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00:00♪
00:15The makers of Campbell's Soup present,
00:18The Campbell Playhouse.
00:20Orson Welles, producer.
00:22♪
00:36Good evening, this is Orson Welles.
00:40Tonight, Miss Helen Hayes joins us again in the Campbell Playhouse,
00:43and our story is Lilium.
00:45♪
00:50When Molnar wrote this incredibly beautiful and beautifully incredible little fantasy,
00:54it was at first received with a general bewilderment,
00:57which I hope we won't revive tonight.
01:01Nobody knew what to make of Lilium,
01:02which was a straight-faced account of a carnival man
01:05who stole a star out of the blue heavens
01:07and came back from the dead to give it to a child.
01:11The piece was withdrawn, which seems understandable,
01:14and you wouldn't be hearing it now if it hadn't been tried again ten years later.
01:19This is a success story because the history of Lilium in every language
01:23is the story of a success.
01:25I don't know what's happened to people since Lilium's first and,
01:28let's pray, its only failure.
01:31I don't know whether Snow White and the Seven Dwarfs
01:33would have broken all box office records in those cozy old days
01:36when security was the premise of human life,
01:40and peace was a promise.
01:43But I do know that if Tinkerbell were dying again in one of our theaters,
01:46and Peter Pan were asking another audience if they believed in fairies,
01:50there would be the same majority of the affirmative.
01:53And I do believe that as long as we can tolerate fiction,
01:56which is what didn't happen,
01:58we'll welcome fantasy, which is what doesn't.
02:02Fantasy is the highest reach of the mind.
02:03It is our first conclusion and our last.
02:06A tall story was told after the first fire that was ever built.
02:11And we haven't outgrown magic, even if we know better.
02:15I am too far away from you for you to hear me, but you do.
02:19A gesture, a gesture of terrible simplicity will eliminate my voice
02:23from the sanctity of your attention.
02:26You are accustomed to this power and may be bored with it.
02:28Dear listener, your daily routine is a perfect monotony of miracles.
02:34The new machinery of this century presents us with equivalence
02:37to the pumpkin coach, the magic carpet, and the looking glass.
02:41But our magic is a magic trick.
02:43The trouble is, Mr. Edison's wizardry is like Mr. Thurston's.
02:47There's a way of doing it all, with wires.
02:51Here, then, is a trick nobody can do, an effect without a cause,
02:54a tale without the faults who had bought him of a fiction, a fable.
02:58And Lilium, like all fables, is dedicated to the proposition
03:02that the unlikely is not unnecessary,
03:04that you and I are interested in the impossible,
03:07and that even in these times,
03:10there is time for once upon a time.
03:12♪♪
03:18Now, before our play begins,
03:19Ernest Chappell, I know, has a comment to make
03:21on a food preference of most people.
03:22Mr. Chappell?
03:23Thank you, Orson Welles.
03:25Let me ask all of you this.
03:27Have you ever noticed, when you've had lunch or dinner
03:29in a restaurant, how frequently tomato soup heads the menu
03:33and how regularly you hear people all around you saying,
03:36I'll take the tomato soup?
03:38Indeed, when you're eating out and you're in a festive mood,
03:41isn't tomato the soup you most often decide on?
03:45At home, too, tomato is the soup that families enjoy time
03:47and time again and never seem to tire of.
03:50And I think the reason it's the favorite soup with most people
03:54is because the magic matchless flavor of tomato soup,
03:57as Campbell's make it,
03:59has given us all a special liking for it.
04:01There's a zest, a dash, a liveliness about the flavor
04:05of Campbell's tomato soup that captures us
04:07and brings us back again and again.
04:09The very look of a bright red plateful speaks of good cheer,
04:13and we enjoy it from the first racy spoonful
04:15to the last delicious drop.
04:17Yes, there's no question that Campbell's tomato
04:20is the world's number one soup, served and deeply enjoyed
04:23at lunch and dinner in more homes than any other soup.
04:27Will Campbell's tomato soup be number one
04:28on your grocery list tomorrow morning?
04:31I hope it will.
04:33And now, Lillian, with our guest of the season
04:35and of this evening, Miss Helen Hayes.
04:38And here is Orson Welles to set the story.
04:40Well, this is Mrs. Muscat's story.
04:43Mrs. Muscat of Muscat's Mighty Shows.
04:46Yes, sir, Muscat's Mighty Shows.
04:48I've been running the outfit ever since the old man died.
04:5138 years now we've been playing the Gulf Coast.
04:53But of course, business ain't what it used to be.
04:55There's been a lot of changes in the world
04:57since Muscat's Mighty Shows began, you know.
04:59Radio and movie pictures and that swing music.
05:02Folks don't take to a carnival like formerly,
05:04but we still keep going.
05:05I'm down to eat carbs this summer,
05:07and sometimes I reckon I ought to put the whole outfit
05:09in storage and never open up again.
05:11Got a house in Biloxi with four bedrooms,
05:13and that's where I ought to be at my age,
05:14taking it easy, but I just can't do that somehow.
05:17I've been at it too long, I reckon,
05:19and I remember too much.
05:21Well, if here's a tall story,
05:23and maybe you won't believe it,
05:24we got some queer yarns to tell in the carnival business.
05:26Ghost stories like, you know,
05:28things that couldn't happen but did.
05:30Like the time Pete Bonaventi of the Daring Bonaventis
05:33at the Ariel Act did a back double and a half
05:35to a trapeze that weren't there.
05:37But they all seen it there, everybody.
05:40And later they remembered the catcher they'd seen
05:42was old Papa Arturo that Pete dropped six years before
05:45and killed somewhere in Georgia.
05:48Well, so this here's about a fella
05:50that come back from the dead too.
05:52Just for one day, and everybody saw him too.
05:55At least Julie and I did, like they saw old Arturo.
05:58But this yarn ain't unhappy like the other,
06:00it's just kinda queer and hard to figure
06:02unless you knew Lilium like Julie and I knew him.
06:05He was bad, that's a word for Lilium, bad.
06:08But he had a way with him.
06:10Well, I guess he didn't mean to steal that star,
06:12he just couldn't help it.
06:13And then you see, he never did give Julie nothing
06:14when he was alive.
06:15He didn't give nothing to anybody, he just took.
06:17Well, I guess that's what he did in the other place.
06:20He just took that star.
06:22Mine, it was a real star,
06:23not tinsel like a star on a Christmas tree,
06:25or silver like the one a sheriff carries,
06:27and it wasn't like one of our prizes from the stands,
06:29it wasn't just flash.
06:31Flash is a word we use in the carnival
06:33for stuff that looks good to the rubes
06:35and makes them want to spend the money winning
06:36at flying darts or tossing rings at the pitches.
06:39Something they wouldn't buy in a store
06:40for half a tenth of what they spend trying to get free.
06:43Oh no, sir, this star wasn't flash, it was real.
06:47You know, a star like you see up there in the sky?
06:50I saw it and I know.
06:53He had it in his pocket,
06:54wrapped up in an old dirty handkerchief.
06:56He had his back turned and I saw him open it up
06:59and look at it quick just to make sure it was there.
07:02He was right by the weight guessing machine.
07:04And when I walked up to him, he was gone.
07:08Understand he'd been dead 12 years.
07:10Yes sir, he was the fattest pitchman I ever had.
07:13Pitchman is another word of ours in the carny,
07:15I mean carnival.
07:16It's the fellow who talks you into throwing the darts
07:18or pitching the rings or maybe getting your weight guess.
07:20You know, a fast talker.
07:22A good one's the best thing we've got in the carny.
07:23That's the best thing we've got anyhow, talk.
07:25Talk to me and put the hand down in the pocket
07:27and bring out some more change
07:28and Lilliam can talk the last nickel out of anybody,
07:30especially the girls.
07:33I beg pardon, you want to hear the story, of course.
07:35Well, Sam, here's how it happened.
07:38It's a kind of love story, not mushy,
07:40but there's love in it, real love.
07:43I admit I was crazy for him myself.
07:46I was younger then, so was Julie.
07:48She loved him right off.
07:49I guess in his way, Lilliam loved Julie.
07:52Guess that's why he'd come back from being dead
07:54with that star he'd stole out of the blue sky.
07:58But I don't know.
08:00It all begun in a bit stand where Julie come from
08:02and where Lilliam met her.
08:05I remember how mad I was.
08:07Mad at little Julie and that Maria pal.
08:10Moon-calfing they was, the both of them.
08:12Run, Lilliam.
08:14Go on, go on, get out.
08:15Go on, you little girl, you little boy, come here.
08:17Come on, Julie, run.
08:18Run, what do I want to run for?
08:19Nobody's scared of that old woman.
08:20Go on, go on, get out, I say.
08:21I can take a lot, I can,
08:22but when a girl starts carrying on the load...
08:23Why don't you go on and sell your old tickets
08:25and leave us alone?
08:26Hey, what's going on here?
08:27What's the trouble, what's she done?
08:28What's she done, Mr. Lilliam?
08:29She's been up in here with me and I'll pull her out,
08:31that's what.
08:31Mr. Lilliam, if I come to your stand
08:33and pay you to guess how much I weigh,
08:35will you throw me out?
08:36Sure, I shall if I feel like it and if I don't, I won't.
08:38There you are, you see, Julie?
08:40Thanks, Mr. Lilliam.
08:41I guess I can hug a girl a little
08:42when I'm guessing her weight if I want to.
08:44Listen here, little girl, you come to my stand
08:45any time you feel like it.
08:46Come every day if you feel like it, you and your girlfriend.
08:49And if you have the money, I guess you'll wait for nothing.
08:51Maybe you think I can't throw you out.
08:53No, you can't.
08:54I can fire you any time I feel like it, just like that.
08:56Well, it seems like you feel like it right now.
08:57That's fine, I'm fired.
08:58You're a fool you are, Lilliam.
09:00Letting a no-con little country girl
09:01leave you the best job you'll ever hope to have.
09:03Mr. Lilliam, I don't want to get you into any trouble.
09:04Then get out of here quick before I get mad.
09:05Hey there, Mrs. Muscat, get away from Ellie,
09:07that girl alone.
09:08If I ever get my hands on her, I'll kill her.
09:09You what?
09:10Listen here, Mrs. Muscat,
09:12I never hit a woman yet, in serious.
09:15If you touch this kid here,
09:16I'll give you the darndest beating
09:17you ever had in your life.
09:18Now you are fired.
09:19Goodbye, Mrs. Muscat.
09:20Gee, Mr. Lilliam, I'm awful sorry.
09:22Don't you pity me or I'll hit you.
09:24Don't you pity me either.
09:25We're not pitying you, Mr. Lilliam.
09:27You're a liar, you are pitying me.
09:28I can see it in your face.
09:29Well, you don't have to, I can get along
09:30with our Mrs. Muscat any time.
09:33What are you going to do now, Mr. Lilliam?
09:34Me have a drink.
09:36That's always the first thing I do when I'm mad,
09:37I have a drink.
09:38Then you are mad about losing your job.
09:40No, just about how I'm going to pay for the drink.
09:42Or maybe you're going to buy me a drink.
09:43How much money you got?
09:44Eight cents.
09:45Is that all?
09:46I had a half a dollar,
09:48I had a half a dollar, but I spent most of it
09:49having myself waived.
09:51How about you, Marie?
09:52Five cents, but I need that to get home on the train car.
09:55You girls stay here while I go back to the stand
09:56and get my stuff.
09:58Don't worry about it.
09:58I'll come back and go somewhere and get a drink.
10:00But, Mr. Lilliam, we...
10:01Don't worry, I'll pay for it.
10:02You wait here for me.
10:03Yeah.
10:04You wait for me.
10:06You sorry for him?
10:07Are you?
10:08I think he's right pitiful.
10:10What you looking at him like that for?
10:12Nothing.
10:13Except I'm sorry he lost his job.
10:15It's our fault he lost his job.
10:17Because he's fallen in love with you.
10:19Marie, he has not.
10:21Yes, too.
10:22He's crazy about you.
10:23Oh, Marie, you're crazy.
10:25I couldn't help it if he put his arm around me
10:27when he was guessing my weight.
10:28I couldn't tell him not to after he'd done it.
10:30Besides, how do you expect him to guess your weight
10:32if he doesn't even touch you?
10:33I bet you didn't even like him to do it.
10:35No, I didn't.
10:36Part of his job.
10:37What are you waiting for him for?
10:38Why don't we go home?
10:39Well, he said to wait for us.
10:41I don't see why.
10:42Well, just because a fellow like that...
10:43Hello, are you still here?
10:45Hello, Mr. Lilliam.
10:46Hello, Mr. Lilliam.
10:48Who are you waiting for?
10:49You told us to wait.
10:50Don't butt in, you.
10:51Nobody's talking to you.
10:51Well, you asked us.
10:52Look, you keep your mouth shut.
10:54What do you reckon I'd want to do with you?
10:56I meant one of you is to wait, the other goes home.
10:58Yes, Mr. Lilliam.
11:00Well, I said one of you goes home.
11:01Where do you live?
11:02Eat, drink, and all that.
11:03With your folks?
11:04Yes, sir.
11:05How about you?
11:06I live right next door to her with my uncle.
11:08Well, one of you goes on home, one of you stays there.
11:10Come on, which is it?
11:11Come on, make up your minds.
11:12Which one of you stays?
11:13He'll be locked out if you don't get home on time.
11:15Who will?
11:16Julie, she has to be in by nine.
11:18Her uncle said next time she came in after nine,
11:19he'll throw her out.
11:20Is that right?
11:21They throw you out if you're not back on time?
11:22I reckon so.
11:24I was thrown out, wasn't I?
11:25Just now by Miss Muscat.
11:26Yes, sir.
11:28Well?
11:29Would you like me to run along, Julie?
11:32Can't tell you what to do.
11:33You can stay here if you want to, Julie.
11:35Come on, come on, make up your mind.
11:36I haven't got all night.
11:38Well, do you want me to go, Julie?
11:41Why do you keep asking me that, Marie?
11:42I don't know best what to do, Julie.
11:46All right, Marie.
11:47I guess you can go.
11:49Anything you say, Julie.
11:52Good night, Mr. Miller.
11:53Good night, Marie.
11:54Good night.
11:55Good night, Julie.
11:58Now, we're both thrown out.
12:02Had any supper?
12:04No, sir.
12:05Want to get something to eat?
12:07No, sir.
12:09Well, you don't come to this kind of a munch, do you?
12:11I've only seen you around twice.
12:12You been here more nights?
12:13Oh, yes, I've been here every night
12:14since you opened up.
12:15Did you see me?
12:16Yes.
12:17Know I was Lilliam?
12:18Yes, they told me.
12:19Say, you got a sweetheart?
12:22No.
12:23Yeah, don't lie to me like that.
12:24I haven't, honest, Mr. Lilliam.
12:26If I had, I'd tell you.
12:27A genuine lying trick you are, sis.
12:29I ought to walk out on you.
12:30Oh, you're mistaken, Mr. Lilliam.
12:31I haven't ever had one, honest.
12:33Oh, why don't you try and stop kidding me?
12:35Why won't you believe me?
12:35You're just staying here with me the first time I ask.
12:37You know your way around.
12:39No, I don't, Mr. Lilliam.
12:40You would have been so easy
12:41if you hadn't done it before.
12:42Honest, Mr. Lilliam.
12:43Well, what are you staying for, anyway?
12:45So you wouldn't be left alone.
12:46Alone?
12:47Oh, you must be loony.
12:48I don't have to be alone.
12:49I can get all the girls I want.
12:50Not carnival girls, either.
12:52I know.
12:53What do you know?
12:53That all the girls are crazy about you.
12:56But that's not why I stayed.
12:57I stayed because you were so good to me
12:59when Mrs. Muscat tried to throw me out.
13:02Well, then, suppose you go home now.
13:04I don't want to go home now.
13:06What if I beat it and leave you sitting here?
13:08I wouldn't go home.
13:09I'll get him, all right, right away on to the girls.
13:11I love this much.
13:12Oh, Mr. Lilliam, look.
13:13I see.
13:14The sheriff, he's coming over here.
13:15I don't know.
13:16He's hanging around the carnival
13:17looking for trouble.
13:17What is it?
13:18Oh, up the old tricks, huh?
13:20Who, me?
13:21What's your name?
13:23You ought to know it by now in this one horse county.
13:25Sheriff, he hasn't done anything.
13:27Keep still, kid.
13:27We ain't going to eat you.
13:28What are you hanging around here for?
13:30Why don't you just stand where you belong?
13:32Mind your business.
13:33What's your name, miss?
13:34Who, me?
13:35I know a sheriff.
13:36She lives up on Sycamore Street with her uncle.
13:38Why aren't you home, then?
13:39I'm not doing anything wrong.
13:41I just came out to the carnival.
13:42Well, carnival's over for the night, miss.
13:44Yeah, and if I was you,
13:45I wouldn't be hanging around with no show folks.
13:47We know this one.
13:49We've had trouble with him before.
13:50Picks up nice girls like you, says he'll marry you.
13:53Takes everything she got.
13:54Then on to the next town.
13:56I hadn't any money, sheriff.
13:58Well, don't say we didn't warn you.
14:01You got any cents, you go right home.
14:03Do I have to go home?
14:05No, you don't have to.
14:08Thank you, sir.
14:09Come on.
14:10Come on, Tom.
14:11Sure, Sheriff.
14:13Say, ain't you afraid of me?
14:17Sheriff told you what kind of a bad fellow I was,
14:19said I'd take your money.
14:21Why, you couldn't do that.
14:22I haven't got any.
14:23But if I had some, I'd give it to you.
14:26I'd give it all to you.
14:27You would?
14:28If you asked for it.
14:29Did you ever have a fellow you gave money to?
14:31No.
14:32Haven't you ever had anybody in love with you?
14:34No.
14:36Are you in love with me?
14:37No, Mr. Lilliam.
14:39Then why do you stay here?
14:43Do you want to marry me?
14:45You?
14:46That scared you, didn't it?
14:48You're thinking what that sheriff said, you're scared.
14:51No, I'm not, Mr. Lilliam.
14:52I didn't listen to what the sheriff said.
14:55You wouldn't have the nerve to marry somebody like me,
14:56would you?
14:57If I loved somebody,
14:58it wouldn't make any difference to me, would it?
15:01Even if I died for him.
15:03And you'd marry a fellow like me?
15:04Yes, I would.
15:06What if I loved you, Mr. Lilliam?
15:08Well, you just said you didn't love me, didn't you?
15:12Why don't you go home then?
15:15It's too late now.
15:16Locked out?
15:17Yes.
15:19You know what I think?
15:21Hmm?
15:22I think even the most good for nothing
15:23can make a man out of himself if he wants to.
15:26Yes.
15:26Hmm.
15:29Hungry?
15:30No.
15:32Suppose you did have some money
15:34and I took it away from you.
15:36You could take it.
15:37I wouldn't mind.
15:38You know, all I have to do is go back to Miss Muscat
15:40at the carnival.
15:41She'll be glad to get me back.
15:42Then I'd be making money again, plenty.
15:44I'd make a lot of money.
15:46Don't go back to her.
15:49Sure, I'll flock a magnolia tree around this park.
15:52Don't go back to her.
15:55She'd take me back and signify it.
15:58You should see them later in the summer.
16:00Then they're in full bloom.
16:01Yes.
16:03White magnolias.
16:04Hmm.
16:05And the wind blows them down.
16:08They smell so good.
16:09♪♪
16:21Business was good in the South that summer.
16:23Even after I fired Lilium.
16:25Yeah, business was all right.
16:28Well, we don't rout Muscat's mighty shores
16:30to play a stand twice in one season.
16:32It isn't considered good business.
16:34I got to admit, three months later that same year,
16:37we was back in that same town.
16:39I told you before, I've never been in this business
16:41for money.
16:42♪♪
16:43Who's that?
16:45Good morning.
16:47Is Lilium home?
16:49No.
16:50Gone out?
16:51He hasn't come home yet.
16:52Oh, he hasn't come home yet.
16:54Well, I'll wait for him.
16:57I think he'll remember me, my Miss Muscat.
16:59From the carnival, I'll remember.
17:01Hmm.
17:02Not home yet, huh?
17:03I'll wait if you don't mind.
17:05Just as you like.
17:06When did he leave?
17:06How long has he been gone?
17:07Since yesterday.
17:09Oh, he'll be back in a minute now.
17:10That's fine, I'll wait.
17:13You think it'd be a shame to let his wife
17:14live in a place like this?
17:16Three months and he ain't even turned a finger to work.
17:18Who told you that?
17:18Oh, you know how news gets around.
17:21That's not all I heard.
17:22I heard he was in jail last week.
17:24But they let him out right away.
17:25Well, it's not the first time Lilium's been locked up.
17:27Why'd they let him go?
17:28Because he hadn't done anything wrong.
17:30Maybe he's doing nothing wrong when he beats you.
17:32Who told you?
17:33Oh, he's a bad one, that Lilium.
17:34He always was.
17:35He's not bad.
17:36Not really bad.
17:38He gets wild sometimes.
17:40But then he's gentle too sometimes.
17:43Last night, just before I went away, he was gentle.
17:46The wind was blowing from over the carnival
17:48and we could hear the music of the merry-go-round.
17:50And I don't know, something came over him.
17:53And then he was very gentle.
17:55Did he say anything?
17:57No, he didn't say anything.
17:59He just sat there, very quiet.
18:02And his eyes staring straight ahead of him.
18:04Thinking about you?
18:06I don't know.
18:07I'll tell you what he was thinking.
18:09He was thinking how he missed the carnival
18:10and three square meals a day and money every Saturday
18:13and girls waiting in every town all crazy for him.
18:16Hello, Lilium.
18:18Wait downstairs, Vixen.
18:19Seems like you got company here, Lilium.
18:21Wait downstairs, I'll call you when I want to.
18:23Beautiful.
18:24Downstairs, downstairs.
18:25I'll be right at the bottom of them.
18:29Oh, Lilium.
18:31Lilium, Ms. Muscat's here to see you.
18:35I see she is.
18:38Well?
18:40Aren't you going to say good morning?
18:42What for?
18:44What's wrong with you?
18:45Nothing, Lilium.
18:46Then shut up.
18:46Well, go on, why don't you start asking me
18:48where I was all night?
18:49Go on, say it.
18:49I'm not saying anything, Lilium.
18:51Well, don't or you'll get your face slapped.
18:53Lilium, Mrs. Muscat's here.
18:54I can see Mrs. Muscat.
18:56Why don't you speak up if you got something to say?
18:58What do you want, Ms. Muscat?
18:59What do you suppose I want?
19:01You think I've come to pay a social cost?
19:02I don't owe you any money.
19:03Yes, you do, but I know better than to come here for that.
19:06Well, then get out.
19:08You know what I'm here for, Lilium.
19:10Got a new man on the scale, tell him his...
19:12Sure I have.
19:14Well, what else do you want?
19:15He's as good as I am.
19:16He certainly is.
19:17He's every bit as good as you are.
19:19I wouldn't dream of letting him go.
19:22Julie, go in the kitchen and make me some coffee.
19:25Go on.
19:26Yes, Lilium.
19:28Well, the new man's good, huh?
19:31Lilium, why don't you stay home and sleep now?
19:33Mind your own business.
19:34I see you're going around with that lowdown sneaking fixer.
19:39First thing you know, he's going to get you in trouble.
19:40You mind your own business.
19:42Lilium, you look terrible.
19:45Push your hair back from over your eyes.
19:48New man's good, is he?
19:49Well, I hear you've been beating him.
19:51Mind your own business, I told you.
19:52You're a fine one, beating a skinny little
19:55underfed thing like that.
19:57You're tired of him, why don't you leave him?
19:58But there's no use beating up him.
19:59Leave her.
20:02You'd like that, wouldn't you, Miss Muscat?
20:04Oh, don't flatter yourself.
20:07You do beat her, don't you?
20:10What's all this crazy talk about beating her?
20:13I hit her once, now the whole town's talking about it.
20:16You don't call that beating her, do you?
20:17All right, all right.
20:18Beating her, as if I'd beat Julie.
20:20Well, all I can say is you've been married three months
20:22and it's plain to see you're sick of it.
20:25Oh, I forgot to tell you, Lillian,
20:26I bought a new steam organ.
20:28Yeah, I know.
20:29How'd you know?
20:29Oh, we heard it last night.
20:31It's coming through the windows, you know.
20:34How's it sound?
20:35It's, well, it's good.
20:38Just think of it, Lillian.
20:40All the food and liquor you want, cigarettes and money.
20:43I'll give you $5 a day.
20:44$5?
20:45The girls miss you, Lillian.
20:46Everywhere we go, they ask for you.
20:49Oh, Lillian, that's the life for you.
20:50It's the only life you know.
20:52It's the only way you can make a living.
20:53So the girls don't like the new man on the scales, huh?
20:55You know they don't.
20:58I couldn't leave, Julie, but that wouldn't matter.
21:02I could be out with a carnival all summer, send Julie money,
21:05and then when I could come back and stay with her here,
21:07maybe we'd go some nice place together, you know?
21:08Yeah, that's just lovely.
21:09Well, now what?
21:10You must have lost your senses.
21:11That'd go great for the girls, wouldn't it?
21:13Lillian married, always running home to his wife.
21:15Why, they'd laugh themselves sick from here to Pensacola.
21:17I know what you want.
21:18Lillian.
21:19$5 a day and a cut.
21:22Is that what you said?
21:23That's what you said.
21:25Well, we'll let it stand.
21:27We'll pull out tonight, Lillian.
21:30We won't be back here again for a year.
21:33Never if you say so.
21:35Here's your coffee, Lillian.
21:37All right, put it down.
21:39Lillian.
21:40Well, what is it now?
21:42Nothing.
21:43I...
21:44Well, I...
21:46Well, I...
21:48There's something I wanted to tell you.
21:51What?
21:51Tell me.
21:52I was going to tell you yesterday, only...
21:54Go on.
21:56I can't tell you here.
21:57It's private.
21:59If you'll come in the kitchen a minute.
22:00Can't you see I'm busy?
22:02It's important.
22:03Why are you always butting in when I'm doing something important?
22:05Get out!
22:06No.
22:07What'd you say?
22:08No.
22:09Oh, now you two.
22:10Don't start fighting.
22:11You shut up!
22:12All right, Julie, come on.
22:15This better be important.
22:16Here, I'll bring you coffee.
22:17You wait out here, Miss Muscat.
22:19Yes, Lillian, I'll wait.
22:24Well?
22:25You can hit me again if you like.
22:27And don't look at me like that.
22:29I'm not afraid of you.
22:31I'm not afraid of anybody anymore.
22:32All right, all right, spit it out.
22:36Yesterday, you wanted to know what was the matter with me.
22:40You said I seemed changed.
22:41Do you remember?
22:42Yeah, did I?
22:45Lillian?
22:46Oh, I hope you aren't going to be mad at me, Lillian.
22:48What is it?
22:50I'm going to have a baby.
22:52Now, you better go back to Mrs. Muscat.
22:54I'll stay in here.
22:58Go on, Mrs. Muscat.
23:00That's your ticket wagon.
23:01What are you talking about?
23:02Miss Muscat, get out of here!
23:03Can't you see we're having our coffee?
23:05Julie's waiting in the kitchen for me.
23:07Lillian, what's the matter?
23:08I said get out!
23:09All right, all right, that settles it.
23:11This time I'm through with you for good.
23:13That's just fine, Mrs. Muscat.
23:17Good.
23:19Good.
23:21Fixer!
23:22Fixer!
23:23Fixer, come on, get up.
23:24Hurry up.
23:25Come up the stairs.
23:26Hey, that old James took a run out.
23:28He almost turned me over.
23:30What's going on here anyway?
23:31Fixer, did you ever have a baby?
23:34Who, me?
23:35Listen, they need a lot of things and things, don't they?
23:40Yeah, so they say.
23:41Milk and stuff, and they get sick all the time.
23:42And in the winter, you got to keep them warm with blankets
23:44and those things, don't you?
23:45What are you wandering around about babies for, Lillian?
23:47Listen, Fixer, we said you know a way
23:50to get a whole lot of money quick.
23:51Yeah, that's right, sure.
23:52Well, how much?
23:53The more you can count, Lillian boy, and it's easy.
23:55Easy?
23:56Just like rolling off a log.
23:57Only takes two to do it.
23:59It's got to be done today.
24:00Today?
24:01Sure.
24:02What do you say, Lillian?
24:03Well, how much is it?
24:04Oh, plenty, boy.
24:05$15,000, $16,000, $50,000, $50,000.
24:09What do we do?
24:10You know where Funch Street is?
24:11Yes.
24:12Well, we go down Funch Street, cross the tracks
24:13down near the...
24:14Hey, Lillian, aren't you listening?
24:16What?
24:17Oh, yeah, go on.
24:18Well, we cross the tracks hiding that old loading dock.
24:20Hide?
24:21Who from?
24:22Now, wait a minute, I'm coming to that.
24:23The man always goes right by there.
24:24What man?
24:25The paymaster, the paymaster for the steamboat company.
24:27You say he's got the money on him?
24:28Sure, in a leather satchel.
24:29Week's pay.
24:30How are we going to get it from him?
24:32How do you think?
24:34You mean we got to...
24:35Well, that depends on him.
24:37Most folks ain't too fond of giving money away.
24:39Listen here, Fixer, I didn't know
24:40to get that money we had to do anything like that.
24:42Oh, forget it, Lillian.
24:44After we got the money, we beat it anyway.
24:46South America, maybe.
24:47How do you like that, huh?
24:48South America.
24:49Yes, Julie likes that.
24:51We take the baby, too.
24:52Hey, what's all this baby talk you're doing, Lillian?
24:54What's the matter with you?
24:55Now, listen to me.
24:56I'm talking sense.
24:57Here's the way we work it.
24:58One of us stays on the lookout, and the other one,
25:00that's you, goes up and says to him,
25:02excuse me, mister, but can you tell me the time?
25:05Yeah, and then what happens?
25:06Well, by that time, you got your knife in him.
25:08My knife?
25:09Yeah.
25:10You got a knife, ain't you?
25:12No.
25:13Yeah, I thought you carnival boys was tough.
25:15Well, you better get one out of the kitchen.
25:17Do I have to use a knife?
25:19Well, if you just hit him, you can't be sure.
25:21You gotta use something.
25:23Do I have to use something?
25:25If I take a knife out of the kitchen, Julie will see.
25:28Oh, take it so she won't see it.
25:30Hey, what's the matter with you?
25:31What's the matter with me?
25:32Well, then get Julie out of the kitchen.
25:34Send out for something.
25:35All right.
25:36Then she won't see you take the knife.
25:37All right.
25:38Julie!
25:39Julie!
25:40Yes?
25:41Go to the corner and get some cigarettes.
25:43Yeah, here.
25:44Here's the corner.
25:45William, you're not going out, are you?
25:46You and Fixer?
25:47You'll be here when I come back?
25:48Sure, Julie.
25:49We'll be here.
25:50Well, where we be going, Julie?
25:51All right.
25:52Uh, don't run, Julie.
25:53Be careful.
25:54Careful?
25:55What do you mean?
25:56You know what I mean.
25:57You know, take your time.
25:58There's no hurry.
25:59Yeah, I know, William.
26:01Thanks.
26:02Goodbye.
26:03Now go on.
26:04Hurry.
26:05Get that knife.
26:06All right.
26:08You got it?
26:09Yeah, I got it.
26:10All right.
26:11Let's go.
26:14Hey, what are you staring at like that?
26:17I'm not.
26:18I'm...
26:19I'm thinking.
26:20Well, don't.
26:21Come on, before she gets back.
26:22Yeah.
26:23Now, where's the knife?
26:24Right here.
26:25I got it inside here.
26:26Just put it on the other side, over your heart.
26:27It's easier to get at.
26:28This way?
26:29Boy, that's some knife, all right.
26:30Hey, put it away under your coat quick, and let's go.
26:32Yeah.
26:33Here, William.
26:34Here, your cigarettes.
26:35I thought you weren't going out.
26:36Come on, William.
26:37Where are you going?
26:38Please stay home.
26:39It's going to rain soon, and you'll get wet.
26:41It ain't going to rain.
26:42Stay home, William.
26:43Marie's coming over this afternoon.
26:45Don't you want to see her?
26:46Let's go, William.
26:47Listen, William, stay home.
26:48Marie's bringing me some money.
26:50You can have it, all of it.
26:52We're just going for a little walk, Julie.
26:54William, don't go.
26:55I'm not angry with you anymore for hitting me.
26:57William, what's that under your coat?
26:59Get out of my way.
27:00William, don't.
27:01Don't go, William.
27:02William.
27:05William.
27:07William.
27:18You are listening to the Campbell Playhouse
27:20presentation of Lilium, featuring Orson Welles
27:23and our exclusive Campbell Playhouse star,
27:25Miss Helen Hayes.
27:27This is the Columbia Broadcasting System.
27:37This is Ernest Chapel, ladies and gentlemen,
27:46welcoming you back to the Campbell Playhouse.
27:48In a moment, we shall resume our Campbell Playhouse
27:50presentation of Lilium.
27:52But first, I'd like to remind you that not so very
27:55long ago, women had to make their own soup.
27:58It was usually a long and tedious task,
28:01but they knew that good soup is something
28:03that families enjoy having regularly,
28:05so they devoted long kitchen hours each week
28:07to tending the soup kettle.
28:10But then a change came, a change that has been
28:12welcomed in countless homes.
28:14One by one, women tried Campbell's soup
28:17and compared them with their own.
28:19They knew that good soup must have been
28:21made in the true home way.
28:23They saw how much the family enjoyed their
28:25fine flavor, and thoughtful husbands said
28:27to wives, with all you've got to do,
28:29I wouldn't spend time anymore making soup,
28:31not when you can buy good soup like this.
28:34So tonight I'd like to ask you,
28:36are you still making soup at your house?
28:38If so, I'm sure it must be because
28:40you haven't tried Campbell's soup.
28:42Won't you do that?
28:44Try, for instance, Campbell's tomato soup,
28:46a rich puree of luscious red ripe tomatoes
28:48and delicate seasoning.
28:50Or try Campbell's vegetable soup with its
28:52rugged beef stock and 15 different
28:54garden vegetables.
28:56If you will, I sincerely believe your family
28:58will urge you too to give up making soup
29:00and serve Campbell's soup for their
29:02convenience and fine flavor.
29:05Now we resume our Campbell Playhouse
29:07presentation of Lilium starring
29:09Helen Hayes and Orson Welles.
29:27Smells good down here.
29:29Now the water.
29:32Mmm.
29:34Why don't we wait for the man?
29:36Behind the platform, between him and the river.
29:38Now when he comes around that warehouse...
29:40Hey.
29:42Look at that boat.
29:43Yeah, it's a big one, huh?
29:45I wonder where she's going.
29:46Europe, China, South America?
29:48You ever been on a ship, Lilium?
29:50No, but I will be someday, maybe.
29:53Maybe soon, Julie and me, huh?
29:57Look, you can even see her name,
29:59Eastern Princess.
30:01She's a princess though, right?
30:03All white and long and shiny.
30:05How'd you like to be sailing on her?
30:06Boy.
30:07Gotta have money for that though, plenty of money.
30:09The kind the paymaster's got in his satchel.
30:11You know what I heard?
30:12People on them boats that sit up there
30:13on the deck all day long in long cushioned chairs
30:15right out in the sun.
30:16What do they do?
30:17Oh, they don't do nothing.
30:18They just sit there, read the newspaper,
30:19smoke big cigars.
30:20Every now and then a waiter brings them a drink.
30:22That's what they say.
30:23Boy.
30:24For that kind of life, you gotta have money though.
30:26There's a whistle.
30:27Yeah, six o'clock.
30:28Won't be long now.
30:29Come on now.
30:30What are you going to say to the man?
30:31Let me see.
30:33Excuse me, mister.
30:34Have you got the time?
30:35That's fine, Lilliam.
30:37Yeah.
30:38Why don't he come?
30:39Oh, take it easy, Lilliam.
30:40He'll be here after a while.
30:42Hey.
30:43How about a little game of dice while we wait?
30:45All right.
30:46Got some dice?
30:47Let me see.
30:48Yeah.
30:49Yeah, here.
30:50Here's a pair right here.
30:52Got any money?
30:53Sure.
30:54Let's see.
30:55Ten, 25, 32.
30:56Dollar.
30:57I got dollars, 11 cents.
30:58Oh, put it up then.
30:59Well?
31:00How much?
31:01Shoot it all.
31:02Right.
31:03Here they come.
31:05Five's your point, Sixer.
31:06Yeah, and I'm going to make it too, Lilliam.
31:09Come on.
31:10Feed it.
31:13It's five.
31:14Fine, that's it.
31:16Hey, wake up, Lilliam.
31:18I was just thinking.
31:19What?
31:21Me and Julie and the kid are on them big white boats
31:25going to South America.
31:26Oh, come on.
31:27Shoot again.
31:28Shoot again?
31:29What with?
31:30Oh, you're broke, Lilliam.
31:31You can't play.
31:32Yeah, that's right.
31:33Yeah, I reckon game's over then.
31:34Yeah, I reckon it is.
31:35Oh, no, wait a minute.
31:36Here, I'll tell you what.
31:37I'll tell you what I'll do, Lilliam.
31:38I'll take it out of your share.
31:39My share?
31:40Uh-huh.
31:42Oh, my share?
31:43All right, shoot.
31:44I got to do something.
31:45I can't wait here like this doing nothing.
31:46Well, the man's carrying 16,000, Eddie.
31:48Either that's yours.
31:50Shoot 4,000.
31:524,000 dollars?
31:53Sure, I got plenty of money.
31:54I'm faded.
31:55I'm faded.
31:57Come on, die.
32:00Uh-oh.
32:01Poor little Joe.
32:02Will.
32:04Come on.
32:05Faded.
32:06A 4.
32:07There it is.
32:08I made it.
32:09It's a hard way.
32:10Shoot 4 more.
32:11Go.
32:12Come on, boy.
32:13Got you.
32:1411.
32:15Well, Lilliam.
32:16Let's see.
32:17You owe me 8,000 now.
32:19Shoot 8.
32:21Can't do that, Lilliam.
32:22What's the matter?
32:23Go on.
32:24You're ahead.
32:25Yeah, I know.
32:26But if you lose, you can't pay off.
32:27You only had 8 to start with.
32:29Let me see them dice.
32:30Here he comes.
32:31So that's a low-down dip.
32:32Listen, listen.
32:33Yeah?
32:34Look out.
32:35Back there.
32:36Cashier.
32:37Now, don't forget.
32:38Let him start walking.
32:39When he gets about halfway across the dock,
32:40we go after him, see?
32:41Now, come on.
32:43Uh, excuse me, mister.
32:47Have you got the time?
32:49Sure thing.
32:50Let me see.
32:51The time, huh?
32:52Want to know the time, certainly.
32:54Got it right here in my inside pocket.
32:56Here it is.
32:57Now then, stick them up, you two.
32:59We wouldn't try and pull anything on you.
33:01No, no.
33:02Of course not.
33:03You and your friend only wanted to know the time.
33:05Well, it's exactly 7 minutes after 6.
33:07Come on.
33:08Keep them up.
33:09Now, do you see what I see, boys?
33:11It's the law, Sheriff.
33:12That's right, boys.
33:13We've been watching you for some little time down here,
33:15the Sheriff and me.
33:16He ain't got a thing on me.
33:17I ain't done nothing.
33:18All right, Pete.
33:19Come and get us.
33:20Come and get him.
33:21Not me, you won't.
33:22Stop!
33:23Stop or I'll shoot!
33:24Hey, he goes over that chair.
33:25Where is he?
33:26He fell behind that chair.
33:27Did you get him, Sheriff?
33:28No, I don't think so.
33:29He was traveling awful fast.
33:30There he is over yonder, Sheriff.
33:31Yeah.
33:32He ain't moving.
33:33Come on.
33:34You must have got him.
33:35Look.
33:36He's bleeding.
33:37Let's see.
33:38Turn him over on his back.
33:39Yeah.
33:40Excuse me.
33:41Nope.
33:42That ain't no bullet wound, sir.
33:44Excuse me.
33:45Look at that knife.
33:46A kitchen knife right under his heart.
33:49Really?
33:50All the way in.
33:51Get a good job of it, poor devil.
33:54Funny, when he jumped off that roof, he must have fell on his own knife.
33:59I wonder.
34:15Are you the lady of the house?
34:17No.
34:18No.
34:19Just a minute.
34:20I'll call.
34:21Julie!
34:22I'm afraid there's been a bit of trouble, ma'am.
34:23Julie!
34:24Julie!
34:25What is it, Murray?
34:26What's happened?
34:27Anything?
34:28Are you the lady of the house?
34:29Yes.
34:30I'm sorry, lady.
34:31All right.
34:32Stand down right there.
34:33Julie!
34:34Easy, easy.
34:35Oh, we've got to get a doctor.
34:36Save your money, ma'am.
34:37Julie!
34:38Are you his wife?
34:40Yes.
34:41Julie.
34:42Sign here, please.
34:43Just report I've got to send in.
34:45Where?
34:46Here?
34:47All right.
34:48Julie.
34:49Thanks, lady.
34:50All right, Tom.
34:51Let's go.
34:52Julie.
34:54Julie.
34:56Julie.
34:58Isn't there anything I can do?
34:59Julie.
35:00No, Murray.
35:01Julie.
35:04Do you want me to wait in the kitchen, Julie?
35:06All right.
35:07Sure, Julie.
35:09Julie.
35:10William.
35:12What have I done to you?
35:14Julie.
35:15There's something.
35:16Julie.
35:18Can you hear me?
35:19Yes, William.
35:20I can hear you.
35:21Julie.
35:22There's something I want to tell you.
35:24Yes, William.
35:28Those times when I beat you up, Julie.
35:32I wasn't mad at you.
35:34Only I couldn't stand to see you unhappy.
35:37It was my fault you were unhappy like that, Julie.
35:40I wasn't unhappy, William.
35:41See, I never learned to do nothing except
35:44guess people's weights at the carnival, Julie.
35:46I couldn't get a job like other people.
35:49I wasn't going to go back to carnival and all those girls,
35:52not after I knew you, Julie.
35:56It was only you, Julie.
35:57You understand?
35:58Yes, William.
35:59And then this last thing.
36:00I didn't even know what I was doing, Julie.
36:03Only I thought maybe if I could get you away,
36:05you and the baby in some nice place,
36:07we could go to ourselves.
36:08William.
36:09William.
36:10Don't do it, William.
36:14Tell you one thing, though.
36:17When I beat you, I was right.
36:19I can be right sometimes, too.
36:22Anyway, it doesn't matter who's right.
36:24Nobody's right.
36:26Only they all think they're right.
36:29A lot of things, though.
36:30Yeah.
36:32I'd like to show them just once.
36:36Maybe if I could stay, I'd show you.
36:40Or if I could come back just once for a little while.
36:45Maybe I could show you.
36:47Yes.
36:49Julie.
36:51Hold my hand, tight.
36:53I'm holding it tight all the time.
36:54Tighter.
36:56Tighter.
37:00I'm...
37:03Julie.
37:10It's all right now.
37:12You can come in, Marie.
37:14Come in.
37:15Julie, Mrs. Muscat's here from the carnival.
37:17She's waiting outside in the kitchen.
37:20Julie.
37:21Yes, she's dead.
37:23Yes, she is.
37:25Oh, don't be mad at me, Julie,
37:26but honestly, it's better this way.
37:27Honest, it is.
37:28Yes.
37:29A good man don't beat a woman, Julie,
37:30the way he beats you.
37:31No.
37:32You know what I think?
37:33I think he's better off, and so he is.
37:35Yes.
37:36Honest, Julie.
37:37Tell you a little while from now,
37:38you'll have forgotten all about him.
37:39Am I right?
37:40Yes, you're right.
37:42Well, it's getting late.
37:43I'd better be going home.
37:45If you need anything, Julie,
37:46you can count on me.
37:47You know that.
37:48Sure, I know that.
37:50Goodbye.
37:51Goodbye.
37:52Oh, Julie, it's the best thing.
37:53Honest, it is.
37:55The best thing that could have happened.
37:56Don't cry, Marie.
37:58Goodbye, darling.
38:00Goodbye.
38:02Goodbye.
38:04Goodbye.
38:05Goodbye.
38:12Do you mind if I come in?
38:15Hello, Mrs. Muscat.
38:17I heard what happened.
38:19Would you mind if I,
38:20if I looked at him?
38:22No.
38:23There he is.
38:25Oh.
38:26He looks so peaceful.
38:29Won't you make up with me?
38:31I'm not mad at you, Miss Muscat.
38:32But you were.
38:33Let's make up.
38:34I've got nothing to make up
38:35with you about.
38:36But I have with you.
38:38Everybody says bad things about him.
38:39Even now he's dead,
38:40except us two.
38:42You don't say he was bad.
38:44Yes, I do.
38:45I know.
38:46You beat me too,
38:47but what does it matter?
38:48I've forgotten it.
38:49That's your own business.
38:51Watch out if I can help you
38:52in any way.
38:53I don't need any help.
38:54I still owe him $20 back pay.
38:56You should have paid him.
38:57Well, now that he's dead,
38:58I thought perhaps
38:59it would be the same
39:00if I paid you.
39:01It's got nothing to do with me.
39:02Please don't think
39:03I'm trying to force myself on you.
39:05We two are the only ones
39:06on earth who loved him.
39:07That's why I thought
39:08we ought to stick together.
39:09No, thanks.
39:11Then you couldn't have
39:12loved him like I did.
39:13No.
39:14I loved him better.
39:16Yes.
39:17Well,
39:18goodbye.
39:23Lillian.
39:26Sleep, Lillian.
39:28Sleep.
39:29Sleep.
39:32You bad, wicked,
39:33unhappy darling boy.
39:37Sleep peacefully, Lillian.
39:40They never understand
39:41how I feel.
39:43I can't even tell you.
39:45Not even you how I feel.
39:47You'd only laugh at me.
39:50Oh, no.
39:51No, you won't.
39:52You can't hear me anymore.
39:55You bad, bad boy.
39:59I love you.
40:01I never told you before.
40:02I couldn't tell you before.
40:04But now I've told you.
40:07I love you.
40:09I love you.
40:11I love you.
40:13Please.
40:14Lillian.
40:15Please.
40:29Please.
40:43And here comes
40:44the end of the story.
40:46It's 12 years
40:47after Lillian died.
40:51Time for supper, Louise.
40:53Yes, Mother.
40:54Here's the soup.
40:55Oh, it's hot.
40:56That's right, dear.
40:57Put it down here.
40:58And bring up a chair.
40:59We'll have it out
41:00on the porch here.
41:01Mother,
41:02is it true
41:03we're not going to work
41:04at the mill anymore?
41:05Yes, Louise.
41:06Aunt Marie
41:07and Uncle Richard
41:08have got us a job
41:09in one of the workrooms
41:10at the Hub store.
41:11It'll be nicer there
41:12than at the mill,
41:13won't it?
41:14Yes, it pays better, too.
41:15Poor Widder,
41:16like your mother,
41:17is lucky to get such work.
41:18Eat your soup, dear.
41:19Mother.
41:20Mother, look.
41:21What's the matter?
41:22Look.
41:23That man
41:24there in the yard.
41:25Where, Louise?
41:26I don't see anything.
41:27Don't you see?
41:29Oh, yes.
41:30Now I see him.
41:31It's so dark there.
41:32Good evening.
41:33Good evening.
41:35Oh, it's just a beggar.
41:36What do you want?
41:38Nothing.
41:39We haven't any money
41:40to give you,
41:41but if you care
41:42for some soup...
41:43Louise, go and get
41:44another plate.
41:45Yes, Mother.
41:46Have you come far today?
41:48Yeah, I've come far.
41:49Are you tired?
41:51Yeah, I'm tired.
41:52There's a bench
41:53under the tree.
41:54Sit down and rest.
41:55My daughter will bring
41:56some soup.
41:57Here it is, Mother.
41:59That's your daughter?
42:01Here you are.
42:03You're the daughter?
42:04Yes, sir.
42:06You work at the mill,
42:07don't you?
42:08Yes.
42:09And your daughter?
42:10Yes.
42:12And your husband?
42:14I've no husband.
42:17Guess your husband
42:18been dead for a long time.
42:21Has your husband
42:22been dead a long time?
42:23A long time.
42:24What did he die of?
42:25No one knows.
42:27He went to South America
42:28to work and he died there.
42:30I never saw my father.
42:31Went to South America?
42:32Why do you ask
42:33so many questions?
42:34Did you know him?
42:35Well, I don't know.
42:36I've known so many people.
42:37Maybe I knew him.
42:39Well, even if you did
42:40know him,
42:41you can leave us alone
42:42with your questions.
42:43He went to South America
42:44and died there.
42:45That's all there is to tell.
42:46All right, all right.
42:47Don't be angry with me, ma'am.
42:48I didn't mean any harm.
42:49My father
42:50was a very fine man.
42:51Don't talk to me, Louise.
42:52Well, shut up
42:53and say that about a father.
42:54My father could juggle
42:55so well with three ivory bulls.
42:57The people used to
42:58advise him to go on the stage.
42:59Who taught you that?
43:00Uncle Richard.
43:01Who's that?
43:02He owns the hub store
43:03here in town.
43:04The one who used
43:05to be Marie's sweetheart?
43:06You know her, too?
43:07You seem to know
43:08the whole town.
43:09Oh, they're a long way
43:10from being the whole town.
43:11He was a friend
43:12of my father's.
43:13He wasn't his friend.
43:14No one was.
43:15Talk to your husband
43:16bitterly, ma'am.
43:17What's that to you?
43:18Doesn't it suit you?
43:19I can speak to my husband
43:20any way I like.
43:21Nobody's business but mine.
43:23Oh, sure,
43:24it's your business.
43:25Mother,
43:26maybe he knew father, too.
43:27You can ask him
43:28if you like.
43:29Did you know my father?
43:31Sure, I knew your father.
43:33You know him?
43:34Oh, Lilliam, sure.
43:36Was he really
43:37such a fine man?
43:39I wouldn't exactly say
43:40fine, no, but...
43:42But he was a very
43:43good man, wasn't he?
43:45He wasn't so good either.
43:47As far as I know,
43:48he was what they call
43:49a pitch man in a carnival.
43:50Did he tell funny jokes?
43:52Oh, sure,
43:53and he sang funny songs, too.
43:54In the carnival?
43:55Yeah, and did car tricks.
43:56He was quite...
43:59kind of a bully, too.
44:00He even hit your mother once.
44:01That's a lie.
44:02It's true.
44:03Aren't you ashamed
44:04to tell the child
44:05such awful things
44:06about our father?
44:07You get out of here.
44:08He sells soup and bread
44:09and then lies about our dad.
44:10I didn't mean to...
44:11What do you mean
44:12to tell lies to the child?
44:13Take his plate, Louisa.
44:14Let him go.
44:15So he didn't hit you, ever?
44:16No, never.
44:17He was always good to me.
44:18And he did tell
44:19funny stories, too,
44:20didn't he?
44:21Oh, sure.
44:22Very funny stories.
44:23Louisa, stop talking to him.
44:24Go away.
44:25You'd better go.
44:26Wait a minute, miss.
44:27Wait a minute.
44:28I got a little present
44:29here for you.
44:30No.
44:31Go away.
44:32Why don't you hurry?
44:33Take a look
44:34at what I got for you, miss.
44:35Look, it's shiny
44:36and bright, see?
44:37I bet you never seen
44:38one of these before, miss.
44:39Not the real thing
44:40like this one.
44:41I wrapped it up
44:42in my handkerchief
44:43for you, miss,
44:44so it wouldn't get dirty.
44:45Oh, mother.
44:46It's a star.
44:47Louise,
44:48don't take anything
44:49from that man.
44:50He probably stole it
44:51from somewhere.
44:52Go on now.
44:53Get out.
44:54Get out of here
44:55this minute.
44:56What's the harm
44:57giving a kid
44:58a little present?
44:59Go away.
45:00Oh, please, miss.
45:01Please let me stay
45:02just a second
45:03until I explain
45:04about this present.
45:05Go on.
45:06Get out.
45:07Oh.
45:08Oh, mother.
45:09What's the matter?
45:10What'd he do?
45:11Mother, that man,
45:12he hit me
45:13on the hand hard.
45:14But it's
45:15a star.
45:16It's a star.
45:17It's a star.
45:18It's a star.
45:19It didn't hurt.
45:22Go on, Louise.
45:23Go into the house.
45:24But, mother,
45:25I don't understand.
45:26It sounded so loud
45:27and it didn't hurt at all.
45:29Yeah,
45:30as if he kissed
45:31my hand instead.
45:33Oh, mother.
45:34Go on, dear.
45:35Go inside.
45:36But, mother.
45:37Go on, dear.
45:40He hit my child.
45:43Yeah, I hit her.
45:45Is that all
45:46you came here for?
45:47To hit my child?
45:48No, I didn't come
45:49for that.
45:51But I did hit her
45:52and now I'm going away.
45:53Who?
45:55Who are you?
45:57A poor, tired man
45:58who come a long way
45:59and who was hungry.
46:01And he took your soup
46:02and bread
46:03and hit your child.
46:06Are you angry with me?
46:09I don't understand.
46:11I'm not angry.
46:13I'm not angry at all.
46:14Oh.
46:17William.
46:22Louise?
46:23Yes, mother?
46:26Sit down, dear.
46:27We'll finish eating.
46:28Are you gone?
46:29Yes.
46:31Why didn't you eat, mother?
46:33What's happened?
46:35Nothing, dear.
46:36Mother,
46:37why won't you tell me?
46:39What is there to tell you, child?
46:40Nothing's happened.
46:41We were eating our supper
46:42and a beggar came
46:43and we gave him some soup
46:44and then I thought
46:45of your father.
46:47My father?
46:49Your father.
46:50William.
46:52Mother,
46:53tell me.
46:54Has it ever happened to you?
46:56Has anyone ever hit you
46:57without hurting you?
46:59Yes, dear.
47:00It's happened to me, too.
47:02Is it possible
47:03for someone to hit you, mother?
47:05Hard like that?
47:06Real loud and hard
47:07and not hurt you at all?
47:11It is possible, dear.
47:13They come and they
47:15beat you and beat you
47:17and beat you
47:19and never hurt you at all.
47:43You have been listening
47:44to the Campbell Playhouse
47:45presentation of Lilium
47:46starring Orson Welles
47:47and Helen Hayes.
47:48In just a moment,
47:49Mr. Wells will return
47:50to our microphone
47:51with Miss Hayes.
47:52In the meantime,
47:53may I tell you
47:54why it is
47:55that when you think of soup,
47:56you're pretty sure
47:57to think first
47:58of Campbell's tomato soup?
48:00It's because a bright,
48:01glowing plateful
48:02of this soup
48:03is in the middle
48:04of the table.
48:06It's a soup
48:07that's made
48:08with the best
48:09ingredients in the world.
48:11It's a soup
48:12and the glowing plateful
48:13of this soup
48:14just makes you sit up
48:15and take notice.
48:16Isn't that so?
48:17Its aroma invites you
48:18and as you sip
48:19spoonful after spoonful,
48:20there's a real thrill
48:21in its flavor.
48:22A flavor that only
48:23superb tomatoes
48:24in the choice recipe
48:25can create.
48:27I've spoken of the tomatoes
48:28that Campbell's use.
48:30Specially cultivated,
48:31these tomatoes
48:32have glorious, deep color
48:33and are extra luscious
48:34in taste.
48:35This year,
48:36they've been
48:37exceptionally fine
48:38and you'll enjoy
48:39the flavor of these
48:40fine tomatoes now
48:41along with a delicate
48:42seasoning
48:43and golden table butter
48:44Campbell's adds
48:45to make it deliciously
48:46rich and smooth.
48:48And when you serve
48:49Campbell's tomato soup,
48:50please remember
48:51that you can vary it
48:52by adding milk
48:53sometimes instead of water
48:54to make a tempting
48:55cream of tomato.
48:57Now wouldn't a fragrant
48:58plateful contribute
48:59to the enjoyment
49:00of your dinner
49:01perhaps tomorrow night?
49:03And now,
49:04here is Orson Welles
49:05with Helen Hayes.
49:06Ladies and gentlemen,
49:08once more it is
49:09my great privilege
49:10to bring you
49:11our star and guest
49:12of the season,
49:13Miss Helen Hayes.
49:15Thank you, Orson.
49:16Good evening,
49:17ladies and gentlemen.
49:19Miss Hayes comes
49:20to us today
49:21after the triumphal
49:22first week
49:23of her new play
49:24Ladies and Gentlemen.
49:26Ladies and gentlemen,
49:27it is my great privilege
49:28to bring you
49:29our star and guest
49:30of the season,
49:31Miss Helen Hayes.
49:32Thank you, Orson.
49:33Good evening,
49:34ladies and gentlemen.
49:35I need hardly
49:36tell you that
49:37since it opened
49:38here in New York
49:39at the Martin Beck Theatre
49:41there have been
49:42standees at every
49:43performance.
49:45I'm afraid, Helen,
49:46you must find it
49:47very quiet and empty
49:48here in our studio
49:49tonight.
49:50I find it very peaceful
49:51and very pleasant.
49:52To tell you the truth,
49:53Orson,
49:54that's one of the
49:55things I like the best
49:56about these Campbell
49:57Playhouse broadcasts,
49:58the fact that this
49:59is a real radio show
50:00produced for the air
50:01without a stage,
50:02without a curtain,
50:03without an audience
50:04that allows the producer
50:05to produce
50:06and the actors to act
50:07for their real radio audience,
50:08for those millions
50:09of listeners sitting
50:10at their radio sets
50:11in their own homes
50:12all over the country.
50:13Well, that's our idea
50:14in doing it this way.
50:15Yes, and I think
50:16much of the quality
50:17of your productions
50:18here at the Campbell
50:19Playhouse is due
50:20to just that way
50:21of producing your shows.
50:22And speaking as an
50:23actress, Orson,
50:24that's one of the reasons
50:25it's such a pleasure
50:26to come here
50:27and play with you.
50:28Well, that's really
50:29swell of you, Helen.
50:30It makes all of us
50:31very happy to hear
50:32that I'm sure I speak
50:33to you about
50:34what I know I do
50:35when I ask you
50:36to know how we
50:37feel about you.
50:38We're all waiting
50:39for your next
50:40visit with us
50:41and we thank you
50:42for another
50:43wonderful,
50:44wonderful performance.
50:45Good night, Helen.
50:58Next week,
50:59ladies and gentlemen,
51:01we bring you
51:02a great American
51:03actor
51:05in what I sincerely
51:06believe to be
51:07one of the great
51:08American books.
51:10The story that
51:11begins 50 years ago
51:13themes an American
51:14town,
51:16any American town
51:17during the period
51:18when every prosperous
51:19family with children
51:20kept a Newfoundland
51:21dog.
51:22Remember?
51:24In that town
51:25in those days
51:27all the women
51:28who wore silk
51:29or velvet
51:30knew all the other
51:31women who wore
51:32silk and velvet
51:33and when there was
51:34a new purchase
51:35of seal skin
51:36thick people
51:37were got to
51:38windows to see
51:39it go by.
51:40Trotters were
51:41out.
51:42Winter afternoons
51:43racing light sleighs
51:44on National Avenue
51:45and Tennessee
51:46Street.
51:48Everybody recognized
51:49both the trotters
51:50and the drivers
51:51and again knew
51:52them as well
51:53on summer evenings
51:54when slim buggies
51:55whizzed by in
51:56renewals of the
51:57snow time revelry.
51:59During the earlier
52:00years of this period
52:01trousers
52:02with a crease
52:04were considered
52:05plebeian.
52:06The crease proved
52:07that the garment
52:08had lain upon a shelf
52:09and hence was ready
52:10made.
52:11These betraying
52:12trousers were called
52:13hand-me-downs
52:14in allusion to the
52:15shelf.
52:16With evening dress
52:17the man wore
52:18a tan overcoat
52:19so short
52:20that his black
52:21coat tails
52:22hung visible
52:23five inches
52:24below the overcoat
52:25but after a season
52:26or two
52:27he lengthened
52:28his overcoat
52:29of his tight trousers
52:30into trousers
52:31like great bags.
52:33It was a hairier
52:34day than this.
52:36Ladies and gentlemen
52:37I am reading
52:38from the works
52:39of Booth Tarkington.
52:40I am reading
52:41from the magnificent
52:42Ambersons
52:43and it is at this
52:44passage
52:45that I stop
52:46for breath
52:47and for an embarrassed
52:48cough.
52:49Beards
52:50were to the wearer
52:51fancy sideburns
52:52found nourishment
52:53upon childlike
52:54profiles
52:55great
52:56drun-dreary
52:57whiskers
52:58fell that way
52:59blue like tippets
53:00over young shoulders
53:01and it was possible
53:02for a senator
53:03of the United States
53:04to wear a mist
53:05of white whisker
53:06upon his throat
53:07only
53:08and not a newspaper
53:09in the land
53:10find the ornament
53:11distinguished enough
53:12to warrant a lampoon
53:13because
53:14I think anybody
53:15who gets a chance
53:16to produce him in anything
53:17has a right to be.
53:18Well next week
53:19it's the magnificent
53:20Ambersons
53:21it's Booth Tarkington's
53:22greatest book
53:23and it's Walter Houston
53:24in a wonderful part.
53:25Excuse me
53:26if I boast
53:27all the time
53:28until next week
53:29until the magnificent
53:30Ambersons
53:31with Walter Houston
53:32my sponsors
53:33the makers
53:34of Campbell Soup
53:35and all of us
53:36in the Campbell Playhouse
53:37remain as always
53:38and always
53:39obediently yours.
53:57In tonight's
54:24Campbell Playhouse
54:25production of Lillium
54:26was played by
54:27Miss Helen Hayes
54:28Orson Welles
54:29was heard in the part
54:30of Lillium
54:31Mrs. Muscat
54:32was played by
54:33Agnes Moorhead
54:34Marie by Joan Tetzel
54:35Bill Adams
54:36was the sheriff
54:37Frank Reddick
54:38the fixer
54:39and Joseph Cotton
54:40the cashier
54:41Louise was played
54:42by Betty Filson
54:43Music for the Campbell
54:44Playhouse
54:45is arranged and conducted
54:46by Bernard Herman
54:47All of us of course
54:48have the desire
54:49to help those
54:50less fortunate
54:51than ourselves
54:52and so I know
54:53we will want to support
54:54the 1939 community
54:55drive
54:56popularly known
54:57as the community
54:58chest drive
54:59to provide hospital
55:00care for the needy
55:01and to support
55:02family welfare work
55:03So let us think of it
55:04not as an obligation
55:05but as an opportunity
55:06remembering that
55:07good Americans
55:08are good neighbors
55:09The makers of
55:10Campbell Soup
55:11join Orson Welles
55:12in inviting you
55:13to be with us
55:14at the Campbell
55:15Playhouse again
55:16next Sunday evening
55:17when we bring you
55:18the magnificent
55:19Ambersons
55:20with Walter Houston
55:21as our guest star
55:22Meanwhile
55:23if you have enjoyed
55:24this presentation
55:25won't you tell your
55:26grocery store tomorrow
55:27when you order
55:28Campbell's tomato soup
55:29This is Ernest Chappell
55:30saying thank you
55:31and good night
55:32This is the Columbia
55:33Broadcasting System