, meet Skinner. He's, uh, doing the adaptation of your play.
11:19Skinner. How are you?
11:20I'm pretty well, thank you. And this is, uh, Roy, my brother-in-law.
11:23He's my assistant.
11:24Oh, very happy to meet you, Mr. Cutler.
11:25All right, now let's get down to business.
11:27Now, boys, the important thing is to stick as close as possible to the original play.
11:30After all, there are a lot of people in New York who paid good money to see this play,
11:33so it must have something.
11:34But, of course, we have to remember the Hayes office.
11:36Now, I gave them my solemn word of honor that when they saw my script,
11:39it'd be in my usual good taste, finesse, and delicacy.
11:42They said to me, okay, Brand, we trust you to do the right thing.
11:44Now, boys, I can't let them down.
11:46Yeah, you know what, chief? We never let you down yet.
11:48Thanks, Roy. And, Roy, be sure to get down every word we say.
11:51Yeah, okay, boy.
11:51Of course, we're changing the theme of the play, uh, and you understand that, don't you, Cutler?
11:55Well, uh, Mr. Brand.
11:57Yes, Cutler?
11:58I, uh, just, uh, well, let us go.
12:00It's not important.
12:01Now, don't be bashful, Cutler.
12:03We're all a big family here.
12:04Uh, now, Skinner.
12:05Yes, boss.
12:05Now, we're paying Cutler a fortune to write this adaptation.
12:07All right, so he's one of the three greatest American playwrights,
12:09but has he ever written for the screen?
12:11No.
12:11What are his screen credits?
12:13None.
12:13But you, Skinner, you know what it's all about,
12:15and I'm depending on you for the finest screenplay of the year.
12:17You never know, we might even win the Academy Award.
12:20Chief, that was a rotten deal you got last year.
12:22You're right.
12:23Thank you, Roy.
12:23Roy, you're sure you're getting everything down?
12:25Oh, yes, Chief.
12:26Every word.
12:26Good.
12:26Now, Skinner, this is just a suggestion, but bear it in mind while you're writing.
12:29This is the first time Saria Tann has been presented to the American public.
12:32She's got to be a sympathetic character.
12:33Now, the name in your play, Mr. Tussler, is not a sympathetic character,
12:36so we've got to make Tann more sympathetic.
12:39Mr. Brand, may I point out that the girl is not supposed to be particularly sympathetic?
12:43The whole play happens to be based on the premise that it takes two people...
12:46Uh, just leave everything to me, Tussler.
12:48Now, here's this girl of yours.
12:50Yes, she is.
12:50She lived all her life on an island off the African coast.
12:53Africa?
12:53Africa.
12:54Gee, Chief.
12:54Africa.
12:55Are you by any chance referring to my play, Sinners in Asylum, Mr. Brand?
12:58Certainly, Tussler.
12:59Your play.
13:00Now, this here girl has never known a mother's love,
13:02and her old man was killed with her mother when she was a baby.
13:05The only love she has known is from animals and the kindly natives of the village.
13:10So she is naive.
13:11But on the inside, there is a roaring volcano.
13:13Her mother's Spanish blood.
13:15I get what you mean, Chief.
13:16I get it.
13:16Now, go ahead, Skinner.
13:17Now, here in this primitive background...
13:19Uh, say, I'll let you have some camera angles.
13:20But no 57 takes.
13:21I don't need a 57 takes.
13:22No, it's good.
13:23I've got an instinct for this kind of thing.
13:24We'll bet you have, Chief.
13:24Thanks, Roy.
13:25Now, I'd say, Chief, maybe we could save some dough by picking up some stock shots from
13:29Bring It Back Alive.
13:30Thanks, Roy.
13:31Hey, what do you mean, stock shots?
13:32This is a major super film.
13:33But on the other hand, that might not be a bad idea.
13:35See what you can pick up, Roy.
13:36Listen, Brand, I'm worried.
13:38I don't see where Sally O'Connor has the fire for this role.
13:41Hey, I'll see to it that she gives you plenty of fire.
13:44Boy, I can just see it when all the Spanish in her breaks loose.
13:47Like an animal.
13:48She scratches back when she comes face to face with an artificial civilization.
13:51She's got to be tamed.
13:51She's a wild thing with bars around her.
13:54She's caged.
13:55Caged.
13:56Say, wait a minute.
13:57What a title.
13:59Lady in a Cage.
14:00Gosh, what a title.
14:01Thanks, Roy.
14:02Lady in a Cage.
14:02Yeah, great, ain't it?
14:03The beauty was sold for an old man's home.
14:06What's the matter, Tutler?
14:07Oh, nothing.
14:08Go right ahead.
14:10Tutler, I'm beginning to wonder if you really have...
14:12I just thought of an angle on the love interest that's terrific.
14:14Listen, you have a dame living on the outpost of civilization.
14:18She's beautiful.
14:18Yeah.
14:18She's luscious.
14:20She's primeval.
14:20Yeah.
14:21She's everything to drive a man crazy.
14:23Now, this is my idea.
14:25There's a shipwreck, and her own power is washed up on the shore.
14:28He got this down.
14:28He wakes up to find this gorgeous creature looking down at him.
14:32There's a passion flower in her hair.
14:34That's symbolic.
14:36He stares at her.
14:37She runs away, frightened.
14:38He follows.
14:39Gentlemen, may I point out for the last time that that was not my idea when I wrote...
14:44Now, just a minute, Mr. Tutler.
14:46And you too, Fay.
14:48This girl wouldn't run away.
14:49She wouldn't be afraid.
14:50Now, remember, she may be naive, but inside her is this flame, this Spanish blood.
14:54Oh, I still think she'd run away.
14:56Fay, Fay, why should we argue about female psychology when the man who wrote the play
14:59is right here in this room?
15:00Let's ask Tutler what you would do.
15:01Now, Tutler, listen to me.
15:03Stay carefully.
15:03Yes, sir.
15:05It's, uh...
15:06It's moonlight, Tutler.
15:07Got that?
15:08We have a long shot of the jungle and a jungle moon hanging low.
15:11Into the camera comes Saliatan, chanting a native love song.
15:14Very good.
15:15Camera follows her as she dances into the wave.
15:19Suddenly, she sees something.
15:21Stops.
15:22The camera follows her.
15:23And in a beautiful two-shot, we see Saliatan looking down at Tyrone Power's face.
15:27Horrific.
15:28He opens his eyes.
15:30Blindly, he raises up his hand and touches her.
15:33Got that, Tutler?
15:34I've got it.
15:35She's warm.
15:36Alive.
15:37He leaps to his feet.
15:38Good.
15:39Mind you, Tyrone Power is the first white man Tarn has ever seen.
15:43All the dormant woman in her comes to life.
15:46He makes a grab for her.
15:47Now, Tutler, if you were that girl,
15:50if you were there on that tropical beach with Tyrone Power, what would you do?
15:55Well, I'll tell you.
15:55Now, remember, keep Spanish.
15:56Yes, I'm remembering that.
15:57Tyrone Power!
15:58Yes, I'll tell you.
15:59Go on, go on.
16:00Uh, I feel this way.
16:02In a situation of that kind, I'm not sure the public has been...
16:06You see, why didn't I tell you?
16:07That proves my point.
16:08Well, boys, that's enough for today.
16:09We've gone a long way on Tut's.
16:10It's been great having you here.
16:11You were invaluable.
16:13And now I've got to get home.
16:13My wife's going to have a baby.
16:25Uh, nurse, where's Mr. Brand?
16:26I'm Miss Lawrence.
16:27Yes, Miss Lawrence.
16:28We've been expecting you.
16:29Come this way, please.
16:33Oh, Mr. Brand, what are you doing in the hospital?
16:36What's happened?
16:36Come in, come in, Madge.
16:39What's happened?
16:40Baby's due any minute now.
16:41That's what's happened.
16:43Why didn't somebody tell me having a baby was like this?
16:44Sit down, sit down, Madge, here.
16:46My hand, hold it.
16:47Oh, nurse, get me another set of this and send me to Chief of Staff.
16:49I'm getting weak.
16:51Madge, what are you doing here?
16:53You sent for me, Mr. Brand?
16:54Oh, yes.
16:54I've got to get to work.
16:55Get me to the wardrobe department.
16:56Call off my luncheon appointment.
16:57Tell your time.
16:58Get me Co-Anne Long-Distance.
16:59Find a room where I can work.
17:00Find a room where you can work.
17:00Get a room where Tut's and Kiddick can work.
17:02I want them here.
17:02Get the art department here with sketches.
17:03And to your promise, the essay and Roy, Corker, Beck, and Maloney.
17:07And, uh, who's there?
17:08Put it down there.
17:09Hey, doctor, the floors out there in the hall are too slippery.
17:12Why don't you have carpets?
17:13What if a nurse fell out there while carrying an infant?
17:15Hospitals must be antiseptic, Mr. Brand.
17:16Doctor, I think you ought to...
17:17Now, now, eat your breakfast.
17:19I can't eat that stuff.
17:20Take it away.
17:20Call the Brown Derby and have them send up a mushroom omelet.
17:22Remember to tell them it's for Brand.
17:24Who's that?
17:25Come in.
17:27Yes, what is it?
17:28Show them in.
17:29All right, show them in.
17:30You can come in.
17:30Come in, boys.
17:31Come on in.
17:31Come on.
17:32Hello, boys.
17:33Yeah, hello.
17:34What happened?
17:34Anything?
17:35Oh, not a thing, Roy.
17:36Not a thing.
17:36Not a thing.
17:37Rolly's here with the costumes, boss.
17:38And the property department's brought over a few items to be approved for the Voodoo
17:41Thieves.
17:41Send them all in.
17:42Okay, boss.
17:42Now, sit down, boys.
17:43Make yourself comfortable.
17:44Thanks, boss.
17:44You sure look comfortable there, boys.
17:46Yes.
17:46Do you think you'll pull through, Mr. Brown?
17:48What's the matter with you fellows?
17:49Can't a guy go to the hospital for a day without a lot of cheap wisecracks?
17:52If I drop dead, would I get any sympathy?
17:54No, all you'd say is, poor Brand.
17:55It's too bad he had to work so hard.
18:02I don't like him.
18:02Do him over.
18:03Badge, telephone the fifth floor and see how Mrs. Brand is.
18:05Is this the jungle set?
18:05Yes.
18:06I don't like it.
18:06Do it over.
18:06That seems a shot this morning.
18:07I don't like it.
18:08How long do you think you'll be tied up in a hospital, boss?
18:11Well, I tell you, Roy, you can't tell about these things, Roy.
18:13I ought to stay around for Mrs. Brand's sake.
18:15It's such a time.
18:16Besides, it's nice and quiet here.
18:18Maybe we can get some script written.
18:19Hey, Roy, get the name of that nurse who just passed by.
18:20Okay, chief.
18:21Good type of pictures.
18:22Now then, boys, how's my script coming?
18:23Well, we're all set to go in a dialogue.
18:25We've broken down the storyline.
18:26They've broken down the storyline.
18:28Excuse me, Tussler.
18:30Palmer, have you written the announcements for the baby yet?
18:32How about this, boss?
18:33A blank was born this morning to Mrs. Selma Brand,
18:36wife of the eminent producer Sidney Brand of Superfilm.
18:38That's good.
18:38Mother and child are reported resting nicely
18:40at the Vista Memorial Hospital in Hollywood.
18:43Though in the midst of an important production,
18:45Lady in a Cage, which will launch Saryaton,
18:47the new foreign import,
18:48Mr. Brand has taken a suite at the hospital
18:50to be with his little family.
18:52Listen, couldn't we get a little more human interest in there?
18:55Maybe about the weight of the baby, things like that.
18:58You know, people like to read human items about famous people
19:01and give Hollywood a good name, you know.
19:02Sure, boss, I can, but I think we'd better wait
19:04until we know exactly what happens.
19:05It might be twins.
19:06Think of the human interest you can get out of twins.
19:08How's it go, Jim? Let's hear it again.
19:09A blank was born this morning to Mrs. Selma Brand,
19:11wife of the eminent producer Sidney Brand of Superfilm.
19:13Yeah, take that, man.
19:14Mother and child are reported resting nicely
19:16at the Vista Memorial Hospital in Hollywood.
19:18Yes, one moment, please.
19:20I beg your pardon, just a moment.
19:21Oh, Mr. Brand.
19:22Yes?
19:24It's the studio.
19:25There's a wire from New York, from Leland Hayward.
19:27What does he want?
19:27He says he understands it's a boy.
19:29Check that report.
19:30Go on, Palmer.
19:31A blank was born this morning.
19:32Oh, Mr. Brand.
19:33Yeah.
19:33To Mrs. Selma Brand of Superfilm.
19:34Miss Tanya Tarn is downstairs.
19:36Tanya Tarn.
19:37Yes, she wants to see you.
19:38Tanya Tarn.
19:39She says if she doesn't see you, she'll scream the place down.
19:42My gosh, can't a man have a baby in peace?
19:45What'll I tell her?
19:45Send her up, send her up.
19:47Boys, that'll be all for today.
19:49Palmer, you'd better stay here and work on that announcement.
19:51Okay, boss.
19:52Goodbye, fellas.
19:53Tussler, you, Tussler.
19:55I've got an idea for you for a play.
19:57Remind me to tell you about it sometime.
19:58Terrific.
19:59I can hardly wait.
20:01Madge.
20:02Yes, Mr. Brand.
20:02I don't want to be disturbed, ma'am.
20:03Yes, Mr. Brand.
20:06Come in, Miss Tarn.
20:07Mr. Brand's expecting you.
20:10Sidney.
20:11Hello, Tanya.
20:12Dear Sidney.
20:14Dear Tanya.
20:16I'm not well, dear Sidney.
20:18Not well at all.
20:20I'm three.
20:21So three.
20:23Why, Tanya, that's too bad.
20:24I'm worried, Sidney, about this picture I'm making for you.
20:27Oh, don't worry, Tanya.
20:28Go for heaven's sake.
20:29What's the matter?
20:30I'm so worried, Sidney, dear.
20:31I cannot sleep anymore because of this worry.
20:34Sidney, dear.
20:35Where is my leading man?
20:37Oh, now then, Tanya.
20:37How many times must I tell you?
20:38I'm getting Tyrone Power for you.
20:40Tyrone Power.
20:41What more do you want?
20:42But, Sidney, I've read in the papers that you can't get Tyrone Power.
20:46Yes, Tanya, you believe what you read in the papers.
20:47Tanya, you have nothing to worry about.
20:49I've got Tyrone Power eating out of the palm of my hand.
20:51I assure you, Tanya, that everything will be all right.
20:53Reassure me, dear Sidney.
20:56All right, I reassure you, Tanya.
20:59Then I shan't worry anymore.
21:01Oh, dear Sidney.
21:03No, dear Tanya.
21:04You mustn't worry anymore.
21:05Goodbye, dear Sidney.
21:07Goodbye, dear Tanya.
21:08Uh...
21:09Oh, Mr. Brandt.
21:09Match, have you got your book?
21:11But, Mr. Brandt...
21:12Take a letter.
21:12Yes, Mr. Brandt.
21:13Mr. George Ogle.
21:14The Laos.
21:15Zeus.
21:16Modern Studios.
21:17Hollywood.
21:17Dear George, regarding Tyrone Power, I'm not only disappointed, I am hurt.
21:21I can't believe that you would let me down the way you have.
21:23I don't like the idea of playing on our friendship,
21:24but you know that if you were in a spot and asked me to help you out, I'd do it.
21:27You know I would.
21:28Last night I was talking over my problem with my wife,
21:31and it is her distinct recollection that you committed Tyrone Power to me.
21:34So, I have a witness.
21:36Let me hear from you.
21:37Sincerely, regard, Sidney Brandt.
21:38Uh, Mr. Brandt...
21:39Now take a wire to the New York office.
21:40Yes, Mr. Brandt, but...
21:41So, for film, New York City.
21:42Prospects of Tyrone Power still alive.
21:43However, don't trust those rats as Zeus, Modern, to do the right thing.
21:46Stop.
21:46Want you to line up possible substitutes.
21:48Suggest you make screen tests of all available young leading men in New York.
21:50Scene, play perfectly.
21:51Love scene.
21:51Vows immediately.
21:52Even if impossible, it becomes very exciting.
21:53George Brandt.
21:54Get it?
21:54Palmer, let's hear that announcement.
21:55A blank was born this morning to Mr. and Mrs...
21:57Mr. Brandt.
21:58Oh, Mr. Brandt.
21:59What is it?
21:59Leland Hayward was right, Mr. Brandt.
22:01It is a boy.
22:02A blank was born this...
22:03Wake up, Palmer!
22:04It's a boy!
22:05A boy was born this morning to Mrs. Thelma Brandt.
22:07Wife of the eminent producer.
22:08She's a huge fan of Cooper Films.
22:11All right, get him quiet.
22:23Yes, sir.
22:23All right, let's make it.
22:36All set, Larry.
22:37There you go, Mr. Brandt.
22:38Leland!
22:40Okay.
22:42Night, sir.
22:43Leland!
22:43Night!
22:46Let us have it!
22:48Camera rolling.
22:50That's the scene.
22:51Lady in a cage, scene one.
22:53Director Fay, camera man, take one.
22:57Where's Tarn?
23:00Why doesn't Tarn come through that door?
23:04Where the blazes is Tarn?
23:09All right, cut.
23:10Cut!
23:12Set a light!
23:13Set a light!
23:17Where is Miss Tarn?
23:22Maybe she's tired.
23:25She should sleep on her own time.
23:26The money I pay her.
23:27Wake her up!
23:28I'll wake her.
23:31Miss Tarn!
23:33Miss Tarn!
23:34Yes, Mr. Fay?
23:35Miss Tarn, will you please cooperate?
23:38Cooperate?
23:39Now, Miss Tarn, we will take this scene again.
23:41What scene, Mr. Fay?
23:43The storm scene, Miss Tarn.
23:44Your great scene.
23:45Now listen, Miss Tarn.
23:46In this scene, you are standing at the window, you understand?
23:48Gazing out over the ocean.
23:50You are waiting for your dream lover.
23:52You are longing for him.
23:53And who is going to play my dream lover?
23:56We'll be doing our best to get her own power, Miss Tarn.
23:58Ah, but you're not sure.
24:00I'm not sure, Miss Tarn.
24:02Ah, but you're not sure.
24:04Well, if we don't get him, Miss Tarn, we'll get somebody else.
24:06But how can I long for a man when I don't know who he is?
24:10If I knew who he was, I'm sure I could long much better.
24:13Miss Tarn, what difference does it make who the man...
24:16The man does not appear in the scene.
24:19Do you understand?
24:19He does not appear.
24:21Nobody appears in the scene except you, Miss Tarn.
24:24For years, Mr. Fay, I worked in Europe with the greatest directors.
24:27Kropotkin, Weinerstein, Clancy.
24:29Yes, I believe you.
24:30I believe you, Miss Tarn.
24:31Now, come over here and we'll take it again.
24:33You come in through the door.
24:35You go to the window.
24:36You gaze out over the ocean.
24:38There is yearning in your eyes.
24:40You're waiting for your dream lover.
24:42You long for him.
24:43You are alone in your heart.
24:45Suddenly, you hear the door open behind you.
24:46You turn and you see an arm coming through the crack of the door.
24:50A hairy arm.
24:52You scream.
24:53And then?
24:54Uh, never mind, Miss Tarn.
24:56We'll explain that in the next scene.
24:57Now then, are you ready?
24:58I suppose so.
24:59All right, get him quiet.
25:00All right, Mr. Fay.
25:01Quiet, quiet, quiet.
25:03Quiet!
25:06Quiet!
25:09How's that, I beg your...
25:09Oh, yes, yes, very tactfully, very.
25:11I, as a matter of fact, I was afraid for...
25:12All right, quiet, please.
25:13This is fake.
25:14All right.
25:15Ready, Wayne?
25:16Okay.
25:18Okay, well then.
25:20Rolling.
25:21It's up to Steve.
25:22Lady in a cage, scene one.
25:24Director Fay, camera merit, take two.
25:26Well, she's there all right this time, isn't she?
25:31Yeah.
25:33She comes down.
25:34Good.
25:36When she gets to the window, give the signal for the door to open.
25:40Now.
25:43Now the arm.
25:45There.
25:46Good.
25:48Now she turns and sees it.
25:51She turns and sees it.
25:53We're picking up on sound, Mr. Fay.
25:54All right, start it over.
25:55Quiet!
25:56You want a cut?
25:57No, keep it rolling.
25:58All right.
26:02Scream.
26:03Ah, cut.
26:04Okay, Miss Tarn.
26:05Okay.
26:07Cut.
26:07Cut.
26:11Okay, Miss Tarn, you can rest now.
26:14Well, Mr. Brandt, how did you like it?
26:16Fay, it was magnificent.
26:18That's all I can say, Fay.
26:20You know, on stage, Mr. Cutler, on the stage,
26:22you couldn't possibly do a scene like this.
26:24Not possibly, Mr. Brandt.
26:39You are listening to the Campbell Playhouse presentation of I Lost My Girlish Laughter.
26:44This is the Columbia Broadcasting System.
26:54This is Ernest Chappell welcoming you back to the Campbell Playhouse.
27:09In just a moment, we'll return you to Orson Welles, Georgia Kaufman,
27:12Ilka Chase, and Tamar Ajiva in I Lost My Girlish Laughter.
27:16But first, a question.
27:19What do you get hungry for when the January weather turns cold
27:22and you come home shivering all through?
27:25I call it soup weather.
27:26It's time for warming, comforting platefuls of the best-liked soup of all, Campbell's tomato soup.
27:32If ever its bright color and its savory steam were inviting, it's on days like these.
27:37The rich, racy taste of your first spoonful seems to hit the spot,
27:41and by the time your plate is empty, Campbell's tomato soup has revived you and fortified you.
27:46No other soup in all the world has quite the keen, lively flavor that this one has.
27:51No other soup is such a worldwide favorite,
27:53especially right now.
27:55Campbell's tomato soup is a wholesome, sustaining dish to have often.
27:58Enjoy it for lunch or supper, or as a first course for family dinner.
28:02And serve it sometimes as cream of tomato, adding milk instead of water.
28:07Cold days are soup days.
28:09Time for Campbell's tomato soup.
28:12And now, back to the Campbell Playhouse.
28:14Hello, Mr. Brandt's office. One moment, please.
28:24Mr. Brandt?
28:25Yeah, what is it?
28:26Leland Haywood calling you.
28:27All right, I'll take it.
28:28Hello, Leland, how are you?
28:30Yeah, it feels great. What's on your mind, Leland?
28:33Oh, what's that?
28:34Oh, Bruce Sanders? Who's he?
28:38Now listen, Haywood, I'm up to your tricks.
28:39Sanders hasn't got an agent.
28:40This is just one time you won't be able to horn in on a good thing.
28:44Why, I don't know.
28:45The New York office may have offered him $300.
28:48Why, sure, I read the papers.
28:50What? What's that?
28:52$1,500.
28:54$1,500?
28:54Don't make me laugh.
28:55Ha, ha.
28:56Who told you I needed him bad?
28:59I tell you, Anders is dealing direct with our New York office.
29:01He's going to sign with us for...
29:02Hello? Hello?
29:03Lela... Lela?
29:05So now he has to hang up on me.
29:06Madge?
29:07Yes, Mr. Brandt?
29:08Take a wire. Supertones, New York.
29:09Leland Haywood advises he is agent for Anders.
29:11Is this true? Stop.
29:12He refuses terms offered, and I don't dare repeat the price he wants.
29:15It'll make you sick. Stop.
29:16Don't let Haywood talk you into anything. Stop.
29:18Why does it have to be Haywood?
29:19Aren't there any other agents in the business?
29:20Stop. Regard Sidney.
29:23They're having plenty of grief in the theater guild
29:25trying to replace Bruce Anders,
29:27who has been signed by Sidney Brandt
29:29to play opposite Talia Todd in Sinners in Asylum,
29:31now called Lady and the Case.
29:33Salary is set to be $1,500 weekly,
29:36and we can believe this because Anders' agent
29:38is none other than Leland Haywood.
29:41Madge?
29:41Yes, Mr. Brandt?
29:42Madge?
29:43Farmer out there and Skinner?
29:44Yes, sir.
29:44And Tussler?
29:45Yes, Mr. Brandt.
29:46Send him in. You come in, too.
29:47Yes, Mr. Brandt.
29:48Gentlemen, the master will confer with you.
29:51It goes without saying it's important.
29:52He wants me, too.
29:53He always does.
29:55After you, gentlemen.
29:58Now, boys, I want you all to hear this.
30:00Take a seat.
30:00Madge, take it down.
30:01Gentlemen, we've just signed Bruce Anders.
30:04Now, we've got to have a new angle on this Bruce Anders.
30:05Bruce Anders? When did he get here?
30:06On the new plane. Roy's meeting him.
30:08Royal welcome. Photographers, reporters, all around.
30:10Good.
30:11Now, then, why shouldn't we build up a new type leading man?
30:13For $1,500 a week, we should do something with him.
30:14Leland Haywood, that Rob Welch.
30:16I was talking to my wife at dinner last night about the cycles of movie heroes.
30:20Now, Selma's very intelligent about such historical matters.
30:22She has a fine memory, too.
30:23And once she sees a face, she never forgets it.
30:25You know what I mean?
30:25She... I can't even remember names.
30:27I, uh...
30:29What were we talking about, anyway?
30:30Cycles, Mr. Brandt.
30:31Cycles.
30:32Cycles of movie heroes.
30:33You know, first came the Latin type and Spanish shawl.
30:36Then the fresh guy who slapped the girl down.
30:38Then the whimsy boys, the screwball boys.
30:40Did I get that far?
30:41Those were your very words.
30:42And now we've reached the tail end of the cycle.
30:44Of course, you'll say things start all over again at the beginning, but that's obvious.
30:47No, a new vogue of leading men must be created.
30:49A new type.
30:50I see, Mr. Brandt.
30:51Any particular type in mind?
30:52There's something in what you say, Tuffer.
30:54Now, yes, it must be a particular type.
30:56What women want today is the romantic, gallant, gentle, passionate.
31:00But manly, manly.
31:01What women want today is Bruce Sanders.
31:05Hello, Mr. Brandt's secretary.
31:06One moment, please.
31:07Mr. Oglubzuz Modern calling, Mr. Brandt.
31:09I'll take it, yeah.
31:10What is it?
31:11Now, look here, Ogle.
31:12I've had just about enough double-crossing out of you.
31:14What?
31:15Yeah?
31:17Oh?
31:18You mean it?
31:19You really mean it?
31:19Georgie.
31:20Oh, Georgie.
31:21I knew I could count on you.
31:22What a friend, Georgie.
31:24What a...
31:25What a friend.
31:26What is it, boss?
31:26What's happened?
31:27Boys, we've got Tyrone Power.
31:29Tyrone Power?
31:30Match, get Beck and the legal department to draw up contracts immediately before they change their minds.
31:33Jim, give me the clues to the transcript and hold him off a few days.
31:36Match, telephone Sia.
31:37She'll be busy with joy.
31:38Now we're going to have a picture.
31:39But what about Bruce Anders, Mr. Brandt?
31:41Yeah, what about the romantic cycle?
31:43Uh...
31:44Oh, uh...
31:45I forgot all about Anders.
31:46What do we do?
31:47I'll get rid of him.
31:48He'll be here any minute now.
31:48Oh, there's something stopping him.
31:49Palmer, you've got to keep Anders' picture out of the papers.
31:51I don't want a word about him printed.
31:52I want to see him and I don't want to hear from him.
31:53We've got to get rid of him somehow.
31:55Oh, gee, Mr. Brandt.
31:56Isn't that kind of tough?
31:57I know we'll give him the doghouse.
31:58We'll make it so unpleasant for him.
31:59He'll break his own contrast.
32:00We'll make a...
32:00We'll make a test of him that'll frighten his own mother.
32:02He may be a romantic gallant, but it's strictly a raw deal.
32:05All right, Tussler.
32:06All right.
32:07Can I help it?
32:07This business is full of heartaches and I've got to show profits.
32:10Now get busy, everybody.
32:11Okay, yes, sir.
32:11And, Match!
32:12Yes, Mr. Brandt?
32:13Get my wife on the phone.
32:14I've got to tell her the good news.
32:16This'll make the day for Selma.
32:17Yes, Mr. Brandt.
32:18Can you imagine that?
32:19We've got power.
32:20Come on, Palmer.
32:26Well, it may make the day for Selma.
32:28But what about Bruce Anders?
32:30He's a friend of yours, isn't he?
32:32Yeah.
32:33You know, sometimes I wonder how men like Brandt can sleep at night.
32:37Boy, he's sure got the stuff.
32:39Ought to knock him for a loop.
32:40Who?
32:41Who are you talking about, Roy?
32:42That leading man the boss hired from New York.
32:44He's the nuts.
32:45Who's the nuts?
32:46Bruce Anders.
32:47He arrived.
32:48He's right outside.
32:49Boy, can a boss pick up.
32:50Well, calm down, Roy.
32:51Anders won't need that buildup now.
32:53Oh, what do you mean?
32:54There's been a slight change of plan, Roy.
32:57Yeah?
32:57Yeah.
32:57We've got Tyrone Powell.
32:59Tyrone Powell?
33:00Oh, boy, can a boss pick him.
33:03Hey, Madge, what are we going to do with Anders?
33:06What would you do with him, Roy?
33:08Well, gee, I don't know.
33:10Now that we've got Tyrone Powell.
33:12Uh, send Mr. Anders in, Roy.
33:13Sure thing, Madge.
33:15Oh, Mr. Anders, will you step in here, please?
33:18So long, Madge.
33:20Hello, Anders.
33:21How are you?
33:22Hi, Mr. Tussler.
33:23Hello.
33:23Nice to see you.
33:24How's your picture coming along?
33:25Uh, surprisingly.
33:26Oh, uh, this is Miss Lawrence, Mr. Anders.
33:28She's almost human, I'm sure she is.
33:31How do you do, Mr. Anders?
33:32I suppose I ought to say hello to Mr. Brand.
33:34Oh, uh, well, Mr. Anders, I, um, I'm afraid I must apologize to Mr. Brand.
33:38He's out of town today, but he left word for us to do anything we could for you to, uh,
33:43well, to help you get settled and, uh, well, we, uh, well, the car's here to take you to your hotel.
33:48Ah, well, how nice everybody is, aren't they, Mr. Tussler?
33:51Yes, everybody's just wonderful, Anders.
33:54Um, have you ever been out here before, Mr. Anders?
33:57No, I haven't.
33:58You know, I've always been kind of scared and suspicious about Hollywood,
34:01but you know, back in New York, we think Mr. Brand's the only man out here with vision and integrity.
34:05Don't we, Mr. Tussler?
34:06Ooh, you took the words right out of my mouth.
34:09You'll let me know what happens to me next, won't you, Miss Lawrence?
34:11Oh, Mr. Brand will tell you very soon, I'm sure, Mr. Anders.
34:14Something tells me I'm about to beat Mr. Brand to it, Miss Lawrence.
34:18Uh, what would you say to a little lunch, Anders?
34:20I'd say swell.
34:21Oh, Mr. Tussler, I, uh, I don't think I would if I were you.
34:25Don't give it another thought, Miss Lawrence.
34:28By the way, uh, you don't know anything about this lunch, don't forget.
34:32Me? I haven't heard a word, Mr. Tussler.
34:35Ah, I knew you were that kind of girl.
34:38Come along, Anders.
34:45Lance, Leland Hayward, socialite access manager and amateur aviator,
34:50took off from Roosevelt Field, New York at 2 a.m. today in his old plane
34:54in an attempt to break the existing cross-country record.
34:57He's expected in Hollywood sometime this morning.
35:09Is Mr. Brand in?
35:10Mr. Brand left orders not to be disturbed.
35:11Oh, asleep?
35:12Mr. Brand's been in his office all morning following Leland Hayward's flight on the radio.
35:16He's bet everybody around here that he'd break the record.
35:18Oh, he won, I did.
35:20Oh, good heavens.
35:21Are you Mr. Hayward?
35:22I am.
35:23Oh, well, uh, just a minute, Mr. Hayward.
35:24Oh, don't bother to announce me.
35:25I want a surprise, old Sidney.
35:27He'll be surprised, all right.
35:31Oh, hello, Sidney.
35:32How are you?
35:33How's the baby?
35:34I broke the record.
35:35I want a drink.
35:36Oh, say, by the way, what the deuce do you think you're trying to pull off with Anders?
35:38Oh, uh, that was a great flight, Leland.
35:41A great flight.
35:42I was betting on you all the way, Leland.
35:43I say, but I haven't much time, Sidney.
35:44Yeah, what's wrong, Leland?
35:45Oh, it's mere trifle, Sidney.
35:46Just a misunderstanding, I'm sure.
35:48I hear you're planning to put power in Anders' part after all.
35:51Now, look here, Leland.
35:51I'm not quarreling about power, but why do you have to put Anders on the spot?
35:55He gave up a Broadway success to come out here, and you're trying to get him to break his contract.
35:58I just...
35:58So what?
35:59The picture business will think he flopped, and I can't sell him.
36:01Now, Sidney, is that kind?
36:03I'm a businessman, Leland, not a humanitarian.
36:05In this case, Sidney, you're going to be a humanitarian and like it.
36:08I don't know how carefully you read Anders' contract, Sidney.
36:11In case your mind isn't fresh on the thing, let me recall to you Clause C, Section B.
36:16And Bruce Anders' full recompense shall be the salary specified and the prestige
36:19of playing the leading role in said Sidney Brand production.
36:22You get it, Sidney?
36:23The salary and the privilege of playing the leading role.
36:26Get it?
36:27What have I got a legal department for?
36:29To improve your golf game, no doubt.
36:30Well, it's been pleasant seeing you, Sidney.
36:32Give my regards to Selma and the baby.
36:33I got an opening in New York tonight.
36:35Goodbye, Sidney.
36:37Match, match!
36:38Yes, Mr. Brown.
36:39Get Ogletooth Modern.
36:40Yes, Mr. Brown.
36:41What'll I tell him?
36:42Tell him I wouldn't have wanted Tyrone Power in the first place.
36:46All right, save it, that's fine.
36:47Okay, Mr. Faye.
36:48All right, save it.
36:49All right, save it.
36:50Quiet.
36:52Quiet!
36:54Quiet!
36:56Now, Miss Tarn.
36:57Miss Tarn.
36:58You called, Mr. Faye?
36:59Yeah.
37:00We're ready to take the beach team now.
37:02You got it all straight?
37:03I think so, Mr. Faye.
37:05I come up the beach.
37:06No, you don't.
37:07You don't.
37:08You don't.
37:09You don't.
37:09You don't.
37:10You don't.
37:11You don't.
37:12You don't.
37:13You don't.
37:13You don't.
37:14You don't.
37:15You don't.
37:16You come down from the jungle over there.
37:18The drums are beating, throbbing in your blood.
37:20Quiet!
37:22You're happy as the day is long.
37:23You try not to stumble over the mangrove roots.
37:25Quiet!
37:26On the beach, you see this man.
37:28That's Mr. Anders.
37:29Mr. Anders, Miss Tarn.
37:31We've met before.
37:31How do you know?
37:32He's the first white man you've ever seen in your life.
37:35He's lying there.
37:36You see him.
37:37You stop.
37:37You take a step towards him.
37:39He moves.
37:40He reaches up.
37:42You scream!
37:43He opens his eyes.
37:45He says, where am I?
37:48You say, who are you?
37:51He says, I'm Lee Hutcherson of Virginia.
37:54Then you say, my name Tahini.
37:58He says, Tahini, you are beautiful.
38:01You say, white man, no.
38:03White man, I like you.
38:06You stay many moon with Tahini?
38:08No.
38:08You get it?
38:09Yes.
38:10Now, let me do the rest in close up.
38:11All right, let's make it.
38:12Miss Tarn on the set, please.
38:13Miss Anders, will you get down there on the beat?
38:15All righty, Mr. Fain.
38:16All right, how about you, sound effects, wind, waves,
38:18all that stuff, you ready with that?
38:20Yes.
38:20You fellows back there in the jungle, give me something.
38:23Give me all you've got.
38:24You're savages, savages, do you hear?
38:26Savages?
38:26OK, Mr. Fain.
38:28All right, let's make it.
38:28Quiet.
38:29Quiet.
38:32Turn a moment.
38:33Rolling.
38:34Up to speed.
38:36Lady in a cage.
38:37Jungle scene.
38:38Tarn and Anders.
38:38Set director, merit camera.
38:40Take one.
38:45Oh.
38:46Ah!
38:48Where am I?
38:50Who are you?
38:53I'm Leif Hutchinson of Virginia.
38:56My name is Tahini.
38:59Tahini, you all are beautiful.
39:02White man, I like you.
39:05You stay many moons, many moons with Tahini.
39:10Hm?
39:11All right, cut.
39:12Cut.
39:13Save her.
39:14Save her.
39:15Miss Tarn.
39:16Yes?
39:17We're going to make it again.
39:18Again?
39:19Yes, again, and again, and again, and again.
39:21Until you get it right.
39:22Mr. Fain, you will not speak to me this way.
39:24It's not my fault that Mr. Anders can't act.
39:26Anders can't act?
39:27Yes, yes, yes, yes, yes.
39:28And you can't direct.
39:29Now listen, Tarn.
39:30I've been taking this from you for weeks.
39:32You have been taking?
39:33In Europe, I've worked with the greatest directors.
39:35With the greatest directors.
39:36With the greatest directors.
39:37With the greatest directors.
39:38With the greatest directors.
39:39I've worked with the greatest directors.
39:41Real artists.
39:42Kropotkin.
39:43Schneiderman.
39:44Klump.
39:45Oh, not for a minute longer will I work on this set.
39:47I shall go now to Mr. Sidney Brand.
39:49And to Mr. Sidney Brand, I shall say.
39:56Dear Sidney.
39:58Yes, Sia?
40:00Sidney, I will not work on your picture for one minute longer.
40:04Why, Sia?
40:05What's the trouble?
40:06Sidney, it's impossible.
40:07I'm an artist.
40:08I'm an artist.
40:09And your director is a butcher.
40:10Oh, now, wait a minute, Sia.
40:11The leading man you gave me is a sack of potatoes.
40:14The electrician.
40:15Well, he doesn't look like me.
40:16The hairdresser is infamous.
40:17Now, Sia, Sia.
40:18It is a conspiracy again.
40:19Sia, please.
40:20The picture's more than half shot, Sia.
40:22I don't care how much is shot.
40:24It's your picture.
40:25Rather than work under such conditions, well, I'll kill myself.
40:29No, Sia.
40:30Now, don't do that, Sia.
40:31I'm an artist.
40:32I know.
40:33In Europe, I've worked with the greatest directors.
40:35I know you have, Sia.
40:36Real artists.
40:37Clowns.
40:38I know.
40:39I'll have Faye down here, Sia.
40:42I'll make him apologize, Sia.
40:43The butcher.
40:44I know.
40:45I'll fire him.
40:46That's what I'll do.
40:47I'll fire him.
40:48Who do you think he is?
40:49I'll show him who's boss around here.
40:50Now, Sia, please.
40:51For my sake, Sia.
40:52Will you finish this picture, Sia?
40:53Dear Sidney.
40:54Yeah, Sia.
40:55Sidney, you're so good to me.
40:58Sia, you're tired.
41:00That's what it is, Sia.
41:01And when this picture's over, you must go away and have a nice rest.
41:04To go away, dear Sidney?
41:06But it's so true.
41:07I know.
41:08So lonely.
41:09I'll find...
41:10We'll get somebody to go with you and maybe I'll go along myself.
41:14Sia, will you finish the picture?
41:16Dear Sidney, you are so kind.
41:19So sympathetic.
41:21Well, that's settled then.
41:23That's settled.
41:24You go back on the picture.
41:25Yes, I'll go back.
41:27Oh, dear Sidney, for you, I'll go back.
41:34To all department heads, to Sidney Brandt, subject Lady in a Cage,
41:38this is to advise you that Lady in a Cage, formerly Sinners in Asylum,
41:42goes back for retakes.
41:44An unfortunate audience reaction at the sneak preview
41:47makes revisions imperative.
41:48These things sometimes happen.
41:50P.S. Sia Tan is awful.
41:52To Fred Cook, from Sidney Brandt, subject Lady in a Cage,
41:56line up list of all top-notch writers in Hollywood
41:58whom I can hire, borrow to do, and to rewrite Sinners.
42:02We're making drastic story changes,
42:04throwing emphasis to Bruce Anders
42:05and retitling the picture That Gentleman from the South.
42:08That Gentleman from the South is the title.
42:10P.S. Bruce Anders is terrific.
42:12To Jim Palmer, from Sidney Brandt, subject Bruce Anders,
42:16you are hereby ordered to spare no expense
42:18or cunning in persuading the newspapers
42:20that the only important news personality of the day
42:22is Bruce Anders.
42:23If anyone asks you questions about Sia Tan,
42:25you don't know who she is.
42:26You might also release the news that Faye will direct.
42:30She has been re-engaged to super
42:32and a terrific boost in money.
42:33There's no time to lose.
42:35Match! Match!
42:36Match isn't here, boss.
42:37Hey, boss.
42:38Where is she?
42:39I don't know, boss.
42:42Oh, Mr. Brandt.
42:43Yes, what is it?
42:44Mr. Palmer's out here to see you.
42:45Send him in. Send him in.
42:46Yes, Mr. Brandt.
42:49Come in, Palmer.
42:50What's the matter, Mr. Brandt?
42:51What's the matter?
42:52You ask me what's the matter.
42:53Here I've got one of the ranking stars in the industry.
42:55Bruce Anders, a new type of romantic gallant.
42:57The biggest thing since Valentina.
42:58What do I find?
42:59What do I pay at the area department?
43:00For what do I pay a New York office for that matter?
43:02Mr. Brandt.
43:03Yes, Palmer, what is it?
43:04Mr. Brandt, I've got an idea.
43:05It better be good.
43:06Mr. Brandt is a writer employed by Super Films
43:08who's drawing a salary and doing nothing.
43:10His name is Tussler, John Tussler.
43:12He's the author of a successful play
43:14for which you paid $200,000.
43:16You may remember it.
43:17Sinners in Asylum,
43:18otherwise known as Lady in the Cage,
43:19otherwise known as That Gentleman from the South.
43:21Sure.
43:22Now, isn't it just possible
43:23that Mr. Tussler may be of some assistance
43:25to you in your present predicament?
43:26You know, that's not a bad idea at all, not at all.
43:28Where's that script?
43:29You know, the one on the red cover,
43:30the one that's under the telephone.
43:31It's still there.
43:32It's quite a play.
43:33It's quite a play.
43:34There it is, right on the phone.
43:35Hey, Roy!
43:36Yes, boss?
43:37Get Tussler on the phone right away.
43:39Tussler?
43:40Hey, boss, don't you remember
43:41you released Tussler from his contract last night?
43:43He left this morning on the chief.
43:45He left?
43:46Well, get him back right away.
43:47Call him up.
43:48Send him a wire on the train right away, quick.
43:51John Tussler, chief, Arrow, Chicago.
43:53Just read your play.
43:54Stop.
43:55I like it and I understand it.
43:56Stop.
43:57The company will have new contracts.
43:58Stop.
43:59Take plane.
44:00Regard.
44:01Sign.
44:02Sidney Brand.
44:03Sidney Brand.
44:04Super Films, Hollywood, California.
44:05Collect.
44:06Don't jest with me.
44:07Stop.
44:08I know you can't read.
44:09Sign.
44:10Tussler.
44:11John Tussler, chief, Arrow, Chicago.
44:12I am hurt you left without consulting me.
44:13Stop.
44:14Return immediately.
44:15Stop.
44:16Your presence absolutely necessary.
44:17Stop.
44:18Regard.
44:19Sign.
44:20Sidney Brand.
44:21Sidney Brand.
44:22Super Films, Hollywood.
44:23Collect.
44:24I am sorry I hurt you.
44:25Stop.
44:26I will never come back.
44:27Affectionately.
44:28Sign.
44:29John Tussler.
44:30John Tussler, chief, Arrow, Chicago.
44:31You're missing the opportunity of a lifetime.
44:32Stop.
44:33I'll give you full screen credits.
44:34Stop.
44:35No man could ask for more.
44:36Stop.
44:37Take plane to Kansas City.
44:38Stop.
44:39Expect.
44:40You'll regard.
44:41Sign.
44:42Sidney Brand.
44:43Sidney Brand.
44:44Super Films, Hollywood.
44:45Collect.
44:46I am the happiest man in the world.
44:47Stop.
44:48There is a lovely lady just opposite me.
44:49She hates pictures.
44:50Stop.
44:51And you offer me a full screen credit.
44:52Well, well.
44:53Sign.
44:54Tussler.
44:55I'll give you one more chance.
44:56Stop.
44:57Either you return immediately, or I blacklist you in Hollywood.
44:58Stop.
44:59Which means you'll never be able to have another job here.
45:00Stop.
45:01What do you think?
45:02Question mark.
45:03Sign.
45:04Sidney Brand.
45:05Sidney Brand.
45:06Super Films, Hollywood.
45:07Still collect.
45:08What do I think?
45:09Stop.
45:10Who told you I could think?
45:11Stop.
45:12You never thought of that yourself.
45:13But if you must know what I think, I'll be glad to tell you.
45:14And it won't cost you a penny.
45:15Stop.
45:16Boo!
45:17Exclamation mark.
45:18I think you're a nasty man.
45:19Sign.
45:20Tussler.
45:21P.S.
45:22The name of the lady just opposite is Madge Tussler.
45:23Stop.
45:24The name of the lady just opposite is Madge Tussler.
45:25Nay, Madge Lawrence.
45:26We were married last night.
45:27Sign.
45:28John Tussler.
45:29Ladies and gentlemen, ladies and gentlemen, we're speaking to you from the foyer of the
45:40Cafe Circle Theater in Hollywood, California, where the world premiere of the super film
45:49super film production that gentlemen from the south will be seen by hollywood's great and famous
45:55for the first time tonight ladies and gentlemen the movie fans have turned out to watch the
46:01celebrities arrive and as you can tell
46:13good evening mr tussler nice to see you back in new york take your coat mr tussler hollywood
46:17mr tussler hi fine fine uh my wife come in yet i haven't seen her jimmy have you seen
46:21mr tussler tonight no i haven't seen her yet mr tussler what time is it jimmy it's 20 to 12
46:25mr tussler 20 to 12 say do you mind if i turn on your radio jimmy something i want to catch
46:29sure you can it's the opening of what used to be a play about social conditions in the south
46:33it was called sinners in asylum to tell you a little about the great range in human emotions
46:38portrayed in this latest super film success that gentleman from the south
46:41oh hello ma'am i'm sorry i'm late john i had to go by the house here's a telegram
46:56leland hayward sent it over oh read it will you darling john tussler 34 east 61st street
47:01new york city starting on new pictures super films offers fifty thousand dollars for john
47:06tussler sign sydney brand any answer dear you bet there's an answer take the wire mag
47:13mr sydney brand hollywood california john tussler offers fifty thousand dollars for super films
47:20john tussler will not let you down in the future ladies and gentlemen
47:23one and all far and wide i thank you thank you mr brand
47:40you have just heard i lost my girlish laughter starring our producer wells as the producer
47:46sydney brand and here he is orson wells ladies and gentlemen i've asked our announcer in his
47:54chapel to allow me to interrupt him for a moment to invite you to join george kaufman ilka chase
47:58tamara java and jane allen the originator of tonight's story in a somewhat peculiar little
48:02ceremony we are holding tonight in the latter's honor you see it's this way right now all that
48:08any of us on the campbell playhouse know for certain about jane allen the author of tonight's
48:12story is that jane allen is not the author of tonight's story jane allen is a phony i mean the
48:17name jane allen is a phony the real name of the perpetrator of i lost my girlish laughter is a
48:23well-kept secret with its publishers who have promised to present our authors tonight and think
48:28they can do it without revealing her identity or his identity or their identity whatever it may be
48:34this is a good trick if random house incorporated can do it but george kaufman ilka chase tomorrow
48:38jayven myself think they can't on just one minute jane allen is actually going to pay us a visit
48:44we calculate that between us we can expose her or him or them or it and we'd like you to help
48:49so consider yourself pleased for tonight a full member of our special secret service
48:54sworn to unmask all authors and authorises to the last poisoned pen name and stand by for orders
48:59when talking about campbell's tomato soup a while ago i pointed out that it has a flavor
49:11people never seem to tire of that is so from the first taste it wins you completely and then as
49:17long as you know it as many times as you have it your pleasure in it continues perhaps it's the
49:22fresh taste of sun-ripened tomatoes or the table butter that enriches it or the delicacy of the
49:27seasoning i think it's all of these that account for the always welcome flavor of campbell's tomato
49:33soup and i do urge you to have it often as the mainstay of the day's lighter meal as a pleasant
49:39start for dinner and sometimes to have it as cream of tomato with milk added instead of water but is
49:46it on your saturday shopping list put it down won't you campbell's tomato soup several cans
49:53and now here's orson well yes ernest chapel but where is jane allen well i'm sorry arson i haven't
49:59the slightest idea ladies and gentlemen i have every reason to believe that mr chapel speaks
50:02the truth because as i think i've already told you nobody on this program has the slightest idea
50:06who the author of this story really is we only know that i lost my girlish laughter was credited
50:11on its title page to somebody who calls herself for himself or themselves jane allen well i think
50:17i can tell you this much orson in checking the channel to columbia's private studio we've heard
50:21the miss allen on the microphone and she is certainly a lady well that's very nice of you
50:25and it's very nice to hear let's see now we know that our author is connected in some capacity with
50:30the motion picture industry and perhaps too for even more interesting reasons she has insisted
50:35on an absolutely all-around anonymity and now we know something more about her we know she isn't a
50:39man and that's something secret agent h204 george kaufman reporting for service yes h204 orson if
50:45jane allen is actually secreted someplace in the columbia broadcasting system why can't we trace
50:49just that way sorry george but the rules don't permit it if we knew where jane allen was going
50:53to broadcast from we could simply surround whatever place it is with inquisitive friends
50:56of ours and the game would be up oh all right secret operator ilka chase reporting for duty
51:01and i have a theory yes operator chase my hunch is that this allen woman is a collector of eccentric
51:06stories about hollywood and that i lost my girlish laughter is simply a collection i agree
51:11very well inspector tomorrow java and now i think it's about time that we put the whole thing
51:15squarely up to its originator commissioner ernest chappell are you ready with secret studio x yes
51:19inspector here we are are you ready miss allen are you ready miss allen ready for anything
51:24is your name jane allen yes mr kaufman for want of a better animal vegetable or mineral
51:30if inspector kaufman will have the goodness to stop grilling our guest of honor i'd like to
51:34preserve the enemy i mean the amenities and present it to you thank you awesome wells and
51:38good evening ladies and gentlemen uh now miss allen i'd uh like to ask you a question i must
51:44warn you that anything you say will be used by inspectors kaufman java and chase besides your
51:49audience and myself in our unrelenting efforts to unmask you miss allen how did you come to
51:55write i lost my girlish laughter because i got cheated out of a permanent commissioner chapel
51:59did you hear what i heard well it sounded like the lady said she was cheated out of a permanent
52:03now look here miss allen i've never been to hollywood i mean to hollywood to make a picture
52:07could you please clarify that last statement in words of one syllable well it seems that a writer
52:11came into our office the boss was in con that would be sydney brand the boss was in conference
52:16so this writer approaches me at the desk do you know something he says to me i ask him do i know
52:20what you're a rat caught in a trap he says to me outside the sun is shining bright golden rays of
52:26sheer joy and you sit here chained to your desk well to make a long story short he sells me and
52:31before i know it he's parted me from the five dollars i've saved for a permanent i see well
52:35that just sort of got me to thinking about writers and about books i thought how nice it would be to
52:39be a successful writer to sell a couple of million copies to sell the movie rights the stage
52:43rights the television rights the submarine rights to make a million dollars without having to punch
52:48a time clock every day to collect your salary miss allen uh did you make the million dollars
52:52how no i did not mr kaufman but there are other compensations yes well here am i and there you are
53:01and there's orson welles and ilka chase and tomorrow java what i mean to say is you certainly
53:06meet some interesting people even though you don't get to see them and miss allen did all
53:11those things you wrote about really happen to you miss chase i lost my girlish laughter is a novel
53:17and a novel is fiction oh by the way miss allen i don't know why i'm asking this but uh
53:22have you seen any good plays lately oh yes miss kaufman i saw the opening of your new play the
53:27american way last week and may i say it is one of the most moving and memorable evenings i've
53:32spent in fact a Kaufman can you tell me why you asked that last question elementary my dear well
53:37elementary the mere child's play of deduction that proves to us that jane allen is in new york among
53:43other things now tell me jane if i may call you jane and i might just work on you jane if anything
53:47else are you planning to write another book i'm afraid i've exhausted hollywood for the time being
53:51and now i'm looking for a new field oh good and you know mr wells i've always been curious about
53:56radio and from what i can gather from this broadcast it looks like a very unusual subject
54:02yes jane just what are you getting at mr wells would you care to hire a secretary
54:09thank you thank you mr herman for covering my confusion with a little music and thank you
54:14jane allen whoever you are wherever you are it's been very nice meeting you very nice telling your
54:19story and very nice trying to find you out my special operatives mr kaufman miss jayver miss
54:25chase mr chappell will all write what they think your name is on a small slip of white paper which
54:30i will immediately burn to a crisp so all things have been very pleasant and when you've written
54:34your next book the book about radio and the wild men from borneo who put on radio shows please jane
54:40let us put it into a radio show until then the campbell playhouse as always remains obediently
54:44yours and you miss allen i promise you will remain shrouded in the deepest pseudonymity
54:50and now in his chapel would you please divulge the real names of the people who played with us
54:54tonight i lost my girlish laughter well to begin with orson wells was sydney bryant the george
54:59kaufman was tussler ilka chase was madge lawrence and tamara jiva was sally aton fey was played by
55:06ray collins palmer by frank reddick roy by everett sloan edgar barrier played the part of bruce
55:12anders myron mccormick impersonated leeland hayward the part of francis smith was played
55:17by agnes moorhead raleigh by joseph cotton william allen was the assistant director and the music for
55:22the campbell playhouse was conducted by bernard herman and now orson will you tell us about next
55:28week's story next week the american nation observes the president's birthday by aiding
55:32him in his fight against infantile paralysis by dancing so that others may walk and next week
55:39we bring you one of america's foremost actresses in a story by one of america's foremost authors
55:44and a story that has been of immeasurable importance in bringing home to the american
55:49people the necessity for an organized fight against disease ladies and gentlemen next
55:54week's broadcast will be an adaptation of aerosmith by sinclair lewis and our guest
55:58will be helen hayes until next friday night until aerosmith my sponsor the makers of campbell soups
56:05and all of us in the campbell playhouse remain obediently yours
56:24so
56:28the makers of campbell soup join orson wells in inviting you to be with us at the campbell
56:33playhouse next friday evening to hear aerosmith starring miss helen hayes meanwhile if you have
56:40enjoyed tonight's campbell playhouse presentation won't you tell your grocer so tomorrow when you
56:45order campbell's tomato soup this is earnest chapel saying thank you and good night
57:02this is the columbia broadcasting system
57:15you