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00:00♪♪
00:16Mr. Campbell Duke presents the Campbell Playhouse.
00:20Part 12, produced.
00:22♪♪
00:38Good evening, this is Orson Welles.
00:40Tonight we bring you adventure and romance from the motion pictures.
00:44And from motion pictures, one of its newest and most colorful personalities,
00:49Miss Paulette Goddard.
00:50♪♪
01:00The story, Algiers, which I've adapted from the Walter Wanger production,
01:05based on the thrilling French story by Detective O'Shelby.
01:09Setting the native quarter known as the Casbah.
01:13I read you a description of the Casbah last week.
01:15It belongs in tonight's script again.
01:18Take my word for it, it's authentic.
01:20Because believe it or not, your humble servant has lived in the Casbah.
01:24Like Shanghai and Marseille, Port Said and Singapore and Chifu and Macayo,
01:30and all the rest of the wild and wicked cities of the world,
01:34where anything can happen and everything does.
01:37The Casbah is just as remarkable as the sound of the word,
01:41which is its name.
01:43The Casbah.
01:45Look, there before us is Algiers.
01:49A modern city.
01:51And then suddenly behind that, you're in the Casbah.
01:54And from the modern city to the Casbah, it's only a step.
01:56But ladies and gentlemen, when you take that step, you enter another world.
02:01A melting pot for all the sins of the earth.
02:0440,000 inhabitants from all over the world.
02:08Kabuls, Chinese, Czechos, Slavs far from home and Maltese.
02:12Negroes from every corner of Africa.
02:15And Spaniards.
02:17Hot-blooded and quick to hate.
02:19And women.
02:21Women of every age and every shape.
02:24Women caught in the net of the Casbah.
02:27A Casbah which rises like a fortress from the sea.
02:31Colorful, sordid, and dangerous.
02:38There isn't just one Casbah.
02:42There are a hundred.
02:44A thousand.
02:46And in that labyrinth, Pepe Lamoco is at home.
02:50And he is safe there.
02:52As long as he stays.
03:08And before the Casbah, before Algiers and Pepe Lamoco,
03:13Ernest Chappell.
03:14Thank you, Orson Welles.
03:16You know, I wonder if every one of us doesn't know some small, tucked away eating place
03:20to which the world has made a beaten path because of a special dish served there.
03:24I'm thinking of a small restaurant I happen to know about in upstate New York.
03:28It's miles away from any city,
03:30and yet no fewer than five presidents have stopped there to enjoy its specialty.
03:34And that specialty is chicken.
03:36Chicken of an almost fabulous tenderness.
03:39Indeed, chicken has probably made the reputation of more restaurants than any other single dish.
03:44And for a very simple reason.
03:46We in this country do have a deep liking for chicken.
03:49Don't you agree?
03:51Now I think that liking for chicken must account for the ever-growing popularity of Campbell's Chicken Soup.
03:56Certainly anyone who likes chicken must like this chicken soup.
04:01Because Campbell's Chicken Soup is chicken through and through.
04:05You'll taste chicken with your first sip
04:07and enjoy the rich chicken flavor of the broth till the last golden drop is gone.
04:12The fluffy white rice too is steeped in chicken flavor
04:15and you'll discover further treasures of good eating
04:17in the pieces of melting tender chicken meat that Campbell's adds.
04:21I do hope you'll try this homey old-time soup and that you'll try it soon.
04:25Because just as sure as you like chicken,
04:28you'll like Campbell's Chicken Soup.
04:30And now Orson Welles in Algiers with our guest, Miss Paulette Goddard.
04:35Why do you insist on getting off in this uncivilized hole
04:58when we might be in Monte Carlo tomorrow meeting the right kind of people?
05:01But I don't Richard, I don't insist on anything.
05:03We'll do whatever you say.
05:04Well, Gabby, which is it to be?
05:06Richard, I really don't care.
05:07Make up your mind, my dear.
05:08Do we land in Algiers or do we go on to the Riviera?
05:10Richard, honestly, it doesn't matter.
05:12Do we land in Algiers or do we go on to the Riviera?
05:15I've told you what I'd like to do.
05:16I'd like to see Algiers.
05:17Algiers.
05:18Last call for Algiers.
05:19Last call for Algiers.
05:20This way, Mr. Hillyard.
05:21Safety to Mr. Hillyard.
05:22Safety to Mr. Hillyard.
05:23Safety to Mr. Hillyard.
05:24Safety to Mr. Hillyard.
05:25What is this, Mr. Hillyard?
05:26Yes.
05:27There's a party on the tender, sir, asking for you.
05:28Says he's the prefect of police.
05:29Thanks.
05:30This way, sir.
05:31Tender's just coming in.
05:32Oh, all right, then.
05:33Have it your own way.
05:34You mean what?
05:35We'll get off at Algiers.
05:36Richard, I really don't...
05:37Let's not talk about it here.
05:38We're getting off in Algiers.
05:39Algiers.
05:40Last call for Algiers.
05:41Last call for Algiers.
05:42This way.
05:43This way, Mr. Hillyard.
05:44This way, Mr. Hillyard.
05:45This way, Mr. Hillyard.
05:46This way, Mr. Hillyard.
05:47This way, Mr. Hillyard.
05:48This way, Mr. Hillyard.
05:49This way, Mr. Hillyard.
05:50This way, Mr. Hillyard.
05:51This way, Mr. Hillyard.
05:52This way, Mr. Hillyard.
05:53This way, Mr. Hillyard.
05:54This way, Mr. Hillyard.
05:55This way, Mr. Hillyard.
05:56This way, Mr. Hillyard.
05:57This way, Mr. Hillyard.
05:58This way, Mr. Hillyard.
05:59This way, Mr. Hillyard.
06:00This way, Mr. Hillyard.
06:01This way, Mr. Hillyard.
06:02This way, Mr. Hillyard.
06:03This way, Mr. Hillyard.
06:04This way, Mr. Hillyard.
06:05This way, Mr. Hillyard.
06:06This way, Mr. Hillyard.
06:07This way, Mr. Hillyard.
06:08This way, Mr. Hillyard.
06:09This way, Mr. Hillyard.
06:10This way, Mr. Hillyard.
06:11This way, Mr. Hillyard.
06:12This way, Mr. Hillyard.
06:13This way, Mr. Hillyard.
06:14This way, Mr. Hillyard.
06:15This way, Mr. Hillyard.
06:16This way, Mr. Hillyard.
06:17This way, Mr. Hillyard.
06:18This way, Mr. Hillyard.
06:19This way, Mr. Hillyard.
06:20This way, Mr. Hillyard.
06:21This way, Mr. Hillyard.
06:22This way, Mr. Hillyard.
06:23This way, Mr. Hillyard.
06:24This way, Mr. Hillyard.
06:25This way, Mr. Hillyard.
06:26This way, Mr. Hillyard.
06:27This way, Mr. Hillyard.
06:28This way, Mr. Hillyard.
06:29This way, Mr. Hillyard.
06:30This way, Mr. Hillyard.
06:31This way, Mr. Hillyard.
06:32This way, Mr. Hillyard.
06:33This way, Mr. Hillyard.
06:34This way, Mr. Hillyard.
06:35This way, Mr. Hillyard.
06:36This way, Mr. Hillyard.
06:37This way, Mr. Hillyard.
06:38This way, Mr. Hillyard.
06:39This way, Mr. Hillyard.
06:40This way, Mr. Hillyard.
06:41This way, Mr. Hillyard.
06:42This way, Mr. Hillyard.
06:43This way, Mr. Hillyard.
06:44This way, Mr. Hillyard.
06:45This way, Mr. Hillyard.
06:46This way, Mr. Hillyard.
06:47This way, Mr. Hillyard.
06:48This way, Mr. Hillyard.
06:49This way, Mr. Hillyard.
06:50This way, Mr. Hillyard.
06:51This way, Mr. Hillyard.
06:52This way, Mr. Hillyard.
06:53This way, Mr. Hillyard.
06:54This way, Mr. Hillyard.
06:55This way, Mr. Hillyard.
06:56This way, Mr. Hillyard.
06:57This way, Mr. Hillyard.
06:58This way, Mr. Hillyard.
06:59This way, Mr. Hillyard.
07:00This way, Mr. Hillyard.
07:01This way, Mr. Hillyard.
07:02This way, Mr. Hillyard.
07:03This way, Mr. Hillyard.
07:04This way, Mr. Hillyard.
07:05This way, Mr. Hillyard.
07:06This way, Mr. Hillyard.
07:07This way, Mr. Hillyard.
07:08This way, Mr. Hillyard.
07:09This way, Mr. Hillyard.
07:10Sir, this is the castle.
07:11Yes, sir.
07:12This is it.
07:13Castle, Inspector.
07:14After 300 years, the steps here have been worn uneven.
07:15This is the chapel section.
07:16See those men there?
07:17They're slaves brought up from the slaves.
07:18They're slaves brought up from the slaves.
07:19They're slaves brought up from the slaves.
07:20They're slaves brought up from the slaves.
07:21They're slaves brought up from the slaves.
07:22They're slaves brought up from the slaves.
07:23They're slaves brought up from the slaves.
07:24They're slaves brought up from the slaves.
07:25They're slaves brought up from the slaves.
07:26They're slaves brought up from the slaves.
07:27They're slaves brought up from the slaves.
07:28They're slaves brought up from the slaves.
07:29They're slaves brought up from the slaves.
07:30They're slaves brought up from the slaves.
07:31They're slaves brought up from the slaves.
07:32They're slaves brought up from the slaves.
07:33They're slaves brought up from the slaves.
07:34They're slaves brought up from the slaves.
07:35They're slaves brought up from the slaves.
07:36They're slaves brought up from the slaves.
07:37They're slaves brought up from the slaves.
07:38They're slaves brought up from the slaves.
07:39They're slaves brought up from the slaves.
07:40They're slaves brought up from the slaves.
07:41They're slaves brought up from the slaves.
07:42They're slaves brought up from the slaves.
07:43They're slaves brought up from the slaves.
07:44They're slaves brought up from the slaves.
07:45They're slaves brought up from the slaves.
07:46They're slaves brought up from the slaves.
07:47They're slaves brought up from the slaves.
07:48They're slaves brought up from the slaves.
07:49They're slaves brought up from the slaves.
07:50They're slaves brought up from the slaves.
07:51They're slaves brought up from the slaves.
07:52They're slaves brought up from the slaves.
07:53They're slaves brought up from the slaves.
07:54They're slaves brought up from the slaves.
07:55They're slaves brought up from the slaves.
07:56They're slaves brought up from the slaves.
07:57They're slaves brought up from the slaves.
07:58They're slaves brought up from the slaves.
07:59They're slaves brought up from the slaves.
08:00They're slaves brought up from the slaves.
08:01They're slaves brought up from the slaves.
08:02They're slaves brought up from the slaves.
08:03They're slaves brought up from the slaves.
08:04They're slaves brought up from the slaves.
08:05They're slaves brought up from the slaves.
08:06They're slaves brought up from the slaves.
08:07They're slaves brought up from the slaves.
08:08They're slaves brought up from the slaves.
08:09They're slaves brought up from the slaves.
08:10They're slaves brought up from the slaves.
08:12We got the thieves.
08:13Into this narrow alley, half the stolen jewelry of Europe finds its way.
08:24The spotter man.
08:25Here's the police and the checkpoints.
08:28Another catcher, another cabaret.
08:30In this house, it is said that a murderer is always paid for the length of his day.
08:37Oh, look out for these fellows, Galician.
08:40Quick with their knives.
08:43This is the American grill.
08:45You go out of that place first, if you stay after hours.
08:52Empty, empty, empty.
08:55Bagels.
08:56The counter is full of them.
09:01Here is the arcade.
09:02A very hot turn, Inspector.
09:04The highest point of the counter.
09:06Into here lead many of the alleys of the native spotters.
09:10Now, Inspector, from this arcade, would you like to commence your, what you call it, police raid?
09:15Sure, sure, let's get going.
09:16Very well, Inspector.
09:28All students into the arcade, please.
09:30All students into the arcade.
09:31All students remaining in the open, please.
09:33I told you, Gabby, we shouldn't have come here in the first place.
09:35Richard, don't be ridiculous.
09:36A lot of yelling, murdering, savages.
09:38All students into the arcade.
09:42Mademoiselle, this way, please.
09:43What is it?
09:44What's going on?
09:45It's the police, Mademoiselle.
09:46They are making a raid.
09:47Come on, Gabby.
09:48Into the arcade.
09:49Oh, no.
09:50Come on.
09:51Oh, no, I want to see what's happening.
09:52Gabby, Gabby, where are you going?
09:53Mademoiselle, it is dangerous out there.
09:54Gabby, get out of your head.
09:55Gabby, come back.
09:56Gabby, come back.
09:57Gabby.
09:58Gabby.
09:59Mademoiselle.
10:00Mademoiselle.
10:01Mademoiselle.
10:02Inside.
10:03Quick.
10:04Inside.
10:06Here.
10:07You are safe.
10:08Thanks.
10:09I'm afraid I made a fool of myself that time.
10:11If it hadn't been for you.
10:12Allow me to introduce myself, Mademoiselle.
10:14The name is Slimane.
10:16Your very honest servant.
10:18If you will be pleased to make yourself comfortable in here,
10:22comfortable as you can in a storehouse,
10:24until the shooting is over, you will be quite safe.
10:29Well, what is it?
10:30What's happened?
10:31Oh, it is nothing.
10:32You call all this nothing?
10:33Oh, you know how it is with the police, Mademoiselle.
10:36They like to keep everything in a state of uproar.
10:38Soon they will get tired of it, running like this from door to door,
10:42looking for a man who is never there.
10:44All this excitement for one man?
10:46Yes.
10:47Yes, Mademoiselle.
10:48One man.
10:49But quite an unusual man.
10:51His name is Pepilimoco.
10:53Pepilimoco.
11:04Regis!
11:05Regis!
11:06Where is he?
11:07Where is Pepilimoco?
11:08He's at Grandpère's.
11:09Pepi and the rest, they're at Grandpère's.
11:11Hurry!
11:12Who's he?
11:13Regis, the tool-pitcher.
11:14One of our men.
11:15And Grandpère, who's he?
11:16The receiver of stolen jewels.
11:17Do you know his pulse?
11:18Yes, we know it.
11:19Come on, Sergeant.
11:20Let's go!
11:34Well, there you are, Commissioner.
11:35The place is empty as usual.
11:36No evidence, nothing.
11:37Now are you satisfied?
11:38No, I'm not.
11:39I won't be satisfied until I've broken down every door
11:41and searched every house in the Kasbah.
11:42Le voilà !
11:43Pepi!
11:44Il passe sur les toits!
11:45What's that?
11:46They say Pepi's going over the roof.
11:47Get in!
11:48What are they waiting for?
11:49Get after them, quick!
11:50Over the roof!
11:51If they see him, tell him to shoot!
11:58I am Pepi.
11:59I am Pepi.
12:00I am Pepi.
12:01I am Pepi.
12:02I am sorry, mademoiselle.
12:03All the shooting, it gives such a very unfortunate impression
12:07of our city.
12:08Besides, it is such a waste.
12:10Waste?
12:11Of course.
12:12Pepi le Moko will not be captured.
12:14A few natives will be shot and one or two imprudent tourists.
12:18Pack your stuff, mademoiselle, if I had not been there
12:21to see to your safety.
12:22I don't believe a thing.
12:23Oh, believe me, mademoiselle, it is a pleasure.
12:26I only regret the inconvenience, the anxiety of your friend.
12:30Well, how long do you think you'll have to keep me here in safety?
12:33Oh, not long, mademoiselle.
12:35It will soon be over, all this activity.
12:37And you don't think you'll get him?
12:38He is very careful.
12:40The police have been after him for two years now.
12:42The police must be rather stupid.
12:44As an inspector of police, I consider that a triumph of understatement.
12:49You're one of them?
12:50I have that doubtful honor.
12:52Well, how does he do it, this Pepi le Moko, or whatever you call him?
12:56Quiet, mademoiselle.
12:58Look.
12:59Starlight.
13:00It's a man.
13:05Good afternoon, Pepi.
13:12Oh, so they shoot you, eh?
13:14Yes, they did.
13:15Permit me to hope that this is nothing serious.
13:18Thanks, that's a scratch.
13:19Blow the elbow.
13:20It's bleeding.
13:21Not much.
13:22Here, let me help you.
13:23Thanks, it's nothing.
13:25Got a handkerchief?
13:26Yes, here.
13:27It's a bit big.
13:28It'll do.
13:29I'm sorry.
13:30It's all right.
13:31Say, you're an American.
13:33And you're very beautiful, aren't you?
13:35Oh, still.
13:37There's that.
13:38What?
13:39Bracelet.
13:40There.
13:41How does that feel?
13:42Thanks.
13:43Inspector, why aren't you chasing the fox?
13:45That's such a silly performance.
13:46I prefer to use my brain.
13:48Well, your friends did a little better tonight.
13:50At least they found me.
13:51That's pretty good for them.
13:52Shall we say a step in the right direction?
13:54Excuse me, miss.
13:55We talked sharp, the inspector and me.
13:57It's a habit of ours.
14:00Cigarette?
14:01Please.
14:02Sorry, I can't reach him.
14:03Let me help you.
14:04In this side pocket here.
14:05Here you are.
14:06Thanks.
14:07A light?
14:08Please.
14:10Thanks.
14:12You know, inspector, I feel kind of sorry for those policemen of yours.
14:15They'll never get me this way.
14:16I've tried to point that out to them.
14:19Well, once the inspector and I agree...
14:21I must explain, mademoiselle, that in the end,
14:24I am the one who will get Pepe.
14:26Yeah, I can hardly wait.
14:27And not only Pepe, but all his friends.
14:30Jimmy, Tony, Grante, all of them.
14:34Then what do you do, put us in a zoo?
14:35Oh, you flatter yourself.
14:37You mean you won't show me the cage?
14:38What for?
14:39You're important now because you're free.
14:41Well, once we're behind bars, people will forget all about you.
14:44You see, miss, he's a very funny guy.
14:46And my friend, Inspector Sermaine, looks okay, but he's a little mixed up.
14:49He thinks he can arrest me.
14:50That's exactly what I'm going to do.
14:52Sure, sure, sure.
14:54And I tell you, he's a funny guy.
14:56Always good for a laugh.
14:58One thing I like about Inspector Sermaine...
15:00What?
15:01His face. It's perfect for his job.
15:02To look that crooked is almost like being honest.
15:04I am honored that my appearance pleases you.
15:06Don't mention it.
15:07Wait, listen.
15:08I don't hear anything.
15:09It's just that...
15:11Shooting stops.
15:13I guess they've given up, Inspector.
15:14Yeah, poor fellows.
15:15They give up so easily.
15:16Yes, I'll be on my way now.
15:17The boys will be worrying about me.
15:20You'll have to excuse me, miss.
15:22I do.
15:24Yeah.
15:25Maybe I'll see you again sometime.
15:29Goodbye, Inspector.
15:30Goodbye, Pappy.
15:31And don't forget...
15:32I am the one who will get you.
15:35I won't forget.
15:38So long.
15:39So long.
15:43It's a shame, isn't it?
15:44What?
15:45A man of the world.
15:47Unusual intelligence.
15:49One hates to see him buried so young.
15:51Buried?
15:52Oh, 20 years in prison, it is the same thing.
15:55What makes you so sure, Inspector, that he's going to prison?
15:58Mademoiselle, I have marked the date of his arrest on the wall of my room.
16:03High up.
16:05Where it rains black in the rays of the setting sun.
16:15Take a table.
16:17Department of Criminal Investigation, Washington, D.C.
16:19Happy to report Reid was carried out with maximum efficiency.
16:22Although we narrowly miscaptured, Pepper Lamocca seriously wounded while escaping.
16:25Have reason to believe his injuries may prove fatal.
16:28You got that?
16:29Yes, sir.
16:30Why don't you just declare him dead, Commissioner, and be done with it?
16:32Please, Inspector Fleming.
16:33Now then, what was the last thing I said?
16:35Inform you without delay.
16:36Without delay.
16:37Repeat situation well in hand.
16:38We'll take whatever steps deem advisable.
16:40Exactly what I have been doing, Commissioner, for the past two years, and what I shall continue to do.
16:44Inspector Fleming.
16:45There is only one possible way to capture Pepper Lamocca.
16:47I suppose you know it.
16:48I do, Commissioner.
16:49It is to make him come out of the casbah.
16:51You have suddenly conceived an idea, Inspector, how that is to be done?
16:53I think perhaps today, Commissioner.
16:55For the first time in two years, I have an idea.
17:16I am very glad, mademoiselle.
17:18You have done us the honor to revisit the casbah.
17:21I assure you that in the right company, you will find it a most romantic and fascinating place.
17:28Why, hello, Pepper.
17:30Hello, Inspector Fleming.
17:31We had some trouble finding you, mademoiselle and I.
17:34I'm sorry.
17:35They told us you were busy upstairs.
17:37Yes, kind of busy.
17:38Won't you sit down?
17:39Thanks.
17:40A little drink?
17:42Sure.
17:43I am glad you are here, Pepper.
17:45Mademoiselle was asking so many questions about you.
17:47Now you can answer them for yourself.
17:49What did you tell her, Inspector?
17:50Oh, what could I tell her, Pepper?
17:52Why, afraid she'd be a little upset at my past?
17:54No.
17:55She might be a little appalled at your future.
18:01I told her you might get off with 20 years.
18:03You wouldn't want me to get 20 years, Inspector.
18:05You're too fond of me.
18:0620 years with a good lawyer is what I told her, mademoiselle.
18:09Now, if you'll excuse me.
18:11Of course.
18:12I have already explained, mademoiselle.
18:13I won't be long.
18:14I am sure you can entertain Mademoiselle until I return.
18:18I hope so.
18:21Goodbye, Inspector.
18:25So, you thought you'd take another look at the wild animal, hmm?
18:28Not so very wild.
18:30What do you think of my cage?
18:32I don't know.
18:33Yet.
18:35You are American, aren't you?
18:36What do you think?
18:37What are you doing here?
18:39Mediterranean cruise.
18:40Like out here?
18:41I don't like traveling.
18:42Makes me homesick.
18:44Does it?
18:45If I can't hear the air when I wake up in the morning,
18:47I want to go right back to sleep.
18:49Do you know New York?
18:50No.
18:51What do you think of first? Quick.
18:5314th Street, the Battery.
18:55Hill Square.
18:56The Garden.
18:57First Night.
18:58The Casino in the Park.
19:02Small world.
19:04Cigarette?
19:05Yeah.
19:06Thanks.
19:08Light?
19:11We're a long way from all that.
19:13Yeah, a long way.
19:15But it's nice to talk about it.
19:17I guess we have my friend Inspector Flamain to thank for that.
19:20Yes.
19:21Was it his idea, yeah?
19:23Coming here again?
19:25No.
19:26I dreamed that up.
19:27I'm surprised he let you come like that.
19:29Like what?
19:30All that stuff you have on.
19:31Stuff?
19:32Yeah, the heavy ice you're wearing, the jewelry.
19:34Oh.
19:35Aren't you a little worried yourself?
19:36Not when I'm with you.
19:37Right.
19:39That's quite a bracelet you got there.
19:41Isn't it?
19:42Here.
19:44Hold it in your hand.
19:46It hardly weighs a thing.
19:48About...
19:5010 grand.
19:51I'll double you.
19:52I mean what I'd get for it.
19:56Here, put it back on.
19:59You put it on for me.
20:00All right.
20:04There you are.
20:05Thanks.
20:08What's your name?
20:09Gabrielle.
20:10They call me Gabby.
20:12Married?
20:13No.
20:14Widow?
20:15No.
20:16Why not?
20:17Who are you with?
20:18My fiancé and friend.
20:19What's his name?
20:20Baird.
20:21Richard Baird.
20:22Yeah?
20:23Stopping at a hotel?
20:24Oh, yes.
20:26What are you laughing at?
20:27Nothing.
20:29Too bad.
20:31Too bad?
20:32Too bad I don't know you better.
20:33Why?
20:34Because I'd slap your face.
20:37When people laugh around me, I want to know why.
20:42Come on, let's get out of here.
20:43Where to?
20:44Up on the terrace.
20:46You see the harbor from there?
20:47You can see Staten Island.
20:49And the Palisades?
20:50And the casino in the park.
20:52I love the casino.
20:54Oh, I can't. I have to go now.
20:55Richard will be wondering where I am.
20:58I'll come back.
21:00When?
21:01As soon as I can.
21:02When?
21:03Tomorrow.
21:04How can I be sure?
21:06Look at me.
21:07I never break a promise.
21:10Let me go.
21:11What for?
21:13Because I asked you.
21:14Say please.
21:16Please?
21:17That's better.
21:20Tomorrow, here at the cafe.
21:24At five.
21:26Tomorrow.
21:27At five.
21:36Tomorrow.
21:56This is the Campbell Playhouse.
21:58You are listening to the Orson Welles production of Algiers
22:01with our guest star, Miss Paulette Goddard.
22:04This is the Columbia Broadcasting System.
22:19This is Ernest Chappell, ladies and gentlemen,
22:20welcoming you back to the Campbell Playhouse.
22:22In a moment, we shall resume our presentation of Algiers.
22:26You know, among the dishes in day-to-day eating,
22:29soup has always been an important food with all peoples and in all lands.
22:33Indeed, it's said that in some countries abroad,
22:35custom decrees that the dowry of every bride shall include a soup kettle.
22:40Now, and I'm talking, of course, especially to the ladies,
22:44I dare say a soup kettle was not among the things you brought to your husbands,
22:48was it?
22:49But if you happen to be making your own soups, nonetheless,
22:52then may I remind you that these days,
22:54more and more good home cooks are letting Campbells
22:57tend the soup kettle for them.
22:59These good home cooks, like yourself,
23:01know soup, of course, and how to make it.
23:04But more and more, they have come to know also
23:07what a needless bother it is when they can enjoy the convenience
23:10and good eating of such fine soups as Campbells make.
23:13And so we are proud to make soup for them,
23:16and we'd like to make soup for you, too.
23:18Will you try us out?
23:20Try any one of the 21 tempting kinds.
23:22Campbell's chicken soup, for instance, for its deep chicken flavor.
23:25Or Campbell's vegetable soup, a soup that's practically a meal in itself.
23:29If you do this and compare it with your own,
23:32critically, I feel certain you'll let Campbells
23:35tend the soup kettle for you, too, from then on.
23:39Now we resume our Campbell Playhouse presentation of Algiers
23:42with Paulette Goddard, produced by Orson Welles.
23:59Take a cable. Yes, Commissioner.
24:13Department of Criminal Investigation, Washington, D.C.
24:15Pepe Lamoco, International Jewel Thief, still at liberty.
24:18Local conditions in the Kasbah render further attempts useless.
24:21Local conditions? You heard me, Inspector Samin.
24:23Further attempts useless.
24:25Isn't that giving up rather easily, Commissioner?
24:27What more can I do? We've raided the Kasbah.
24:29You warned me it was useless. Quite useless.
24:31You're right. We've employed an informer.
24:33You buried him this morning next to one of Pepe's men.
24:35Poor fellow. That's Pepe Lamoco himself.
24:37Where is he? Further from capture than he ever was.
24:39There I am happy to say you are mistaken, Commissioner.
24:41What do you mean by that?
24:43I mean, Commissioner, that within 48 hours, unless my plan miscarries,
24:46I shall deliver him into your hands, this Pepe Lamoco.
24:4948 hours? What on earth are you talking about?
24:51I said, Commissioner, that I had a plan.
24:58Inspector Slimane, reporting on the case of Pepe Lamoco, Monday, 4 p.m.
25:01I said 48 hours. Already four hours have gone by.
25:04My plan proceeds.
25:06I have an appointment at 6 at the Hotel Arletty with Mr. Richard Baird.
25:17Inspector Slimane?
25:19Mr. Baird, if you could spare me just a few minutes of your time.
25:22Why, of course, Inspector.
25:24Won't you sit down, though I must say I'm not accustomed to entertaining...
25:27I think, Mr. Baird, if you would listen to me a moment,
25:30you will see that what I have to say is rather delicate and personal.
25:34It concerns Mademoiselle, your fiancée.
25:37Oh, it does?
25:39Is Mademoiselle at home now?
25:41Why, no. As a matter of fact, she's not. She went out for a walk.
25:44For a walk, exactly.
25:46Have you any idea where Mademoiselle goes walking, Mr. Baird?
25:49Just what do you mean by that, Inspector?
25:51Only this. I am afraid in her brief stay among us,
25:54Mademoiselle has become a little too fond of the,
25:57shall we say, the local color of the Casbah.
26:00I still don't know what you mean.
26:02The Casbah is our native quarter, Mr. Baird.
26:05It is hardly the place for a woman alone.
26:08Yet, Mademoiselle, your fiancée has been seen there almost every afternoon.
26:12I don't believe it.
26:14There can be no doubt of it, Mr. Baird.
26:16There are even rumors that she and a man who is wanted by the police...
26:19Look here, Inspector.
26:21These rumors may be unfounded, of course, Mr. Baird,
26:24but it would be wiser, perhaps, if between now and the time you sailed,
26:28Mademoiselle did not return to the Casbah.
26:31Of course.
26:33She won't, Inspector.
26:35You can take my word for it. She won't.
26:49Oh.
27:11Oh, Gabby.
27:13Yes?
27:15Gabby, don't go yet.
27:17I'm getting late.
27:19You're beautiful, Gabby.
27:21That's easy to say.
27:24Maybe somebody told you.
27:27What I'm telling you is different.
27:30I don't know, for me, you're more than that.
27:33For two years, I've been lost, like walking around in my sleep,
27:36and suddenly I wake up and you're there, and I...
27:39I don't know how I went on all that time.
27:42Waiting for you.
27:44Not knowing it.
27:46Gabby.
27:47You know what you're on to me?
27:49New York. The whole town.
27:51That's you.
27:53You're lovely.
27:55Sensational.
27:57You know what you remind me of?
27:59The subway.
28:01Here. Shut your eyes. Listen.
28:04You can hear it.
28:06Does it go like a subway train?
28:09You're all silk,
28:11and you jingle when you walk,
28:13and all that stuff, you make me think of the subway.
28:17It's funny, isn't it?
28:19And Lindy's at five in the morning.
28:23New York. That's you.
28:27What did you do before?
28:29Before what?
28:30Before those.
28:32Before the diamonds.
28:34I wanted them.
28:36And what do you want now?
28:38I think I must go.
28:39Suppose you don't come tomorrow.
28:41Suppose I don't.
28:42Does it make any difference?
28:43Well, can't you?
28:44Is it true what that inspector said?
28:46Yes, it's true.
28:48I'm caught here like a bear in a hole.
28:50Dogs barking, guns all around, no way out of it.
28:52Do you like that?
28:53No.
28:54Well.
28:57Maybe it's lucky for you.
28:59I don't like it, and it isn't lucky.
29:01You're right.
29:03If you don't come back, I might do anything.
29:06Might come down to the hotel and get you.
29:08I'll come back again.
29:10Tomorrow, Pepe.
29:11Tomorrow?
29:12For sure?
29:14For sure.
29:16You smell good.
29:19Tomorrow at five.
29:21Hey, Artie.
29:22Yes, Pepe?
29:23Take the young lady to the hotel.
29:25I'll let her.
29:26Brew a merengue.
29:27Yes, Pepe.
29:28Tomorrow at five.
29:31Yeah.
29:34Yeah.
29:38I'll see you tomorrow at five.
30:02Inspector Sermaine reporting in the case of Pepe Lamoco.
30:04Tuesday, 6 p.m.
30:06I have 48 hours in which to deliver him up.
30:0830 hours have gone by.
30:10Yesterday again, as I thought, they were together.
30:12While I was down in the hotel with Baird, she was with him in the casbah.
30:15The informer Arby, who conducted her back to the hotel,
30:18tells me she is to meet him again today at five.
30:21So my plan is working.
30:23The bait has taken.
30:25Now for the fish to be hooked.
30:27The bait must be jerked away.
30:32Sermaine?
30:34Richard.
30:35I'm just putting on my hat.
30:37Going out?
30:38It looks that way.
30:40Where are you going?
30:41To walk.
30:42Walk? Where?
30:43In Central Park.
30:44May I ask you to give me a sensible answer?
30:45Well, then ask me a sensible question.
30:47Where could I go?
30:48I don't know anyone in Algiers.
30:49I just walk straight ahead.
30:50Straight ahead?
30:51And where does that take you?
30:52Every afternoon?
30:53This hotel of yours bores me.
30:55The head waiter looks like an undertaker.
30:56And every time I step into this apartment,
30:58it looks more like a funeral parlor.
31:00Goodbye, Richard.
31:01I know where you're going.
31:02Oh?
31:03You're going up to the Casbah.
31:05And I know where you go.
31:06You go to meet Pepper Lamoco.
31:09So now you're spying on me.
31:10You're going to be my wife.
31:12You don't make it a very pleasant prospect.
31:14And I'm not going to allow you to behave this way.
31:16I'm glad you told me.
31:18What does that mean?
31:21We might as well be honest, Richard.
31:23Why do you think I'm marrying you?
31:24Look at yourself, then.
31:25Look at me.
31:26I've never lied to you.
31:27You knew I didn't love you when I said I'd marry you.
31:29And you thought it was all right.
31:30So until we're married, I'll do as I please.
31:32That's fair enough.
31:33Gabby, I forbid you to go.
31:35You're wasting your time.
31:36You should go now, Gabby.
31:38You needn't come back.
31:40You've thought it out pretty carefully, haven't you?
31:43I advise you to do the same.
31:45I have.
31:46Gabby.
31:47Oh, uh, Richard.
31:50Well, Gabby, change your mind?
31:53Yes.
31:54I just remember, if I'm not coming back,
31:56these, uh, the bracelet and the ring,
31:58they belong to you, don't they?
32:00Here.
32:04Goodbye, Richard.
32:23I'm afraid not, Madame.
32:25What are you talking about?
32:27I...
32:28I was hoping I would not have to tell you.
32:31You cannot go up to the Casbah, Mademoiselle.
32:34Really, Inspector?
32:35Will you please get out of my way?
32:36Your fiancé was trying to spare you, uh, Mademoiselle.
32:40He didn't want to tell you the truth,
32:42as I have told it to him.
32:44What do you mean, the truth about what?
32:46An attempt was made to capture Pepe Lamoco
32:48in the Casbah this afternoon, Mademoiselle.
32:51In a sense, it was successful.
32:54He was taken?
32:55He was alive.
32:57He was killed.
33:08Inspector Slimane reporting on the case of Pepe Lamoco,
33:11Wednesday, 10 a.m.
33:12Only two hours remain out of the 48.
33:14If my plan works before noon today,
33:16Pepe Lamoco will come down out of the Casbah.
33:19If not, I shall have wasted two years.
33:22Until then, there is nothing for me to do.
33:24Nothing to do but wait while he makes his choice.
33:27If he stays, he is safe.
33:29If he comes out, he faces certain capture and prison,
33:32or death.
33:34It is my carefully considered opinion
33:37that he will come out.
33:55Pepe.
33:57Pepe.
33:59Yes?
34:00Yes.
34:01May I ask what it is?
34:03How much longer are you going to wait?
34:05Pepe, why don't you come home?
34:07You've been here in the café all night.
34:09Well...
34:10Pepe, what are you waiting for?
34:12She's not coming back, that American girl.
34:15Leave me alone.
34:16Ah, she's right, Pepe.
34:17Why do you fool yourself waiting here?
34:19She's not going back.
34:20Grampy, why don't you mind your own business?
34:22Has anybody seen Arby around?
34:24Arby? No, why?
34:25Pepe sent him with a letter down to town last night,
34:28to the Hotel Arletti.
34:30He never writes letters to me, Pepe.
34:32Oh, Inez, leave me alone.
34:33Pepe, why don't you come?
34:35Inez, will you leave me alone and stop telling me what to do?
34:39Yes, Pepe.
34:48Shut up.
34:53Shut up!
34:58What's the matter? Can't you keep those fuckers out of here?
35:00Get out! Get out!
35:10Pepe, you're so nervous.
35:12All right.
35:14I know.
35:15I know, Pepe, how you feel.
35:17I feel it too sometimes.
35:18It's hard for me to sit here in a crass bar, like in a prison,
35:21not to be able to go down into the town ever,
35:24not even to say goodbye to a dear friend.
35:26Listen to me. I'll go whenever I like it.
35:28When you go, Pepe, you'll go quietly.
35:30Feet first, the way they all go.
35:32You think so, huh?
35:33And they'll take off their hats, Pepe, and let you pass.
35:35You think so.
35:36When your time comes, not before.
35:38Oh, no, they won't. I don't have to stay here, do you understand?
35:40I can go any time I want.
35:41Yes, can you?
35:42Yes, I can. I'll go when I feel like it.
35:43Captain.
35:44I'm free, free. Do you hear that, you Inez and you Grampy?
35:46Free!
35:48I can go any time I want, any time.
35:50Pepe.
35:51Oh, Arby.
35:52Yes, Pepe, it's me, Arby. Arby, I'm back.
35:54Come in here.
35:56Well?
35:58Did you see her?
35:59Sure, Pepe, I saw her.
36:00Why did you take all night?
36:01Pepe, I couldn't help it.
36:02I waited and waited all night until this morning.
36:04I couldn't get through to her.
36:05And then did you give her my letter?
36:06Yes, Pepe, I gave it to her just now.
36:07Did you get an answer? Did you get an answer?
36:09Oh, she wanted to write, but she couldn't.
36:11She's being closely watched, Pepe.
36:12What do you mean, closely watched?
36:13Yes, but she expects you this morning.
36:14You can go down without any risk.
36:16Go to the back of the hotel.
36:17She'll be watching from her window.
36:20Is that all?
36:21Well, she wanted to come up, but she couldn't get away.
36:24Go on.
36:25She's waiting for me to bring the answer, Pepe.
36:26What shall I tell her?
36:28She's waiting for it, huh?
36:29Yes.
36:31I'll take the answer myself.
36:32But, Pepe, she's expecting me.
36:33Don't worry, don't worry.
36:34The boys will take care of you till I get back.
36:37Don't worry.
36:40Just like they took care of Regis.
36:41Pepe, listen, I...
36:42What?
36:44Nothing, I will wait.
36:46Abby.
36:47Yes, Pepe.
36:49One thing I don't get.
36:52You said Gabby couldn't write because she was watched.
36:54Yes.
36:55But in a little while, she'll be able to see me.
36:57In the garden, back of the hotel.
37:00That's funny.
37:01He's going to be away, Pepe, I'm afraid.
37:03I see.
37:05Then why didn't she write me?
37:06He was there, watching.
37:08Then how could she talk to you?
37:09Because I...
37:10Because you're all mixed up for a woman who's watched.
37:12It's funny the way she can do things.
37:14Yes, very funny.
37:17I've left all I wanted.
37:19Come here, Abby.
37:21Now, come on.
37:23Spill it.
37:25Come on, Abby.
37:28I gave you a letter.
37:30You went into town with it.
37:33Then what happened?
37:34What happened?
37:35Nothing.
37:36Must I kill you to make it talk?
37:37No, no, no, Pepe.
37:38After you, Pepe.
37:39After.
37:41Well?
37:43Inspector Flemming, it was his plan.
37:45It made me do it.
37:46He arrested me last night.
37:47Flemming.
37:48Yes, Flemming, go on.
37:49And this morning when he left me out,
37:50he told me to come home.
37:51Go on, go on.
37:52He thinks you'll come down.
37:53Then?
37:54The hotel's surrounded.
37:55They're waiting.
37:56Did you see her?
37:57No.
37:59Why didn't she come up yesterday?
38:00Flemming, he told her you'd been killed.
38:02Killed?
38:03Yes, that's what she thinks.
38:04That's what he told her, that you were dead.
38:06My God.
38:07She's feeling.
38:08She's leaving Algiers for the Empire of Scotland today at noon.
38:10Stop it.
38:11I didn't see you.
38:12Well, I said I could go, and I felt like it, didn't I?
38:14Huh?
38:15I said I could go, and I felt like it.
38:17Well, I feel like it right now.
38:19Please, don't you see it's a trap?
38:21Leave me alone.
38:22Pepe, where are you going?
38:23You're going to her, aren't you?
38:24Get out of my way, Inez.
38:25You can't do it, Pepe.
38:26You can't leave me.
38:27What have I done?
38:28Inez, get out of my way.
38:29It's not your fault.
38:30I won't let you do it.
38:31I won't let you.
38:32You'll be killed.
38:33It's my life.
38:34Don't die, Pepe.
38:35Don't die.
38:36I won't let you.
38:37I won't let you, Pepe.
38:38Pepe.
38:44Pepe.
38:45Pepe.
38:46Pepe.
38:47Pepe.
38:48Pepe.
38:49Pepe.
38:50Pepe.
38:51Pepe.
38:52Pepe.
38:53Pepe.
38:54Pepe.
38:55Pepe.
38:56Pepe.
38:57Pepe.
38:58Pepe.
38:59Pepe.
39:00Pepe.
39:01Pepe.
39:02Pepe.
39:03Pepe.
39:04Pepe.
39:05Pepe.
39:06Pepe.
39:07Pepe.
39:08Pepe.
39:09Pepe.
39:10Pepe.
39:11Pepe.
39:12Pepe.
39:13Pepe.
39:14Pepe.
39:15Pepe.
39:16Pepe.
39:17Pepe.
39:18Pepe.
39:19Pepe.
39:20Pepe.
39:21Pepe.
39:22Pepe.
39:23Pepe.
39:24Pepe.
39:25Pepe.
39:26Pepe.
39:27Pepe.
39:28Pepe.
39:29Pepe.
39:30Pepe.
39:31Pepe.
39:32Pepe.
39:33Pepe.
39:34Pepe.
39:35Pepe.
39:36Pepe.
39:37Pepe.
39:38Pepe.
39:39Pepe.
39:40Pepe.
39:41Pepe.
39:42Pepe.
39:43Pepe.
39:44Pepe.
39:45Pepe.
39:46Pepe.
39:47Pepe.
39:48Pepe.
39:49Pepe.
39:50Pepe.
39:51Pepe.
39:52Pepe.
39:53Pepe.
39:54Pepe.
39:55Pepe.
39:56Pepe.
39:57Pepe.
39:58Pepe.
39:59Pepe.
40:00Pepe.
40:01Pepe.
40:02Pepe.
40:03Pepe.
40:04Pepe.
40:05Pepe.
40:06Pepe.
40:07Pepe.
40:08Pepe.
40:09Pepe.
40:10Pepe.
40:11Pepe.
40:12Pepe.
40:13Pepe.
40:14Pepe.
40:15Pepe.
40:16Pepe.
40:17Pepe.
40:18Pepe.
40:19Pepe.
40:20Pepe.
40:21Pepe.
40:22Pepe.
40:23Pepe.
40:24Pepe.
40:25Pepe.
40:26Pepe.
40:27Pepe.
40:28Pepe.
40:29Pepe.
40:30Pepe.
40:31Pepe.
40:32Pepe.
40:33Pepe.
40:34Pepe.
40:35Pepe.
40:36Pepe.
40:37Pepe.
40:38Pepe.
40:39Pepe.
40:40Pepe.
40:41Pepe.
40:43Pepe.
40:47How he came, in the first place, to break through the police cordon with which the CASVA
40:52was surrounded is a thing I shall never understand.
40:55No one but Pepe could have done it.
40:58At 20 minutes to 12, we got word that he was out.
41:02Soon after that, he was seen entering a camp.
41:04A few minutes later, he was reported leaving a travel agency on a boulevard et victoire
41:09headed for the harbour, presumably for the Empress of Scotland and once on the dock he was safe.
41:16In that crowd there is little chance of a man being spotted, however intensive the search
41:21and with the cordons around the Casbah and the Hotel Arletty, the police at the dock were
41:25shorthanded this morning. Understand these are not excuses, these are facts that help to explain
41:32what happened next.
41:47It is also essential to understand exactly what the arrangements are for passengers
41:51boarding the big steamers in the port of Algiers. At the end of the dock there is an iron gate with
41:58an opening in it about two metres wide. Here in this opening stands a ticket desk and beyond it
42:04is a turnstile through which everyone wishing to board the steamer has to pass. After that there
42:09is nothing more, you go through the turnstile, straight up the gangplank into the ship.
42:15From the turnstile across the dock to the end of the gangplank is a distance of about six metres
42:21in the clear. A man walking very fast can cross it in less than two seconds.
42:26This way sir, ticket please. Here you are. Thank you sir.
42:37Can't you think about it later, didn't you sir? Yeah. Well, better late than never.
42:40First class to New York, cabin 168. 168. Here you are sir, here's your voucher.
42:46Passport please. Yeah.
42:48American tourist, passenger of the first class to New York.
42:52This way sir, straight through the turnstile, gangplank going up in a minute.
43:09Put them up Pepe, up. You see Pepe, we meet at the appointed hour.
43:14All right. Tell the truth Pepe, I am, I almost missed the appointment.
43:21All right, all right inspector, let's go. Keep them up, walk straight ahead.
43:29Lemayne. Yes?
43:30Lemayne. Yes Pepe?
43:33One last thing. What is it?
43:34Go on, keep moving. One minute inspector.
43:37What is it Pepe? Lemayne,
43:41let me stand at the end of the dock for a minute by the gate.
43:44Till the boat sails. Not much to ask.
43:49I can't get away. I want to see a sail.
43:54I'd like to be generous to you, Pepe. I'm asking for one minute.
43:57A minute is nothing, yet it is everything. All right, let him go.
44:03Inspector, I warn you if anything happens... It's my case commissioner, I said let him go.
44:07Thanks, Lemayne.
44:20Then happened the thing which is hard to describe in a report such as this.
44:25Pepe went to the end of the dock. They had him covered.
44:29It was just 12 and the gates at the desk was closed and the gangplank was up.
44:33The ship was beginning to move. Pepe went forward, slowly, as far as the iron gates.
44:40Then he stopped and stood there with his hands on the bars and his eyes on the decks above him,
44:45moving slowly away and the ship's railing in line with the people.
44:50The ship was out past the dock, already moving out to sea.
44:55At that distance it is hard to distinguish. There was a girl at the railing,
44:59there was a girl at the railing, looking down at the dock.
45:04Pepe must have seen her too. Perhaps he saw her more clearly than we did.
45:10He started to run forward. Come back here! Pepe! Come back or I'll shoot! Pepe! Pepe!
45:18Wait a minute! Don't shoot!
45:19You fool! Why did you have to do that?
45:35I... I am sorry, Pepe. They shot before I could stop them.
45:43They thought you were going to escape.
45:44Escape? Escape? Me? Escape?
45:54Well, so I have, Inspector. So I have.
46:14I am, now I'm all alone.
46:45This concludes our Campbell Playhouse presentation of Algiers as adapted and
46:56produced by Orson Welles. In just a moment, Mr. Welles will return to the microphone with
47:00Paulette Goddard, our guest of the evening. May I remind you, ladies and gentlemen, of the five
47:04minute news commentary which may be heard over most of these stations immediately following the
47:07close of this program. Because I know how fond of chicken nearly all of us are, I'd like to extend
47:13an invitation and also make a promise. I want to invite you, if you haven't already done so,
47:18to try Campbell's chicken soup. You see, as Campbell's make their chicken soup, every drop
47:23holds the deep flavor of rich chicken. Into the making of the broth goes not some, but all the
47:29choice meat of carefully selected chicken. And in the best tradition of all good home cooks,
47:34the broth is slow simmered till even the snowy rice that Campbell's ad for hearty,
47:38satisfying substance has captured the full chicken flavor. Tempting pieces of tender chicken
47:44meat complete the good eating in this truly old-fashioned chicken soup. Won't you enjoy it
47:49soon? Tomorrow night, perhaps, wouldn't fragrant plates of Campbell's chicken soup add to the
47:54enjoyment of your dinner? Now that's my invitation, and in extending it, I want to make the promise I
47:59spoke of. And that promise is this. Just as sure as you like chicken, you like Campbell's chicken soup.
48:07And now, here is Orson Welles.
48:16When the world is without its Mary Andersons, its Nell Gwynns, its Maxine Elliotts,
48:20when there are no more greatly beautiful ladies in the theater profession,
48:24we'd better climb right back up into the trees, because on that dark day,
48:28the pleasant graces of our civilization will be no more, and the West will have declined indeed.
48:33But be of good cheer, dear listener. Barbarism is not yet upon us. We are living in the age of
48:39Paulette Gardard. Miss Gardard, who just played Gabby in Algiers, is waiting at the microphone to
48:43be introduced to you. Before the ensuing formalities, I cannot refrain from mentioning that she is
48:49exactly why television is inevitable, and positively everything the camera has led you to
48:54believe more. Excuse me, Miss Gardard is indicating by subtle gestures the clenched fist, for example,
48:59the bared though pearly teeth, the flashing eye, and all the rest of it, including that past right
49:04leg, which is just one for in the new motion picture, The Women, the uncontested title of
49:08the Hollywood bomber, implying by these and other delicate indications of a becoming name stunning
49:13modesty that she, Paulette Gardard, would like to be presented without the adjectives, and would
49:18like it if I didn't go on and on and on and on. I won't, but I'd like to. Ladies and gentlemen,
49:23Miss Paulette Gardard. Good evening, and thanks, Orson, for being so nice to me.
49:28An appearance on the Campbell Playhouse is an old ambition of mine, and it's been a real thrill
49:32to fulfill it. You know, Paulette, I wish you could tell us about your new picture. It's going to be
49:35one of the great pictures, we're all tolerably certain of that, but ladies and gentlemen, for
49:39several reasons, every one of which is self-evident, its character and its story must remain until its
49:43completion something of a secret. Please, Paulette, you can tell us the title. I wish I could. Right now
49:48it's called Production Number Six. Well, tell us just this much more. What part are you playing,
49:54Paulette? Well, it's a big jump from what I'm doing in The Dictator to Gabby in Algiers. I'm
49:59playing a household drudge. And the picture, ladies and gentlemen, as you probably guessed,
50:04is Charles Chaplin's latest. It's been before the cameras about four weeks now, and it's expected to
50:08take at least another five months. Paulette, will you tell, will you be all that time before the
50:12camera? No, a great many of my scenes are being shot now, so I'll be free for other pictures.
50:17Every one of which we're looking forward to. As a matter of fact, the Production Number Six,
50:21let me tell you, ladies and gentlemen, I spent three of the really breathless and magical hours
50:25of my lifetime not so many weeks ago. It was just before Production Number Six went into production
50:30when Charles Chaplin himself described some of the scenes to me. Let me tell you that hearing
50:33some of it from his own lips, the exposure to his own radiant enthusiasm is an experience at once
50:39priceless and indescribable. You don't know it, Paulette, he even did some of your scenes for me,
50:43and although it sounds silly, he was wonderful. I'm sure of that. I only hope that I won't
50:47disappoint you. You won't, Paulette, excuse me, and believe me, he only whetted my appetite. And
50:52now, Paulette Goddard, thanks for coming. Thanks for your performance in Algiers,
50:56and please visit us soon again at the Campbell Playhouse.
51:01Now, ladies and gentlemen, as to next week, let me ask you to do this. Put yourself in the position
51:05of Mr. Matt Dennett. You haven't been pretending to be fishing for trout, but you haven't any bait.
51:10As a matter of fact, you haven't any trousers, and you hope it won't be necessary for you to
51:15stand up. Eventually, however, you will have to, and you'll have to run as fast as your undressed
51:19legs can carry you, because you're wanted for murder. As a matter of fact, I don't wish you
51:24the luck of Captain Matt Dennett, who is the hero of next week's broadcast, but I think you'll
51:28sympathize with him throughout and be interested in the remarkable events which follow his escape
51:32from Sing Sing. The story is John Goldsworthy's notable comedy, Escape. I think I've mentioned
51:37Wendy Berry, and I hope you remember next Sunday night this same time. Until then, until Escape,
51:41my sponsors, the makers of Campbell Soups and all of us in the Campbell Playhouse remain as always
51:47obediently yours.
51:53The makers of Campbell Soups join Orson Welles in inviting you to be with us at the Campbell
51:57Playhouse again next Sunday evening, when we will present John Goldsworthy's delightful comedy,
52:01Escape, with a charming motion picture personality, Wendy Berry. Remember, Campbell Playhouse,
52:06next Sunday evening. Meanwhile, if you've enjoyed tonight's presentation, won't you
52:10tell your grocer so tomorrow when you order Campbell's Chicken Soup? This is Ernest Chappell
52:15saying thank you and good night. This is the Columbia Broadcasting System.