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00:00♪♪
00:16The makers of Campbell Troops present the Campbell Playhouse.
00:21Orson Welles, producer.
00:23♪♪
00:39Good evening, this is Orson Welles.
00:42Our story for tonight is Noel Coward's Private Life.
00:45When first produced several seasons ago, it startled London and delighted New York,
00:49prodding the critics to rustle among their dictionaries and bring out such adjectives as scintillating,
00:55Gothamer, gleaming, and hilarious.
00:58It must delight Noel Coward to look backward a few seasons
01:01and find his plays become acclaimed as one of the most famous and lasting of modern comedies.
01:07It's been played all over the world and extensively, although so far not successfully, imitated.
01:14While Mr. Coward is an astute theatrical observer and underneath its surface, brilliance,
01:19he has managed to catch the essential pattern of a modern love story.
01:24In writing about Private Lives, Mr. Coward has said,
01:27it was more difficult and full of pitfalls than anything I've ever attempted.
01:32But fortunately for me, I had the inestimable advantage of playing it with Gertrude Lawrence.
01:39And so three quarters of the battle was won before the curtain went up.
01:43Tonight we're sharing Mr. Coward's advantage.
01:45It is with great pleasure that we welcome as our guest star to the Campbell Playhouse,
01:50Miss Gertrude Lawrence in one of her acting triumphs, Noel Coward's Private Lives.
01:55The story of Elliot and Amanda, two young people who loved each other so intensely and so uproariously
02:01that they found it hard to live together and impossible to live apart.
02:06First, on behalf of our sponsors, a message.
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02:23But these cans would be Campbell's tomato juice.
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03:00The red of vine-ripened tomatoes picked at their very peak of flavor.
03:04Have you tried Campbell's tomato juice?
03:06If you haven't, won't you order a few cans tomorrow?
03:09Fill them thoroughly and give the family a treat with their Sunday breakfast.
03:13Once you know its keen, lively taste, I feel sure you'll want it regularly.
03:18And now, Gertrude Lawrence and Orson Welles in Private Lives.
03:32My name is Dupont, Jean-Paul Cazimier Dupont.
03:35I am a hotel manager.
03:37Six years in the hotel business, Cannes, Montauban, St. Maurice, and now the Hotel Normandy Deauville.
03:42Ladies and gentlemen, in this time I have made a most sensational discovery.
03:46It is very confidential.
03:48I wouldn't not have one person except you hear it.
03:51Ladies and gentlemen, Miss Lawrence, Mr. Welles, the English people are crazy.
03:58How do I know this?
04:00I give you just one little example.
04:02Last year, it is June...
04:04Wait a minute, please. I have it here in my little book.
04:07June 14th at 2.25.
04:10I am sitting in my office.
04:18Hello? Hello? Is this the Hotel Normandy Deauville?
04:21This is Elliot Tate speaking.
04:24I want a suite of rooms for tonight. Something overlooking the sea.
04:27One moment, please. I'll see what I can do.
04:30Just this morning we created the best room in the hotel.
04:33Number 21.
04:34Habitually lives there the ex-maharaja of Rook.
04:37All right, we'll be there around 8.
04:39Name's Tate. Mr. and Mrs. Elliot Tate.
04:41Yes, oui, monsieur.
04:42Goodbye.
04:43Goodbye, monsieur. Thank you, monsieur.
04:52Hello? Hello?
04:54Hotel Normandy Deauville.
04:56I say, this is Victor Prynne.
04:58Pardon, monsieur.
04:59This is Victor Prynne speaking.
05:02Victor Prynne.
05:03I want a suite for tonight. What have you got?
05:05One minute, monsieur. I'll look.
05:07Oh, la, la, la, la. You are a lucky man, monsieur.
05:09Just this morning we created the best room in the hotel.
05:12Number 22.
05:14Habitually lives there the ex-maharaja of Rook.
05:17Rook?
05:18Oh, all right. Well, we'll be there around about 8.
05:21Name's Prynne. Mr. and Mrs. Victor Prynne.
05:24Victor Prynne.
05:25Prynne?
05:26Prynne?
05:27Prynne.
05:28Oui, monsieur. Merci, monsieur.
05:30Goodbye.
05:31Goodbye, monsieur.
05:33That evening, at 8 p.m., arrives the first couple of English.
05:36Mr. and Mrs. Tate.
05:38Mrs. Tate, she's très gentille, très gentille.
05:40Small, blonde, with blue eyes.
05:42Mr. Elliot Tate, he's tall, he's thin, he's dark.
05:48Is this it here?
05:50Oui, monsieur.
05:51Prynne de Tate, number 21.
05:53This is our best suite.
05:54This is the suite of the ex-maharaja of Rook.
05:57Voila. We put your bag here in the corner, non?
06:00Thank you. That'll be very nice.
06:01And here, madame, is your balcony overlooking the sea.
06:05Oh, isn't that lovely?
06:07Yes, sir. It seems very fine, very fine.
06:09Now, do send us two champagne cocktails. That'll be perfect.
06:12Parfait, monsieur. Two champagne cocktails. Two sweets, please.
06:15Elliot. Elliot, dear, do come out.
06:18Out here on the balcony. It's so lovely.
06:20Just a minute. It's not so bad, this place.
06:23Oh, it's heavenly in the moonlight.
06:24And so private, with its own little rail and that band playing downstairs at the casino.
06:29Oh, Elliot, I'm so happy.
06:30Are you, Sybil?
06:31Are you?
06:32Of course I am. Tremendously happy.
06:33Just to think, here we are, you and I, married on our honeymoon.
06:37Yes, things have come to a pretty pad.
06:39Oh, don't laugh at me, Elliot.
06:40You mustn't be blargy about honeymoons just because this is your second one.
06:43Oh, that's silly.
06:44Have I annoyed you by saying that?
06:45Just a little.
06:46Oh, darling, I'm so sorry. Kiss me.
06:49There.
06:50You're not very enthusiastic.
06:52Is that better?
06:53Three times, please. I'm superstitious.
06:55You really are very sweet, Sybil.
06:57Are you glad you married me?
06:59Of course I am.
07:00How glad?
07:01Incredibly, magnificently glad.
07:03How lovely.
07:04Say, we ought to go and dress for dinner.
07:06Gladder than the last time.
07:07Why do you keep harping on that?
07:09She was pretty, wasn't she? Amanda.
07:11Very pretty.
07:12Prettier than I am.
07:13Much.
07:14Oh, yes.
07:16She was pretty and sleek.
07:18And her hands were long and slim.
07:20And her legs were long and slim.
07:22And she danced like an angel.
07:24You dance very poorly, by the way.
07:26Could she play the piano as well as I can?
07:28She couldn't play the piano at all.
07:29I love you far more than Amanda loves you.
07:31I never made you miserable like she did.
07:33We made each other miserable.
07:34It was all her fault, Elliot.
07:35You know it was.
07:36Yes, it was. Entirely her fault.
07:37She was a fool to lose you.
07:39We lost each other.
07:40She lost you with her violent temperament carrying on.
07:42Oh, will you stop talking about Amanda?
07:44You do hate her, don't you?
07:46She had some very good qualities.
07:47Do you think you could ever love her again?
07:49Of course not, Sybil. I love you.
07:51Oh, kiss me, darling.
07:52Sybil, once and for all, would you stop talking about Amanda?
07:54Yes, Elliot, dear.
07:56I don't wish to see her again or hear her name mentioned ever again.
07:59Very well, darling.
08:00Is that understood?
08:01Yes, darling.
08:02Where did you spend your honeymoon with Amanda?
08:04Now, let's be quiet.
08:05I hate St. Murray.
08:06So do I. Bitterly.
08:08Was she good on skis?
08:09Do you want to dine downstairs here or at the casino?
08:12I love you, I love you, I love you.
08:14Good. Let's go in.
08:15Kiss me, sir.
08:16Yes, dear.
08:17Oh, Elliot, darling.
08:19Come on, Sybil.
08:20It's getting late.
08:22So, this couple, Mr. and Mrs. Chang, they have been in a sweet connection.
08:27Alors, bon.
08:28At age 21, arrives the other English, the second couple, Mr. and Mrs. Victor Prynne.
08:34Mr. Victor Prynne is big and strong.
08:39What do you call absinthe?
08:40Le football, hein?
08:42Mrs. Victor Prynne, my friend.
08:45Mrs. Victor Prynne.
08:47Mrs. Victor Prynne, she is...
08:52Is this here?
08:53Is this here?
08:54Oui, oui, madame.
08:55Number 22.
08:56This is our guest suite.
08:57This is the suite of the ex-marriage ad hoc.
08:59Voilà .
09:00We put your bags in the corner.
09:01Non?
09:02No, thanks.
09:03They'll be fine.
09:04This is your balcony overlooking the sea.
09:08Oh, I say, that's wonderful.
09:11Yes, it all seems very nice.
09:12Oh, did you?
09:13Oui, madame.
09:14Will you send us up two dry martinis?
09:15Two streets, very dry.
09:16Pas ce moment, madame.
09:17Two martinis, very dry.
09:18Two streets, madame.
09:20Amanda!
09:22What?
09:23Come outside.
09:24The view is wonderful.
09:25Wait.
09:26And so private, with a little rail between us and the next balcony.
09:29Come on out.
09:30Wait a minute.
09:31Wait till I've got a wrap on.
09:33I shall catch pneumonia.
09:34That's what I shall catch.
09:36Joe!
09:37I beg your pardon?
09:38You look wonderful, Amanda.
09:40Thank you, darling.
09:41You know, like a beautiful inversion of something.
09:43Nothing peculiar, I hope.
09:45Well, I can hardly believe it's true.
09:47You and I here alone together, married.
09:51Do you love me?
09:52Of course, Victor.
09:53That's why I'm here.
09:54More than?
09:55Nothing.
09:56None of that.
09:57No, but you, do you love me more than you loved Elias?
09:59I don't remember.
10:00It's such a long time ago.
10:01Well, I'd like to break his blasted neck.
10:03Oh, why?
10:04For making you unhappy.
10:05It was mutual.
10:06Rubbish.
10:07It was all his fault.
10:08You know it was.
10:09Yes, it was.
10:10Now I come to think about it.
10:11Wine.
10:12Something so glum and darling.
10:13I'll never treat you like that.
10:14That's right.
10:15I love you too much, Amanda.
10:16So does he.
10:17Well, fine for the love that is.
10:18He struck you once, didn't he?
10:20More than once.
10:21Where?
10:22Several places.
10:23Well, I cared.
10:24I struck him, too.
10:25Once I broke four gramophone records over his head.
10:28It was very satisfying.
10:29You must have been driven to distraction.
10:31Yes, I was.
10:32But don't let's talk about it, please.
10:33Look at the light of that yacht reflected in the water.
10:36I wonder who's it to.
10:37Oh, you're so beautiful, Amanda.
10:39I couldn't love you more than I do now.
10:41Oh, dear.
10:42I did so hope our honeymoon was going to be progressive.
10:44Where did you spend the last one?
10:45Victor.
10:46I want to know.
10:47St. Moritz.
10:48It was very attractive.
10:49I hate St. Moritz.
10:50So do I.
10:51Did Elias start quarreling with you right away?
10:53Within the first few days.
10:54I put it down to the high altitude.
10:56And you loved him?
10:57Yes, Victor.
10:59You poor child.
11:01You know, Amanda, I think you loved me quite differently
11:04from the way you loved Elias.
11:05I do wish you would stop harping on Elias.
11:07Sure enough, though, isn't it?
11:08I love you much more calmly, if that's what you mean.
11:11More lastingly?
11:12I expect so.
11:13Well, where did you first meet Elias?
11:15Oh, blast, Elias.
11:16Mandy.
11:17I forbid you to mention his name again.
11:19I'm sick of the sound of it.
11:20You must be raving mad.
11:22Here we are on our honeymoon with the moon coming up
11:24and the music playing.
11:25And all you can do is talk about my first husband.
11:27It's downright sacrilegious.
11:28Oh, dear.
11:29Don't be angry.
11:30Well, it's very annoying.
11:31Will you forgive me?
11:32Yes, Victor.
11:33But don't do it again.
11:34I promise.
11:35You'd better go and shave, my dear.
11:36You look fairly awful.
11:37Well, where should we dine?
11:39Downstairs here or at the casino?
11:40Well, the casino is more fun, I think.
11:42Kiss me.
11:44There, dear.
11:45Now, hurry.
11:46I'm dreadfully hungry.
11:47Oh, give me five minutes.
11:48And when the cocktails come, have them sent out here
11:50on the balcony.
11:51All right.
11:52Go along now.
11:53Hurry.
11:54I'll wait for you here.
11:55Ladies and gentlemen, it is 8.41.
11:57I am standing in the garden.
11:59It is moonlight, and the music is playing.
12:01Above me is the balcony.
12:04The 321, the 322.
12:07321 is this Englishman, Mr. Elliot Chase.
12:10322 is this other Englishman, Mr. Victor Prince,
12:13each has his wife.
12:14Now, listen carefully, please.
12:16While I watch, commences on the balconies a movement.
12:20In on balcony 21, little by little,
12:23he is moving toward her on balcony 22.
12:25She on balcony 22.
12:27She is moving little by little toward him on balcony 21.
12:31Between them now is only the little railing.
12:43I am now in the moonlight, my friend.
12:46Above my head, I see the moon.
12:53The moon.
13:11Elliot.
13:13Amanda.
13:15Thoughtful of him to say that, too, wasn't it?
13:17Amanda.
13:19What are you doing here?
13:21I'm on my honeymoon.
13:22Oh, interesting. So am I.
13:27Are you happy, Amanda?
13:28Perfectly.
13:29Good. That's all right, then, isn't it?
13:32Are you?
13:33Ecstatically.
13:34I'm delighted to hear it.
13:35We shall probably meet you again sometime.
13:38Au revoir, Elliot.
13:40Goodbye, Amanda.
13:41Elliot, are you still out there on the balcony?
13:53Hello, Sybil.
13:55How are the cocktails, dear?
13:56Really, what's the matter? Wasn't I quick?
13:58Sybil, I feel very odd, suddenly.
14:01Odd? What do you mean, ill?
14:02Yes, ill.
14:03What sort of ill?
14:04You must leave at once.
14:05Leave?
14:06Yes, Sybil. Leave this place immediately.
14:07But he's only just come.
14:08I know that, but it can't be helped.
14:10What has happened?
14:11Nothing has happened.
14:12Elliot, you've gone out of your mind.
14:13I haven't gone out of my mind.
14:14But I tell you, if we stay here another hour, I will.
14:16But, darling, everything's on hold.
14:17Now, please, Sybil, I know it sounds crazy to you,
14:19but I've got a second sight over certain things.
14:22I'm almost psychic.
14:23If we stay here, something appalling will happen.
14:25I know it.
14:26You mean there's going to be an earthquake or something?
14:27Very possibly. Very possibly, indeed.
14:29They don't have earthquakes in France.
14:31Don't quibble, Sybil.
14:33I'm asking you, imploring you, to come away from this place.
14:36Now. Tonight.
14:37But I love it here.
14:38There are thousands of other places far nicer.
14:40Well, it's a pity we didn't go to one, I suppose.
14:42Sybil, if there's one thing in the world that infuriates me,
14:44it's sheer wanton stubbornness.
14:46I should like to cut off your head with a meat axe.
14:48How dare you talk to me like that on our honeymoon.
14:50Mother was perfectly right.
14:51She said you had shifty eyes.
14:52Well, you don't love me one little bit.
14:54I wish I were dead.
14:55Will you or will you not come to Paris?
14:56No, I won't.
14:57Well, I will.
14:58I'm going now, this minute.
14:59Elliot, wait for me.
15:00Elliot.
15:01Goodbye.
15:03Amanda, Amanda, you're behaving like a lunatic.
15:05Not at all, Victor.
15:06All I've done is to ask you a little favor.
15:08Little favor, indeed.
15:09If we left now, we could be in Paris in a few hours.
15:11If we crossed Siberia by train, we could be in China in a fortnight.
15:14But I don't see any reason to do it.
15:15Oh, Victor, darling, please, please be sensible.
15:17Just for my sake.
15:18Why on earth didn't you think of this tragedy before?
15:20I forgot.
15:21Well, you couldn't forget a thing like that.
15:22Well, I got the places, mother.
15:24Then when I saw the casino there and the moonlight, it all came back to me.
15:27When did all this happen?
15:28Years ago.
15:29But it might just as well have been yesterday.
15:31I can see her now, lying dead, all white and cold,
15:33with that dreadful expression on her face.
15:35Whose face?
15:36My sister's face.
15:37Amanda, I never knew you had a sister.
15:41I haven't anymore.
15:42There's something behind all this.
15:44Don't be silly, Victor.
15:45What could there be behind it?
15:46Well, for one thing, Amanda, I know you're lying.
15:48Victor!
15:49Be honest, aren't you?
15:50I can't think how you can be so mean and suspicious.
15:52You're lying, Amanda, aren't you?
15:55Yes, Victor.
15:57Why do you want to leave so badly?
15:58You'll be angry if I tell you the truth.
15:59What is it?
16:00I warn you.
16:01Tell me.
16:02Please tell me.
16:03All right.
16:04Elliot, here.
16:05What?
16:06I saw him.
16:07When?
16:08Just now, while you were shaving.
16:09Then what is it?
16:10Down there in the garden, in a white suit.
16:11White suit?
16:12Why not?
16:13It's summer, isn't it?
16:14Did he see you?
16:15No, he was running.
16:16What was he running for?
16:17How on earth do I know?
16:18Don't be so annoying.
16:19Well, as long as he didn't see you, it's all right, isn't it?
16:20It isn't all right at all.
16:21We must leave immediately.
16:22I absolutely refuse to change all our plans at the last moment,
16:23just because you think you've seen your former husband.
16:25If he annoys you in any way, I'll knock him down.
16:27That's worth a shot.
16:28And I don't want to talk about it anymore.
16:29I see.
16:30I see quite clearly now that I've been foolish enough
16:32to marry a fat old gentleman in a club-arm chair.
16:35You're a pompous ass.
16:36Amanda, control yourself.
16:37Get away from me.
16:38I can't bear to think I'm married to such a rugged grandson.
16:40Amanda.
16:41Go away.
16:43Very well, Amanda.
16:44If that's how you feel, I shall be in the bar.
16:47When you are ready to come down and dine, let me know.
16:50Go away.
16:51Go away.
16:52I'm going.
17:01Hello, Elliot.
17:03Hello, Amanda.
17:05I'm in such a rage.
17:07So am I.
17:08What are we going to do?
17:09I don't know.
17:10Whose yacht is that down there in the harbor?
17:12Duke of Westminster's, I expect.
17:14It always is.
17:15I wish I were on it.
17:16I wish you were, too.
17:17There's no need to be nasty.
17:18Yes, there is every need.
17:19I've never in my life felt a greater urge to be nasty.
17:21You've had some urges in your time, haven't you, dear?
17:23If you stop bickering with me, Amanda, I swear I'll throw you
17:25over the edge of this balcony.
17:27Quiet.
17:28That's all.
17:29Just quiet.
17:30You've upset everything, as usual.
17:31I've upset everything.
17:32What about you?
17:33Ever since the first moment I was unlucky enough to set eyes on you,
17:35my life has been insupportable.
17:37Oh, Duke, shut up.
17:38There's no use in going on like this.
17:40Nothing's any use.
17:41There's no escape.
17:42Ever.
17:43Don't be melodramatic.
17:45Do you want a cocktail?
17:46There's two here.
17:48There's two over here, as well.
17:50We'll have my two first.
17:51Come on over.
17:52Over the rail.
17:53Here.
17:54Let me help you.
17:55Let me help you.
17:56Try it.
17:58Thanks.
17:59Well, here's to you, Amanda.
18:03I tried to get him away the moment after I'd seen you,
18:06but he wouldn't budge.
18:07What's his name?
18:08Victor.
18:09Victor Prince.
18:11Mr. and Mrs. Victor Prince.
18:14Mine wouldn't budge, either.
18:15And what's her name?
18:16Sibyl.
18:17Mr. and Mrs. Elliot Chase.
18:20Poor girl.
18:22Are you in love with him, Amanda?
18:23Of course.
18:24How funny.
18:25I don't think anything particularly funny about it.
18:27You're in love with yours, aren't you?
18:29Certainly.
18:30There you are, then.
18:31Well, there we both are, then.
18:34What's she like?
18:35Fair, very pretty.
18:36Plays the piano beautifully.
18:37Very comforting.
18:38How's yours?
18:39I don't wish to discuss it.
18:41Well, it doesn't matter.
18:42It'll probably come popping out in a minute,
18:44and I shall see for myself.
18:46Does he know I'm here?
18:47Yes.
18:48I told him.
18:49That's going to make things a whole lot easier.
18:51No, you needn't be so frightened, Elliot.
18:52He won't hurt you.
18:53He comes near me, I'll scream the place down.
18:55Does Sibyl know I'm here?
18:57No, I pretended I had a presentiment.
18:59I tried terribly hard to persuade her to leave for Paris.
19:02I tried too.
19:04What's happened to yours?
19:05Didn't you hear her screaming?
19:06She's downstairs in the dining room, I think.
19:08Mind being grand in the bar.
19:11It really is awfully difficult.
19:13Awfully difficult.
19:16I say, that orchestra's a remarkably small repertoire.
19:18Yes, they don't seem to know anything but this, do they?
19:22You always had a sweet voice, Amanda.
19:26Amanda, I'm awfully sorry about all this, really, I am.
19:29I wouldn't have had it happen to the world.
19:31I know.
19:32I'm sorry, too.
19:34It's just rotten luck.
19:36I'll go away tomorrow, whatever happens, so don't you worry.
19:38That's nice of you.
19:40I hope everything turns out splendid for you.
19:42I hope you'll be very happy, Amanda.
19:44I hope the same for you, too.
19:49Nasty, insistent little jewel.
19:51Extraordinary how potent cheap music is.
19:56What exactly were you remembering at that moment?
19:58St. Morris.
20:00The Paris Hotel skating rink in the morning.
20:02Bright, strong sunlight.
20:04Everybody whirling around in vivid colors.
20:07And you kneeling down to put my skates on for me.
20:10You'd fallen on your face a few minutes before.
20:12It was beastly of you to laugh at me like that.
20:15I felt so humiliated.
20:16Poor darling.
20:18Do you remember waking up in the morning,
20:20standing out on the balcony looking across the valley?
20:23Blue shadows on white snow.
20:25Clean relief.
20:26High above everything in the world.
20:29How beautiful it was.
20:31It's nice to think we had a few marvelous moments.
20:34A few?
20:35We had heaps, really.
20:37Only they slip away into the background,
20:39and one only remembers the bad ones.
20:41Yes.
20:42What fools we were to ruin it all.
20:45What utter, utter fools.
20:47You feel like that, too, do you?
20:49Of course.
20:51Why did we?
20:52The whole business was too much for us.
20:55We were so ridiculously over in love.
20:59Funny, wasn't it?
21:01Horribly funny.
21:03Selfishness, cruelty, hatred.
21:05Possessiveness and petty jealousy.
21:08All those qualities came out in us just because we loved each other.
21:12Perhaps they were there anyhow.
21:13No.
21:14It's love that does it.
21:16Love is no good.
21:18We're down with love.
21:19And yet, here we are starting afresh with two quite different people.
21:24In love all over again, aren't we?
21:27Aren't we?
21:28No.
21:29Elias.
21:30We're not in love all over again.
21:32And you know it.
21:34Good night, Amanda.
21:35Elias, don't be silly.
21:36Come back.
21:37I'm up to my civil.
21:38I must go and find Victor.
21:40Well, why don't you?
21:43I don't want to.
21:44Oh, it's shameful.
21:45Shameful of us.
21:46Oh, don't.
21:47I feel terrible.
21:48Don't leave me for a minute.
21:49I'll go mad if you do.
21:51Now, listen.
21:52We won't talk about ourselves anymore.
21:54We'll just talk about outside things.
21:55Anything you like.
21:56Only just don't leave me until I pull myself together.
21:58Very well.
22:01What have you been doing lately during this last year?
22:04Traveling about.
22:06Went around the world, you know.
22:08After...
22:09Yes, yes, I know.
22:10How was it?
22:11The world?
22:12Yes.
22:13Highly enjoyable.
22:14Fine.
22:15Very big, China.
22:17And Japan.
22:18Very small.
22:20Did you eat shark fins and take your shoes off and use chopsticks and everything?
22:24Practically everything.
22:26And India.
22:27The burning gas or gas or whatever they are.
22:29The Taj Mahal.
22:30How was the Taj Mahal?
22:31Unbelievable.
22:32A sort of dream.
22:33That was the moonlight.
22:34Yes.
22:35Moonlight is cruelly deceptive.
22:37Darling, darling, I love you so.
22:39I do hope you met a sacred elephant.
22:41They're limp white, I believe, and very, very sweet.
22:43I've never loved anyone else for an instant.
22:45No, no, no, you haven't.
22:46Darling.
22:47Elliot, stop it.
22:48You love me too, don't you?
22:49There's no doubt about it anywhere.
22:50Is there?
22:51No.
22:52No doubt anywhere.
22:54You're looking very lovely, Amanda, in this moonlight.
22:57Your skin is clear and cool.
22:59And your eyes are shining.
23:01And you're growing lovelier and lovelier every second as I look on you.
23:06You don't hold any mystery for me, darling.
23:09Do you mind?
23:11I'm glad, my sweet.
23:13More than any desire anywhere.
23:16Deep down in my deepest heart, I want you back again.
23:22Please.
23:23Don't say anymore.
23:25You're making me cry so deaf.
23:27Amanda.
23:29What now?
23:31Oh, darling, what now?
23:33I don't know.
23:35I'm lost, utterly.
23:36Let me think quickly, quickly.
23:38Yes.
23:40Yes, you've got to decide instantly, one way or another.
23:42Go away together now and stay with him.
23:44And never see one another again, ever.
23:46Cindy, what choice is this?
23:47No choice at all.
23:48Come on.
23:49No, wait.
23:50This is sheer and raving madness.
23:51Something's happened to us.
23:52We're not safe.
23:53We never were.
23:54Where can we go?
23:55Paris first.
23:56My car's in the garage already.
23:57No, follow it.
23:58That doesn't matter once the thing's done.
23:59Oh, Elliot, we're being so bad.
24:00So terribly bad.
24:01We're horrible as I know we should be.
24:02God be helped.
24:03Starting all those awful rows all over again.
24:04Oh, no, no.
24:05We're older and wiser now.
24:06What difference does that make?
24:07The first moment either of us gets a bit nervy off,
24:08we'll go again.
24:09Well, stop shilly-shallying, Amanda.
24:10I'm trying to be sensible.
24:11You're only succeeding in being completely idiotic.
24:13Idiotic indeed.
24:14What about you?
24:15Now, look here, Amanda.
24:16Elliot.
24:17Darling, darling.
24:18I didn't mean it.
24:19I won't move from here until we have a pact.
24:21A sacred, sacred pact never to quarrel again.
24:23Easy to make, but difficult to keep.
24:25No, no, no.
24:26It's the bickering that does it.
24:27The moment we notice we're bickering, either of us,
24:29we must promise on our honor to stop dead.
24:32We'll invent some phrase or catch word,
24:34which when either of us says, it automatically
24:36cuts off all conversation for at least five minutes.
24:38Two minutes, dear, with an option of renewal.
24:40Oh, very well.
24:41What shall it be?
24:42Solomon Isaacs.
24:44Solomon Isaacs.
24:45All right, that'll do.
24:46Come on.
24:47Come on.
24:48What shall we do if we meet either of them
24:49on the way downstairs?
24:50Run like stags.
24:51Oh, darling, I dare not.
24:52It's too wicked of me.
24:53I simply dare not.
24:54Solomon Isaacs.
24:55But Elliot, darling.
24:56Solomon Isaacs.
24:57Come on, Amanda.
24:58Quick, someone's coming.
24:59This way, for real.
25:00Hurry.
25:01Hurry up, darling.
25:02Oh, but darling.
25:07Oh.
25:08Oh.
25:09Evening.
25:10Oh, good evening.
25:11I was, uh, looking for my husband.
25:13Oh, yes.
25:14That's funny.
25:15I was looking for my wife.
25:16Huh.
25:17Quite a coincidence.
25:18Yes.
25:19Uh, my name's Prynne.
25:21Victor Prynne.
25:22My name's Sybil Chase.
25:24How do you do?
25:25How do you do?
25:26It's nice here, isn't it?
25:28Lovely.
25:29Been here long?
25:30No, we only arrived this evening.
25:32Another two or three days.
25:33How awfully sunny.
25:34Oh, would you care for a cocktail?
25:35Oh, no, thank you.
25:36Really.
25:37Oh, there's two here on the table.
25:38Uh, on my side.
25:39Oh, thanks very much.
25:40I'd love one.
25:41Good.
25:42Here you are.
25:44It's awfully pretty here, isn't it?
25:45The moonlight and the lights of that rock reflected in the water.
25:46Yes.
25:47I wonder who it belongs to.
25:48Oh.
25:49To Absinthe Flynn.
25:50To Absinthe Flynn.
25:51Oh.
25:52Oh.
25:53Oh.
25:54Oh.
25:55Oh.
25:56Oh.
25:57Oh.
25:58Oh.
25:59Oh.
26:00Oh.
26:01Oh.
26:03To Absinthe Flynn.
26:04Yes.
26:07Ladies and gentlemen, the life of the hotel manager, it is a torment, a living inferno.
26:12And always, nearly always, this is so, ladies and gentlemen, the hotel manager dies young.
26:19It is the fault, almost entirely the fault, of the English people.
26:23I give you now an example.
26:25On June 14th of last year, I lose for my hotel suddenly in the night, four customers.
26:29four customers. At six minutes after nine departs Mr. Elliot Chase. At thirty-one minutes after
26:35eleven departs Mr. Victor Prynne. But this is the strange thing. Mr. Victor Prynne does not
26:41depart with Mrs. Victor Prynne. Why does he not depart with his wife, Mrs. Victor Prynne?
26:46Because Mrs. Victor Prynne is not here anymore. And why is Mrs. Victor Prynne not here anymore?
26:52Because Mrs. Victor Prynne is on the way to Paris. And with whom is she on the way to Paris?
26:59With Mr. Elliot Chase. It is as I have said. You see what I tell you. People are crazy.
27:24You are listening to the Campbell Playhouse presentation of Private Lives.
27:28Starring Gertrude Lawrence and Orson Welles. This is the Columbia Broadcasting System.
27:58This is Ernest Chapel, ladies and gentlemen, welcoming you back to the Campbell Playhouse.
28:05In a moment or two we will resume our presentation of Noah Coward's Private Lives,
28:09but first a message. I imagine that Campbell's soups are used in your home just as they are in
28:14millions of homes across the country. But tonight I want to ask you about something else which
28:18Campbell's makes. Campbell's tomato juice. Have you tried it? A great many people have,
28:23because Campbell's is the largest selling tomato juice in America.
28:26Shortly after Campbell started making it just a few years ago,
28:30women saw it in their grocery stores. Being acquainted with the goodness of Campbell's
28:34soups, many of them decided to try Campbell's tomato juice. At first taste they must have
28:39liked it and then told their friends and neighbors about it for its popularity had
28:42spread from coast to coast. There are those who have orange juice every morning for breakfast,
28:48still others have tomato juice every morning. Perhaps the largest group of all have orange
28:52juice one morning and tomato juice the next. On your tomato juice mornings I'd like to urge you
28:57to drink Campbell's tomato juice. Now we resume our Campbell Playhouse presentation
29:03of Noah Coward's Private Lives starring Gertrude Lawrence and Orson Welles.
29:07Elliot?
29:19Elliot? Yes, Amanda? I'm so glad we didn't go out this evening. Oh, so am I. Our first evening in
29:26Paris. Oh, it's nice here, isn't it? Strangely peaceful. And the drive up was lovely. How do
29:32you know? You slept most of the way. I know I did, darling, but it was lovely anyway. We've hardly
29:37used Solomon Isaacs all day. Solomon Isaacs is so long. Let's shorten it to Solon. Solon. All right.
29:47Happy, darling? Of course. Even happier we've had dinner. How long do you think it'll be? Oh,
29:53I don't know. The French are a very conscientious people. We may get it by nine or ten. That's good.
29:58You know, Amanda, it's an awful bad reflection on our characters. We ought to be absolutely
30:05tortured with conscience. You are every now and then. Not nearly enough. Well, we sent Victor and
30:09Sybil a nice wire from wherever it was. What more can they want? You're even more ruthless than I
30:14am. I don't believe in crying over my bridges before I've eaten them. Very sensible. Personally,
30:18I feel grateful for a miraculous escape. I know now that I should never have been happy with Victor.
30:23I was a fool ever to consider it. You did a little more than consider it. Well, you can't talk.
30:28I wonder whether Victor and Sybil met each other, whether they've been suffering alone. Oh,
30:32dear, don't let's go on about it. It really does make one feel rather awful. I know, I know, but
30:36I suppose one or the other, both of them will turn up eventually. Bound to. Won't be very nice
30:41will it? Perfectly horrible. Darling, you do look awfully sweet in your little smoking jacket.
30:47Yes, it is pretty ravishing, isn't it? Do you mind if I come around and kiss you?
30:51A pleasure, Lady Agatha. Much fault we were to subject ourselves to five years unnecessary
30:57suffering. Perhaps it wasn't unnecessary. Perhaps it mellowed and perfected us like
31:02beautiful ripe fruit. And yet when we were together, did you really think I ever looked
31:07at anyone else? Yes, practically all the time. I thought you did too. I used to torture myself
31:13with visions of you bouncing apart with awful widows. Why widows? Well, I was thinking of
31:19Clare Lavenham, really. Oh, Clare. What do you say, oh, Clare, like that for? Sounded far too
31:25careless to me. What a lovely creature she was. Oh, lovely, lovely, lovely. Lovely, darling.
31:31Trifle over vivacious, I always thought. But that was probably because she was
31:35funded mentally. Oh, now, darling. Your taste always is. Sollocks. Oh, sorry, darling.
31:42What are you thinking about? Nothing in particular. Come on, I know that face.
31:49Poor Sybil. Sybil? Look, I thought she loved you tenderly. Well, not as much as all that. She
31:55didn't have a chance to get really underway. I bet she's dreadfully unhappy. Oh, do shut up,
32:00Armando. We've had all that out before. What if we'd never happen to meet again?
32:06Would you have been quite happy with Sybil? I expect so. Oh, well, yes. Wouldn't he look so
32:10stricken? If it was the same with you and Victor, life would have been smooth and amicable and
32:14quite charming, wouldn't it? Oh, dear, Victor. He certainly did love me. Splendid. When I first
32:20met him, I was so lonely and depressed. I thought that I was growing old and clumbering away
32:25unwanted. It certainly is horrid when one begins to crumble. He used to look at me hopelessly like
32:30a lovely spaniel, and I sort of melted like snow in the sunlight. That must have been an edifying
32:36spectacle. Victor really had great charm. You must tell me all about it. He had a positive
32:40manner for looking after me and protecting me. That would have died down in time, dear.
32:44You mustn't be rude. There's no necessity to be rude. I wasn't in the least rude. I merely
32:49made a perfectly rational decision. Your voice was distorted, Lipitzer. Victor had glorious legs,
32:53hadn't he? And fascinating ears. Elliot. I'm sick of listening to you yap, yap, yap, yap,
32:59yapping about Victor. Now listen, Elliot, once and for all. Oh, my dear. Follocks.
33:03Follocks. Thirty seconds. Follocks. Here it follows.
33:07We're in love, all right. Oh, don't say it so bitterly. Let's try to get the best out of this
33:14time instead of the worst. It was my fault. And I'm terribly sorry, darling. I was very
33:19irritating. I know I was. I'm sure Victor was awfully nice, and you're perfectly right,
33:23dear sweetheart. It's downright handsome of you. Yes, I think I love you more than ever before.
33:28Isn't it ridiculous? Come on, sit down on the sofa here beside me. Comfortable?
33:35Almost. Wait a minute. You know, this is far too perfect to last. You have no face.
33:41That's what's wrong with you. Absolutely none. I do love you so. Don't breathe so hard,
33:46dear heart. It gives me the shivers. Twibble your face around a bit more. Is that better?
33:50Very nice. Thank you kindly. No, darling, it's a terribly, terribly dear and sweetness after.
33:57We were raving mad ever to party in England. Not a imbecile. I realized it almost immediately.
34:03It was long before we got our decrees. And my heart broke on that trip around the world.
34:09I saw such beautiful things, darling. Moonlight shining on old temples, strange barbaric dances
34:16in jungle villages, scarlet flamingos flying over deep, deep blue water. Breathlessly lovely.
34:23Completely unexciting, because you weren't there to see them with me. Oh, take me there,
34:27please. Take me at once. Let's make up for lost time. Next week. Tomorrow. Done.
34:31I must see those beautiful things. Angel. Angel. Angel. No, Elliot, that's enough.
34:37Please don't kiss me anymore. Why not? Not before dinner. You're going to say
34:42the most awful things. I don't say anything particularly awful about that. No sense of
34:45glamour. No sense of glamour at all. Well, it's very difficult to feel really glamorous with a
34:48crick in the neck. Why didn't you say you had a crick in your neck? Well, it's gone now. How
34:51convenient. Cigarette, please. Here. Naps. Wait a minute, can't you? Sure, it's a little love.
35:00Thank you very much, indeed. You don't have to throw them at me. You really can be more
35:04irritating than anyone in this world. I fail to see what I've done that's so terribly irritating.
35:08You have no tact. Tact? You have no consideration. For dinner, indeed. That sort of remark shows a
35:12rather common sort of mind, I'm afraid. Oh, it does, does it? Very unpleasant,
35:16makes me shudder. Makes all this fuss just because your silly vanity's a little upset? Vanity? What
35:19do you mean, vanity? Amanda, has it ever occurred to you? You know perfectly well what I mean,
35:23and don't try to pass it on me. Now, look here, Amanda. Darling, darling, solace,
35:27by heaven's sake, solace. Now, listen. Solace, solace, oh dear, triple solace. Solace.
35:49Big romantic stuff, this, darling? Yes, big romantic stuff.
35:54You're the most thrilling, exciting woman that was ever born.
35:59Dearest, dearest heart. Oh, good heavens.
36:03Do you think it's them? I wonder.
36:05Does Victor know this number? Of course he does. Nobody else knows. I'm
36:07back in town. It must be them, then.
36:09What are we to do? We're all right, darling, aren't we? Whatever
36:11happens. Come on, don't worry, my son.
36:12I don't care, then. It was bound to come soon, Rolette.
36:15Hello, hello, hello, what? Como? Madame Qui?
36:19Allo, allo. Who's that? Oh, Madame Duvalon, oui, oui, oui.
36:23Sorry, somebody wanted to talk to the dear Madame Duvalon, dear.
36:26Who said? My insanest idea.
36:28Je le regret beaucoup, monsieur. Madame Duvalon vient de partier.
36:32C'est après-midi pour Madagascar. Oh, that gave me a fright.
36:36What did you say? I said Madame Duvalon sailed today for
36:38Madagascar. Amanda, what shall we do if they suddenly walk in on us?
36:43Behave exquisitely. With the most perfect poise.
36:46Certainly. I could probably do a court case, this.
36:49You know, things that ought to matter dreadfully don't matter at all when one's happy,
36:52do they? What's so terrible is that one can't stay
36:55happy. Darling, don't say that.
36:56It's true. The whole business is a very poor joke.
37:00Meaning that sacred and beautiful thing, love. Yes, meaning just that.
37:05Don't laugh at me, I'm serious. You mustn't be serious, my dear,
37:08when it's just what they want. Who's they?
37:11They, all the dull and stupid people who try to make life unbearable.
37:14Laugh at them. Laugh at everything. If I laugh at everything, I must laugh at us,
37:20too? Certainly you must.
37:21We're figures of fun, all right. How long will it last?
37:24This ludicrous, overbearing love of ours? Elliot, should we always want to bicker and
37:29fight? Who knows?
37:31It all depends on how well we've played. What happens if one of us dies?
37:36Does the one that's left still laugh? Oh, yes, yes, with all his might.
37:40I believe you're talking nonsense. So does everyone else in the long run.
37:44Darling, do you remember that awful scene we had in Venice?
37:47Oh, that was ridiculous. When your curling iron
37:50burned a hole in my new dressing gown. That was a rouser, wasn't it?
37:53That was the first time you ever hit me. I didn't hit you very hard.
37:56We were very much younger then. And very much thinner.
37:58As a matter of fact, the real cause of that row was Peter Burden.
38:00Oh, you knew there was nothing in there? I didn't know anything of the sort.
38:02You took presents from him. Presents?
38:04A fragile little boat. I remember it well.
38:06Bristling with diamonds. The worst possible taste.
38:09Not at all. It was very pretty. I still have it, and I wear it often.
38:12You went out of your way to torture me over Peter Burden.
38:14I didn't. You worked the whole thing up on your own stupid imagination.
38:16You must admit that he was in love with you, wasn't he?
38:18Just a little, perhaps. Nothing serious.
38:21You let him kiss you. You said you didn't.
38:23Well, what of it? What of it?
38:25Well, it gave him a lot of pleasure, and it didn't hurt me.
38:27What about me? Well, if you hadn't been so
38:29suspicious and known, he'd never have known a thing about you.
38:31That's a nice point of view, I must say. Oh, dear, I'm bored with the whole conversation.
38:35So am I. Bored stiff. Want a cocktail?
38:37No, thanks. I'll have a small one, I think.
38:40I don't see why you want it. You've already had two.
38:42No particular reason anyhow. They were very small ones.
38:44Seems so silly to go on and on and on and on and on about a thing.
38:47It's hardly called three dry martinis in a whole evening, going on and on and on and on.
38:52It's become a habit with you. You needn't be so grand.
38:54It's because you don't happen to want any yourself at the moment.
38:56Don't you say? Oh, really, Amanda.
38:57What? Nothing. It's a pity you didn't have another
38:59martini. It might have made you a little less disagreeable.
39:01It doesn't seem to work such wonders with you.
39:03Snap, snap, snap, just like a little adder. Adders don't snap. They sting.
39:07Nonsense. They have a little bag of venom behind their fangs, and they snap.
39:09They sting. They snap.
39:10They sting. I don't care, do you understand?
39:12I don't care. I don't mind if they bark and roll about like hoops.
39:14Not very fine, do you? You'd better have another cocktail.
39:16Very good idea, I will. Ridiculous act.
39:18I beg your pardon? I said ridiculous act.
39:20You'd better turn that radio off, I think.
39:25Why? It's quite late.
39:27It'll annoy the people upstairs. There aren't any people upstairs.
39:30It's a supposable studio. There are people downstairs, I suppose.
39:32Get away and tune it. This is no time of the year for tuning.
39:36Turn it on again, please. I'll do no such thing.
39:41Very well, if you insist on being boorish and idiotic.
39:45Turn it off. It's driving me mad.
39:46You are far too temperamental. Try and control yourself.
39:48Turn it on. I won't.
39:52There. Now you've turned it on as a wall.
39:53Good job, too. Disagreeable pig.
39:55Amanda, put that radio down. Amanda, darling.
39:57Solace, solace. Oh, solace yourself.
40:00You spiteful little beast.
40:02Oh, you struck me. This is the end, you understand?
40:07The end. Finally and forever, I'm leaving.
40:09You're not going away like this. Oh, yes, I am.
40:11Oh, no, you're not. Oh, yes, I am.
40:13Oh, shut up. You cruel thing.
40:14Shut up. I wouldn't have you again.
40:15I hate to know you. You're a mean, evil vampire.
40:19I hope I never set eyes on you again so long as I live.
40:22You beast. You beast. You're a bad, you're bad.
40:25You beast. You beast.
40:26I hate every part of your body.
40:42Victor, are you sure this is the right place?
40:44Of course I am. This is Amanda's apartment.
40:47Oh, well, that settles it. There's nobody here.
40:49Oh, the door's open. Oh, that's strange.
40:52Oh, it is. I say, what's been going on here?
40:54I never thought it was a bomb. I'm afraid they'd kill each other.
40:57Amanda. Elliot.
40:58Shut up. I say, they've all these bedroom doors locked.
41:03Well, say, this one. No, I don't like this at all.
41:07Amanda. Amanda.
41:09Elliot. Amanda.
41:13Go away. Go away.
41:16Elliot, say something. I've got nothing to say.
41:20Amanda. It's me, Victor.
41:22I know it is. Go away.
41:25Oh, dear. This is awful.
41:27Oh, I say, I say, don't. Don't. Don't.
41:29Try, Sybil, oh, don't. I can't help it, Victor.
41:31Oh, please don't. I say, please, Sybil.
41:34But why don't they come out? It's all so squalid.
41:37I wish now we hadn't come. Oh, what for?
41:39Well, we've got to see them before we go back to England.
41:41We must get things straightened out, Sybil.
41:43Oh, dear, oh, dear. I wish I were dead.
41:46Oh, I'll try to control myself, honey.
41:48I'm so tired. That was such a long drive,
41:51and I haven't slept properly for ages.
41:52Well, neither have I.
41:53If we hadn't arrived, we did. They'd have killed one another.
41:56They must have been drunk.
41:57Amanda hit him.
41:58He probably hit her, too, earlier on.
42:00I had no idea anyone ever behaved like that.
42:02It's so disgusting, so degrading. Elliot, of all people.
42:06Oh, dear.
42:08What an escape you've had.
42:09What an escape we've both had.
42:14Good evening, everybody.
42:15Elliot, how could you?
42:17Look here, old man.
42:18Does it occur to you that some sort of explanation...
42:19Oh, I do, I do. I don't think we've met before.
42:21Hello, Sybil.
42:22Oh, Elliot, how could you?
42:24Sybil, I'm awfully sorry.
42:25Well, it's easy enough to be sorry.
42:26On the contrary, I find it extremely difficult.
42:29I seldom regret anything.
42:30This is a very rare and notable exception.
42:33Sort of red-letter day.
42:34We must all make the most of it.
42:35I'll never forgive you. Never.
42:37I wouldn't have believed anyone could be so callous and so cruel.
42:39Sybil, I absolutely see your point.
42:41I am sorry, but I simply cannot discuss this any further before dinner.
42:44I don't want any dinner.
42:45Oh, yes, you do.
42:45You must be famished after that long drive from Deauville.
42:47Now then, where's Amanda?
42:48I'm sure she's simply dying to see you both.
42:50Where'd you go to?
42:51She's in there.
42:51In here? Amanda?
42:53Amanda?
42:58Good evening, everybody.
43:01Amanda, we have guests.
43:02Please don't address me.
43:04I don't wish to speak to you.
43:05Splendid.
43:06And what's more, I never shall again as long as I live.
43:09Here shall endeavor to rise above it.
43:11I've been brought up to believe that it's beyond the pale for a man to strike a woman.
43:14A very poor tradition.
43:15Certain women should be struck regularly like gongs.
43:19How could you?
43:19I told you what he was.
43:20He's an unmitigated cad and a bully.
43:22And you're an ill-mannered, bad-tempered slattern.
43:25Slattern?
43:25Slattern.
43:26Yes, slattern, slattern, slattern.
43:27And this one.
43:28Keep your mouth shut, you swine.
43:29And you mind your own business.
43:30What do you want from me?
43:32Stop me, Amanda.
43:33I'm not going to interfere.
43:34Let them fight as they want to.
43:35It'll probably clear the air anyhow.
43:37Yes, but Amanda.
43:38Come on into my room.
43:39Perhaps you'd like to tidy up before dinner.
43:40No, but Amanda.
43:41Come along.
43:43Very well.
43:45Now then.
43:46Now then what?
43:47Are you going to take back those things you said to Amanda?
43:50Certainly.
43:50I'll take back anything if only you'll stop bellowing at me.
43:52You're a coward too.
43:54They want us to fight, don't you see?
43:55No, I don't.
43:56Why should they?
43:57Primitive feminine instincts.
43:58Warring males.
43:59Very enjoyable.
44:00You think you're very clever, don't you?
44:01I think I'm a bit cleverer than you.
44:03But apparently that's not saying much.
44:04What?
44:05Oh, do sit down.
44:06I will not.
44:07Now, if you'll excuse me, Victor.
44:09I will.
44:09I'm extremely tired.
44:10Oh, for heaven's sake, behave like a man.
44:12Just a minute.
44:12Just a minute.
44:13All this belligerence is very right and proper.
44:15It's highly traditional.
44:15But if only you'll think for a moment,
44:17you'll see that it won't get us very far.
44:18Get off with all that!
44:20I should like to explain that if you hit me,
44:22I shall certainly hit you.
44:23Probably equally hard, if not harder.
44:25I'm just as strong as you.
44:26And you hit me again, and I'd hit you again.
44:28We'd go on until one of the others knocked out.
44:30Now, if you'll explain to me satisfactorily
44:32how all that can possibly improve the situation,
44:33I'll tear off my coat and we'll go at it
44:35hammer and tongs immediately.
44:36But ease my mind.
44:37Only if you want.
44:38I can win, all right.
44:39Want to try it?
44:40Yes.
44:41Go then.
44:43Just a moment.
44:44Where?
44:45Well, what did you mean about them wanting us to fight?
44:49It would be a bomb to their vanity.
44:50Do you love Amanda?
44:52Is this a battle or a discussion?
44:53If it's the latter, I shall put on my coat again.
44:55I don't want to catch a chill.
44:56Answer my question, please.
44:58Have a cigarette?
44:59Answer my question!
45:00If you analyze it, it's rather a silly question.
45:02Do you love Amanda?
45:04Not very much at the moment, to be perfectly frank.
45:06I'd like to wring her neck.
45:07You're apparently even more of a cad than I thought you were.
45:09You are completely in the right over the whole business.
45:11Don't imagine I'm not perfectly conscious of that.
45:13I'm dead.
45:14All very unfortunate.
45:15Unfortunate?
45:15Might have been worse.
45:16I'm glad you think so.
45:17I do wish you'd stop being so glad about everything.
45:19What do you intend to do?
45:21That's what I want to know.
45:21What do you intend to do?
45:23I don't know.
45:23I don't care.
45:25I suppose you realize you've broken that poor little woman's heart.
45:28Which poor little woman?
45:29Sybil, of course.
45:30Oh, come on.
45:31Honest, that's bad.
45:32You should get over it.
45:33Forget all about me.
45:34I intend to divorce Amanda.
45:35Very well.
45:36And Sybil will divorce you.
45:37Quiet.
45:38And the sooner you marry Amanda again, the better.
45:40Who said I was going to marry Amanda?
45:42What?
45:42She's a vile-tempered, wicked woman.
45:44You should have thought of that before.
45:45I did think of it before.
45:46Good heavens, man.
45:47You've got to marry her.
45:48I'd rather marry a ravening leopard.
45:49Now, look here, old man.
45:50I'm sick of all this shilly-shallying.
45:52You're getting off a good deal more lightly than you deserve.
45:55You can consider yourself lucky I didn't shoot you.
45:57Well, if you had a spark of madness in you, you would have shot me.
46:00If you're all fuss and fume.
46:01You're one of those cotton-wool Englishmen.
46:03I despise you.
46:04You despise me?
46:05Yes, utterly.
46:06Utterly.
46:06You're nothing but a rampaging gasbag.
46:09Goodbye.
46:10Oh, there.
46:10Come back here.
46:11Come back, you heavy!
46:13You open the door!
46:14Oh, hello.
46:16Oh, Amanda.
46:17What's happening, Victor?
46:19Nothing's happening.
46:20No, you ought to be ashamed to admit it.
46:21Where's Elliot?
46:23He's locked himself in.
46:25How did you and Elliot get on?
46:27I told him what I thought of him.
46:28That's good.
46:29What did you say?
46:30I told him he was beneath contempt.
46:33That's just what he is.
46:34Amanda, I think you must have been mad to go off with this.
46:37I've often thought that myself.
46:39Well, I feel completely lost, completely bewildered.
46:43I don't blame you.
46:44I don't feel any too close in myself.
46:47Amanda, all this tonight, have you been drinking?
46:52Certainly not.
46:54Elliot's been drinking?
46:55Yes.
46:57Gallons.
46:58Did you see him drink before, when you were married?
47:00Yes, terribly.
47:01Night after night, he'd come home roaring and hiccuping.
47:04Disgusting.
47:04Yes, wasn't it?
47:06Amanda.
47:07Yes, Victor?
47:09Did Elliot strike you this evening?
47:10Repeatedly.
47:11I'm bruised beyond recognition.
47:12Amanda!
47:13Oh, Victor.
47:14I'm most awfully sorry to have given you so much trouble.
47:16Really, I am.
47:17You know, I can't say I understand it at all.
47:19I've tried to, but I can't.
47:20It all seems so unlike you.
47:22No, no, no.
47:23It isn't really unlike me.
47:24That's the trouble.
47:25I've never told marriage, Victor.
47:27I'm a bad lot.
47:28Amanda!
47:28Don't contradict me.
47:29I know I'm a bad lot.
47:31I wasn't going to contradict you.
47:32Victor!
47:34Why did you come here?
47:36To find out what you want me to do.
47:38Divorce me, I suppose?
47:39As soon as possible.
47:40I shan't make any difficulty.
47:42I shall go away.
47:43Far, far away.
47:44Morocco or Tunis or somewhere.
47:46I'll probably catch some dreadful fever and die out there all alone.
47:51Oh, dear.
47:51It's no use pitying yourself.
47:53I seem to be the only one who does.
47:55And I just as well enjoy it.
47:57Amanda, do you love this man?
47:58I hate him.
47:59Do you want to marry him?
48:00I'd rather marry a boy, Mr. Victor.
48:02Amanda, I can't go away and leave you with a man who drinks and knocks you about.
48:06You needn't worry about leaving me as though I were a sort of parcel.
48:10I can take care of myself.
48:11You said just now you were going away to Tunis to die.
48:14Well, I've changed my mind.
48:15It's the wrong time of the year for Tunis.
48:18I suppose I'm quite different.
48:20I believe Alaska is very nice in the summer.
48:23Oh, Victor, I'm thoroughly unprincipled.
48:26Sybil was right.
48:27Sybil's an ass.
48:27Yes, she is rather, isn't she?
48:29I can't explain why Elliot ever married her.
48:31Oh, you can't, can't you?
48:32Well, I must say.
48:34I beg your pardon?
48:35Oh, Sybil, you haven't met, have you?
48:37This is Sybil Chase, and this is Amanda...
48:41Amanda.
48:42How do you do?
48:43How do you do?
48:43I heard every word you said.
48:45It's all right, my dear.
48:46You're young and inexperienced, so I forgive you freely.
48:48Seeing the depths of degradation to which age and experience have brought you,
48:52I'm glad I am as I am.
48:54That was exceedingly rude.
48:57I think you'd better go away somewhere.
48:58I will not.
48:59Very well, then I will.
49:00Sybil, how dare you speak to Amanda like that?
49:03Oh, that's right.
49:03Take her aside.
49:04That's what I might have expected.
49:05That's right.
49:06Stand up for him.
49:07Poor Elliot, that unprincipled, rude Elliot.
49:09He's nothing of the sort.
49:10Shut up.
49:11I won't shut up when I think of all the things you've said about her.
49:13It makes me laugh, it does really, to see how completely she's got to us.
49:16You can obviously speak with great authority,
49:18having had the intelligence to marry a drunkard.
49:19So that's what she's been telling you.
49:21Yes, she did, and I'm quite sure it's perfectly true.
49:23I bet she admitted to tell you that she drank 14 martinis tonight straight off,
49:27and that the reason their first marriage was broken up
49:30was that she used to come home at all hours of the night screaming and hiccuping.
49:34Victor.
49:35Yes?
49:36Do you hear that?
49:37What?
49:38The door.
49:39Yes, that was the door.
49:40Victor, I have a strange feeling.
49:43So do I.
49:44You don't suppose?
49:45Sure of it.
49:45You mean it.
49:46I do, they've gone.
49:47Gone!
49:48Elliot!
49:49Elliot, come back!
49:50Amanda!
49:51Amanda!
49:51Elliot!
49:52Amanda!
49:52Amanda!
49:53Elliot!
49:53Amanda!
49:54Amanda!
49:54Amanda!
49:55Amanda!
49:55Amanda!
49:56Amanda!
49:56Amanda!
49:57Amanda!
49:57Amanda!
50:08Ladies and gentlemen,
50:10Mr. Doren and Mr. Wells,
50:12do you remember me?
50:13I am Jean-Paul Casemiro Dupont, the manager of the Hotel Normandie Deauville,
50:17and I have said the Englishmen are crazy.
50:20You still do not believe this?
50:22You think I exaggerate?
50:23Eh bien?
50:25A year has gone by.
50:26One year.
50:27And I am sitting in my office at the Hôtel Normandy d'Auville.
50:33Allo, allo! Qui est dans l'appareil? C'est Paris? Allo!
50:36Allo, allo! This is Hôtel Normandy d'Auville.
50:38Mais oui, mais oui!
50:39This is Elliot Chase speaking.
50:40Pardon?
50:41Elliot Chase.
50:42Yes! Monsieur Chase!
50:44I want to reserve a suite of rooms, something overlooking the sea.
50:47One moment, please. I will see.
50:49Oui, monsieur. You are very lucky, monsieur.
50:52Just this morning, he's brought in for you the best room in the hotel.
50:55It was living there in the ex-marriage of Rook, number 21.
50:59Okay, well, that's fine.
51:0022!
51:01Allo!
51:0222? One moment, please. What's that, Amanda?
51:0422!
51:05What are you talking about?
51:06Oh, Elliot, darling, I tell you it's 22 that the Roger Rook...
51:09Oh, shut up, Amanda! Shut up!
51:11Elliot, I will not stand for this!
51:13Please, shut up, Amanda!
51:14Give me that telephone!
51:15I will not give you that telephone!
51:16You can't even speak to me!
51:17There's no reason why I should!
51:18Why not?
51:19There's no reason!
51:20Allo!
51:21Allo, allo!
51:22Sir?
51:23Elliot, now listen to this.
51:24Amanda, I will not argue any further.
51:26No, no, no!
51:27Give me back the telephone!
51:28Allo!
51:29Give me back the telephone!
51:30Elliot!
51:31What do I tell you?
51:32Amanda!
51:33People are crazy!
51:55This concludes the Campbell Playhouse presentation of Private Lives by Noel Coward, starring Gertrude Lawrence and Orson Welles.
52:04In just a moment, Miss Lawrence will return to the microphone of Mr. Welles.
52:07But in the meantime, a word on behalf of our sponsors.
52:15Earlier this evening, I suggested that you serve Campbell's tomato juice this coming Sunday for breakfast.
52:21For a great many Americans, Sunday breakfast is a bright spot in the week, leisure adds to the joy of eating.
52:27And Campbell's tomato juice brightens any breakfast, weekday or Sunday.
52:32It is the deep red of a very special type of tomato, grown especially for Campbell's.
52:37A drink to cheer you by its bright appearance, as well as by its true, fresh tomato taste.
52:42A drink, too, that by its keen, lively flavor makes a pleasant change from other breakfast drinks.
52:48Campbell's own method of canning retains the august, fresh flavor of Campbell's tomato juice and brings you the needed vitamins of a fresh tomato.
52:56Here's a drink that's worth tumbling out of bed for, Sunday or any other day.
53:00The flavor is always the same, delightfully refreshing.
53:04And yet, with all these important advantages, Campbell's tomato juice costs you only a trifle more than the ordinary kind.
53:11Is it a date for Sunday breakfast?
53:13Ah, that's fine.
53:14Let's all have Campbell's tomato juice.
53:17And now, here is Orson Welles.
53:30Somebody once said that every man in New York is or has been in love with Gertrude Lawrence.
53:36Which under pressure, I might admit, was somewhat exaggerated, but it would serve to indicate how audiences react to her.
53:43Miss Lawrence is that rare phenomenon, rare in life and just as rare in the theater.
53:47A person with the ability to inject the rich glamour of her own person into whatever situation she happens to be in.
53:55Not the least part of this wonderful gift of hers is the grace and effortless ease with which she does it.
54:01I'm sure some of that quality of personal magic has come over to you tonight.
54:05Certainty is that we are all deeply susceptible to it here in the studio.
54:10Thank you for those kind words, Mr. Welles, but I must rush to my own defense.
54:14Too often the life of an actress is reported in rainbow colors, a sort of dream world of continual admiration and expression.
54:21Actually, there is more to it than this.
54:23An actress has to be a businesswoman, and it is probably the hardest working business in the world.
54:28That's particularly true in your case, Miss Lawrence, since you could hardly be described, certainly be described as the most hardworking star on the stage in America.
54:36Of course, if you've only yourself to blame in this matter, since you insist on appearing only in smash hits,
54:42I mean specifically tonight at 8.30, Susan and God, and now this new comedy of yours, Skylark.
54:49That takes care of about three years of packed houses, doesn't it?
54:53And now, Miss Lawrence, dark rumors have reached us here of your doings as a young child.
55:01Just what is this wild tale of you and Noel Coward making your debut together at the advanced age of 11 in London?
55:07Is there any particle of truth in this allegation?
55:09Yes, you're quite correct, absolutely correct.
55:12Mr. Coward and I were in dramatic school together, and we did on one occasion appear in the same play.
55:17It was a Christmas story in London.
55:20And what did you play?
55:22We played Little Angels.
55:31In tonight's Campbell Playhouse production of Private Lives, Miss Gertrude Lawrence was heard in the role of Amanda.
55:37Orson Welles played the part of Elliot Chase.
55:40Sybil was played by Naomi Campbell, the part of Victor by Robert Space.
55:45The hotel manager was Edgar Barrier.
55:47Music for the Campbell Playhouse is arranged and conducted by Bernard Herman.
55:51And now, Mr. Wells, will you tell us, please, about next week's story?
55:54Next week, ladies and gentlemen, we go back 100 years to the early days of the American Union,
56:06when the first paddle steamers tossed their sooty way up the Hudson River,
56:11and ox-steams were busy pulling senators' carriages out of the deep mud of the Washington Street.
56:17Next week, we bring you Black Daniel from the book by that distinguished novelist, Arnold Wilson Morrow.
56:24The story of the great Daniel Webster and of his love for the beautiful Carolyn LeRoy,
56:28which brought him from his New England farm to the service of his country and the defense of the Union.
56:34Our guest this evening will be that lovely motion picture star, Miss Joan Bennett.
56:39And now, until next Friday, until Black Daniel, our sponsors, the makers of Campbell Soup,
56:47and all of us in the Campbell Playhouse remain obediently yours.
57:09The makers of Campbell Soup join Orson Welles in inviting you to be with us at the Campbell Playhouse again
57:23next Friday evening when that beautiful and talented screen star, Joan Bennett,
57:28joins him in Arnold Morrow's Black Daniel, a love story of the days when the United States was very young.
57:35Meanwhile, if you have enjoyed tonight's Campbell Playhouse presentation,
57:38won't you tell your grocer so tomorrow when you order Campbell's tomato juice?
57:42This is Ernest Chappell saying thank you and good night.
57:46♪♪♪
58:03I'll Follow My Secret Heart was from Conversation Teeth,
58:06I'll See You Again and Segoina from Bittersweet,
58:09and Never Again was from Step to Music.
58:12This is the Columbia Broadcasting System.
58:15♪♪♪