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00:00♪♪
00:12The makers of Campbell's Soup present
00:14the Campbell Playhouse.
00:16Orson Welles, producer.
00:18♪♪
00:30Good evening, this is Orson Welles.
00:34Our offering for tonight, Theodora Goes Wild,
00:39deals with the fascinating subject of a lady who leads a double life.
00:44This is, of course, a particularly fascinating subject,
00:47because this lady is a beautiful, straight-laced, virtuous young woman
00:51who is at the same time the author of the most lurid bestseller of her day.
00:56Well, when that happens, we arrive at as diverting and heartwarming
01:01a piece of entertainment as Theodora Goes Wild,
01:04the Columbia Pictures Corporation's success of a few seasons ago,
01:08which we're about to present tonight.
01:12Miss Loretta Young is our star, the Miss Loretta Young
01:15whom no other Hollywood actress of recent years
01:17has made more of an impression upon the susceptible male youth of America
01:21as the dream girl whom it would be the supreme delight
01:24to take to the college prom, the marriage registry bureau,
01:29the folks back on the farm for Thanksgiving dinner,
01:32or any of the other thousand places in which it imagines itself with its romantic choice.
01:37As usual, the male youth of America is right.
01:42Theodora Goes Wild starts on its hilarious and romantic way in just a moment,
01:46but first, here's something that could have happened the other night,
01:50suppertime in the house just down the street from where you live.
01:53Some more soup, guys? There's plenty.
01:56I believe I will.
01:57Good.
01:58Certainly hits the spot on a cold night.
02:00I thought you said you'd been shopping all day.
02:02Why, I have been, yes.
02:03But vegetable soup, I mean, doesn't it take you quite a while to...
02:06I was just waiting for you to say something about that.
02:09This is Campbell's vegetable soup.
02:11Campbell's, eh?
02:12Mm-hmm.
02:13It certainly tastes fine, all right.
02:14Lots of vegetables in it, too, the way I like it.
02:16You know something?
02:17What, dear?
02:18I've always said you make grand vegetable soup.
02:20I still say so.
02:21But say, when you can buy as fine a vegetable soup as this,
02:24why, there's just no sense in you spending time making it anymore.
02:27That's something that's happening daily in countless homes the country over,
02:30because Campbell's way of making vegetable soup is really the good home way, too.
02:35They simmer a vigorous beef stock and fill it with a variety of tender cooked vegetables,
02:4015 of them.
02:41Now, isn't that just the tempting, nourishing kind of vegetable soup
02:45you want your family to have?
02:47Why not have heartwarming plates of Campbell's vegetable soup for supper,
02:51say, tomorrow night?
02:53And now Loretta Young and Orson Welles in Theodore Goes Wild.
02:58Oh!
03:11Let me tell you, Mr. Waterbury,
03:12the Caroline Adams cereal and the bugle is the most indecent thing to do.
03:15I'll never let you.
03:16You're turning that Caroline Adams cereal all over again.
03:18I'll never let you.
03:19I've got a new paper and a new editor.
03:20Hello?
03:21Hello?
03:22I apologize.
03:23Please cancel my subscription as soon as the Caroline Adams cereal is completed.
03:26I apologize.
03:27Hello?
03:28Linfield Bugle.
03:29What's that?
03:30What's that, Mrs. Johnson?
03:31Okay, Mrs. Johnson, I apologize.
03:33I apologize for breaking my neck to buy the rights to the best-selling novel of the day.
03:36I apologize for waking Linfield out of a 20-year sleep
03:39to show how people live and love in the wide awake world.
03:41I apologize.
03:43What's that?
03:44You're giving me fair warning.
03:45Miss Rebecca Lynn has called a special meeting of the Ladies' Aid Society tonight
03:48to take the matter up officially.
03:50Hello, Linfield Bugle.
03:51One minute, please.
03:52What's that, Mrs. Johnson?
03:53You bet I'll be there.
03:55Caroline Adams, I apologize.
03:57I apologize.
03:59I apologize.
04:02Mr. Waterbury.
04:03I apologize.
04:04One moment, ladies.
04:05One moment.
04:06Ladies.
04:07One moment.
04:08Quieter.
04:09For those of you who haven't read Miss Caroline Adams' masterpiece,
04:12let me tell you it gets even worse.
04:14Listen.
04:15You understand these are not my words.
04:17Of course, dear.
04:18They're Caroline Adams'.
04:19I'm simply reading.
04:20Reading from page five of Jed Waterbury's Linfield Bugle.
04:23I'd better be going home.
04:25Mr. Waterbury, you ought to be ashamed.
04:26I apologize.
04:27I'd better be going home, Tamela said.
04:29It's late.
04:30Sense a smile.
04:31It's ten minutes before he answers.
04:32His eyes devouring her all the while.
04:34Home, Tamela?
04:35Why, you pretty little sage.
04:37It's very early.
04:38The night's just begun.
04:40For us.
04:41For us, it's printed just like all the other words, Miss Rebecca.
04:43I know how to read, Mr. Waterbury.
04:45I resume, ladies.
04:46Resume.
04:47He started slowly toward her.
04:49His steps were so deliberately relentless.
04:51Tamela felt imprisoned and helpless.
04:53That's what I can't understand, Rebecca.
04:55It said that the door was unlocked.
04:57But the man was possessed of brute strength, Mrs. Hoybrat.
04:59The man was possessed of brute strength.
05:01Ladies.
05:02Please, please, please.
05:04She wanted so much to run out of this strange apartment down into the street
05:07that her brain was reeling with dreams that she was robbed of all purpose.
05:10He was close to her.
05:11He reached out violently.
05:12His hands fastened on her arms.
05:14She was suddenly pressed tight against him.
05:16She fought desperately to break out of his grasp.
05:18Let me go.
05:19Let me go, she shrieked.
05:20He could feel his breath in her cheek, his lips on her purse.
05:23The room suddenly went dark.
05:26That's enough, Rebecca.
05:27I think we've heard plenty.
05:28Miss Rebecca.
05:29Miss Rebecca, if you don't mind, I haven't been taking the bugle lately.
05:33I'd like to hear the rest.
05:34Don't worry, Miss Wilson.
05:35You can get a copy.
05:36I printed an extra hundred.
05:37I knew there'd be a demand for them after Miss Rebecca got through reading.
05:40That'll be enough from you, Mr. Waterbury.
05:41The issue...
05:42And remember, ladies, that was only the first installment.
05:44The issue is closed.
05:45It's clear.
05:46The issue is closed.
05:47It's clear.
05:49Is this literary circle going to let filthy vile trash like this come right into our home
05:53and corrupt our family?
05:55We certainly are.
05:56There you are.
05:57Do we or do we not want this book stopped, ladies?
06:00All in favor, say aye.
06:01Aye.
06:02Is that plain enough, Dead Waterbury?
06:03Yes, that's plain enough, and I've got more important things to do than fight the literary
06:06circle of Linfield.
06:07I'll just cut out printing the thing from now on.
06:09That's fine.
06:10But I better warn all of you, I only got 100 copies of this paper.
06:13Come early and avoid the luck.
06:15Oh, girls, please.
06:17Please.
06:18Mrs. Hoyserow.
06:19Well, I...
06:20Now, one thing more.
06:21It says here that this book is published by Stevenson & Company in New York.
06:25Well, I propose that the literary circle go on record right here and now as condemning
06:29Stevenson & Company lock, stock, and barrel.
06:31I agree.
06:32All in favor.
06:33Aye.
06:34Theodora.
06:35Yes, Aunt Bethany?
06:36Theodora, you didn't say aye.
06:38Did not?
06:39No.
06:40Do you or do you not condemn this book, Theodora?
06:42Aye.
06:43Yeah, that's fine.
06:44Ladies, I think I'll draw up a resolution tonight.
06:47And when my little niece Theodora goes to New York tomorrow, she can see that the resolution
06:51is sent to this Stevenson & Company.
06:53Agreed?
06:54Aye.
06:55Theodora.
06:56Aye, Aunt Rebecca.
06:57Aye.
07:12To Arthur Stevenson, Stevenson & Company, New York.
07:15Please be advised that at an extraordinary meeting of the ladies' literary circle of
07:19Linfield, it was unanimously agreed that you be informed that, in our opinion, the new
07:24novel by Caroline Adams, published by you, is a disgrace to American morals and a sin
07:29to American youth.
07:30Signed, Linfield Literary Circle.
07:32Magnificent.
07:33That's what it is.
07:34And it's all your own fault, Mr. Stevenson.
07:36My fault, Miss Lin.
07:37Well, why did you have to sell the serial rights of my book to the Linfield Bureau?
07:40Why not?
07:41I think that's very funny, Miss Lin.
07:42Uh, Miss Adams.
07:43Oh, all right.
07:44Miss Adams.
07:45And now would you please stop worrying?
07:47The identity of Caroline Adams will never be known.
07:49I'll carry the secret to the grave.
07:51That takes care of everything, doesn't it?
07:53Everything with my own conscience.
07:54Oh, if Linfield ever finds out...
07:55Oh, my dear Miss Lin, Miss Adams.
07:57Don't tell me you care what the Linfield Literary Circle thinks.
08:00Well, I can't help it.
08:01I'm part of it and everything else in Linfield.
08:03Were you raised in a small town by a maiden aunt?
08:05No.
08:06Have you taught Sunday school for 10 years?
08:08No.
08:09Have you played the organ in church until you were 15?
08:10No.
08:11Well, I have.
08:12And right now I ask myself, where did Caroline Adams come from?
08:15How did all this start, anyway?
08:17Well, you walked in here one day with a very promising manuscript.
08:20My first and my last, Mr. Stevenson.
08:22Caroline Adams has written her last book.
08:24Goodbye, Mr. Stevenson.
08:25Oh, wait a minute.
08:26There's something else that's very important.
08:28It seems that I tell the truth, I mean, the way it is.
08:30Well, frankly, I promised my wife the next time you came in, she could meet you.
08:35You what?
08:36Oh, I simply had to.
08:38But you promised.
08:39Nobody.
08:40You said you'd carry my secret to the grave.
08:41Oh, I will.
08:42I swear I will.
08:43I'll arrange to have my wife buried with me.
08:44I'll do any...
08:45Good day, Mr. Stevenson.
08:46I beg you.
08:47I implore you.
08:48I beseech you.
08:49No, I'm sorry.
08:50I'm sorry.
08:51I beg you.
08:52I'd never believe it.
08:53Why, just don't tell me you're Caroline Adams.
08:54Oh, Ms. Adams, I had no idea.
08:55I mean, there was...
08:56Aren't you going to introduce yourself?
08:57Oh, yes, of course, dear.
08:58Allow me, Ms. Lynn, my wife, Ms. Adams.
08:59Mr. Stevenson, I'll never forgive you for this, Mr. Stevenson.
09:00I'll never...
09:01Oh, you're worrying about your secret, aren't you?
09:02I swear I will.
09:04You had better close the door, Ethel.
09:05Of course.
09:06I'll close it.
09:07Hello.
09:08Who are you?
09:09Oh, don't mind me.
09:10I, uh...
09:11Hello.
09:12I said hello.
09:13Get out of here, Michael.
09:14I just came in.
09:15You know, one thing I can say for Michael Grant, he only shows up where he's not invited.
09:16What do you want, Michael?
09:17That's a fair question.
09:18I'll give you a fair answer.
09:19I heard that Caroline Adams is here.
09:20You...
09:21What do you mean you heard?
09:22You snooped around and found out...
09:23One way of hearing.
09:24Frankly, I felt you ought to meet me, Ms. Adams.
09:25I'm the man who...
09:26Oh, I see.
09:27I see.
09:28I see.
09:29I see.
09:30I see.
09:31I see.
09:33And I'm the one who painted the cover for your book and the glorious woman on the poster.
09:37Oh, I don't know about glorious, but I know she's very underdressed.
09:40Yes, she is.
09:41That's the way I found her in your book, Ms. Adams.
09:42I had to add some quotes to her, as a matter of fact.
09:45Ah, you apparently pictured it.
09:46This is just that.
09:47You're not the way I'd picture you, Ms. Adams.
09:49Yourself, I must say.
09:50Oh, I am, I'm such a good photographer.
09:52No.
09:53I'd always imagined that Ms. Adams ought to look like a...
09:56well, she ought to look like a woman who's lived.
09:58Oh, I've lived?
09:59I mean like in your book.
10:02Well, I fail to see why I should be dissipated looking just to please you, Mr. Francis.
10:07Better alone, Michael.
10:08What did you expect to see, a tattooed woman?
10:10Well, not exactly tattooed, but I...
10:12No, I never could get a word about you out of Arthur.
10:14I'm just starting to notice.
10:16Did you live that scene in which you and Sir Anthony...
10:18Miss Anne has to go, darling.
10:20Yes, I do have to go. I've got several appointments.
10:22Well, maybe later in the afternoon.
10:23No, I'm sorry. My whole afternoon is taken.
10:25Oh, that's all right. We don't have dinner together.
10:27No, no, no, really, I won't be able to, but thank you very much.
10:29I have to catch an early train back to...
10:31Back home.
10:32Oh, where's that?
10:33Well, out west. Way out west. Out...
10:35Well, west.
10:36No.
10:37Miss Adams, there are trains leaving all night away out west.
10:39You simply have to meet at dinner.
10:40No.
10:41I won't take no for an answer.
10:42And when Ethel won't take no for an answer...
10:43Then it's all arranged.
10:44Right.
10:45We'll meet you at six.
10:46No, really, Miss...
10:47It's no use calling in the police, Miss Adams.
10:48You won't be able to get out of it.
10:49But I promise you, we'll put you on the earliest possible train after dinner.
10:53Very well. I'll be here. I really will.
10:56But I've got to go now.
10:57Have a nice afternoon.
10:58Yes, I will indeed.
10:59Goodbye.
11:00Goodbye.
11:01I'll be till six o'clock.
11:02Goodbye.
11:03Darling, you shouldn't have bullied that poor girl into having dinner with us.
11:05It was her own idea.
11:06Yes, dear.
11:07Well, I'll be running along too.
11:08Sorry you can't have dinner with us.
11:10Yes, I'm sorry.
11:11Who said I couldn't?
11:12I did. Just now.
11:30I've been looking forward to having dinner with you for so long, Miss Adams.
11:33All those other books, author-publishers,
11:35On a Donkey Through Brazil,
11:36The Sunday Totalitarian State Is Inevitable,
11:39Was there really a Francis Bacon?
11:41Who cares about books like that?
11:42But you're lovely.
11:43I'm awfully glad you like it, Miss Adams.
11:44I didn't like it. I loved it.
11:46Well, I...
11:47Only a woman who has lived.
11:48Well, knowing what it is to spend empty nights
11:50with hard-of-being bastards who eat for lunch each day...
11:53Miss Adams remembers the phrases she wrote after.
11:55You don't have to quote them to her.
11:56Tell me something, Miss Adams.
11:58Just between us.
11:59Did you write while the, uh...
12:00The things actually were happening?
12:02What?
12:03Or did you write later?
12:04Until the veil of memory...
12:05Mrs. Stevenson, you must believe me.
12:07A writer doesn't have to experience the things she writes about.
12:10Oh, I know.
12:11But it's so lovely when she really does.
12:13And anybody reading your book can tell you...
12:14Oh, I wish I'd never written that book, Mrs. Stevenson.
12:16I really do.
12:17Well, for a book that has sold nearly 200,000 copies
12:19and is still going strong, that's quite a wish.
12:21Oh, but you had to write the book, Miss Adams.
12:23You had to.
12:24Only a woman whose soul isn't shattered like yours could have written it.
12:27Only a woman whose soul isn't shattered, Mrs. Stevenson.
12:30Oh, how brave you are.
12:32Take that note of envy out of your voice, Ethel.
12:34It isn't decent.
12:35How about some cocktails?
12:36A martini.
12:37How about you, Miss Adams?
12:38None, thank you.
12:39Would you rather have some vodka, Miss Adams?
12:41I'm sure Arthur can arrange it.
12:42No, thank you. Nothing at all.
12:43Oh, why not?
12:44Well, maybe it's because she doesn't want anything to drink, Ethel.
12:46A waiter.
12:47Two martinis.
12:48Yes, sir.
12:49Will you have anything?
12:50Well, we'll order later.
12:51Yes, sir.
12:52You know, Miss Adams,
12:53I didn't know you anywhere just from your description of Pamela.
12:55It was like a...
12:56Oh, I'll never forget her first meeting with Spencer.
12:58Tell the truth, Miss Adams.
13:00That part is completely autobiographical.
13:02Mrs. Stevenson, you mean that...
13:04You think that...
13:05But, Mrs. Stevenson,
13:06I assure you every word of that scene was made up.
13:08Of course it was, Miss Adams.
13:10But from memory, wasn't it?
13:12Is that what everyone thinks?
13:14That I'm supposed to...
13:15Of course.
13:16Why, when Michael...
13:17You know Michael Grant.
13:18He was in the office today.
13:19Yes, indeed.
13:20When he did, you were coming up to see him.
13:21He had two notions about you, Miss Adams.
13:22One was the same as Ethel's.
13:23Really?
13:24The other was that you were an old maid school teacher
13:26with a petticoat joint.
13:27How very interesting.
13:28And since you're not an old maid school teacher...
13:30You have to know Michael to understand.
13:32He rather fancies himself as a man who knows women.
13:34I can get along very well without men who know women.
13:36I have so far.
13:38Then I'm just in time.
13:39Michael!
13:40Yes, you've no idea what you missed, Miss Adams.
13:43You need to have your innermost thoughts straightened out
13:45so that you know what you're really thinking.
13:46Michael, I thought we had arranged this.
13:48Be sure of yourself, you know.
13:49To know that there's someone who really understands you,
13:51I miss that.
13:52Michael!
13:53Pardon me while I say good evening to the ladies.
13:55Good evening, ladies.
13:56Where did you come from?
13:57You want me to lie to you?
13:58No.
13:59Well, I've been combing the saloons for you.
14:00I must say I've had good luck.
14:02This is the sixth one I've been in,
14:04and here we are, aren't we?
14:06Michael, I told you plainly in our autograph...
14:08Oh, that.
14:10You didn't think I'd hold that little joke against you, did you?
14:13No, sir.
14:14Don't, because bring one for me, please.
14:16Whatever it is, as long as it's a whiskey sour.
14:18Yes, sir.
14:19That's all right.
14:20Cocktails before dinner is such a lovely custom.
14:22Wait a minute.
14:23There's only two drinks.
14:24Only two.
14:25Now, let me solve this by a process of elimination.
14:27Mr. Stevenson is drinking, I'm sure of that.
14:29Mrs. Stevenson is also drinking, I'm also sure.
14:32That leaves...
14:33Don't tell me.
14:34Let me guess.
14:35That leaves Miss Adams.
14:36You're not drinking, Miss Adams?
14:37That's right.
14:38I'm not drinking.
14:39You mean you never drink?
14:40Did I say I never drink?
14:41No, you didn't.
14:42I apologize.
14:43It all gets lost.
14:44The idea of Miss Carolyn Adams not drinking
14:45is a slur, Miss Adams,
14:46and you do right to resent it.
14:47Probably paying off an election bet, is that it?
14:48Miss Carolyn Adams is not to drink.
14:50Is that what you mean, Mr. Brad?
14:51There are two things certain in this world,
14:52that babies eat spinach and that Miss Adams drinks.
14:55You've destroyed something very precious in my life, Miss Adams.
14:57Very well, Mr. Grant.
14:58I'll tell you why I'm not drinking,
15:00if you're so interested.
15:01It's because I...
15:02I...
15:03Well, I...
15:04I've always thought that cocktails were sort of strictly...
15:07Don't you think so?
15:08I beg your pardon?
15:09Well, I suppose there's a diversion now and then,
15:11but not what you call real drinking.
15:14Mr. Stevenson,
15:15do you suppose I might have a little straight whiskey?
15:17A little straight what?
15:18Oh, yes, yes, of course.
15:19Stop gulping, Michael.
15:20Waiter.
15:21Straight whiskey for the lady.
15:23Yes, sir.
15:24Miss Adams,
15:25Miss Adams,
15:26looks like a lovely evening.
15:28Miss Adams.
15:48What's that there?
15:49Oh, what is it, Ethel?
15:50Little Goldilocks drank me right under the table.
15:53I'm passing out, Jeremy.
15:54Oh, darling, you mustn't.
15:55We've got to put Caroline on the train.
15:57Michael will put her on the train.
15:59You'd better take a little Ethel out of here while she can still walk.
16:02Please, Ethel.
16:03We can leave while they're not looking.
16:05Oh, she's sick of everything, darling.
16:06Let's go.
16:11I'll, uh, tell you what we'll do, Miss Adams.
16:13You, uh...
16:14You just stand still and I'll...
16:16I'll dance to the left of you
16:18and then I'll dance to the right of you.
16:20Oh, that's not fair, Mr. Grant.
16:22Why don't you stand still
16:23and then I'll dance to the right of you
16:25and then to the left of you.
16:26Well, let's both do it at the same time.
16:28You mean each stands still and dances
16:30while the other stands still and dances?
16:32Yeah.
16:33Well, that sounds wonderful.
16:34I think so.
16:35Uh, could we go back to the table now, Ethel?
16:37Oh, the Stephensons.
16:39Don't worry about the Stephensons.
16:40They've, uh...
16:41They've left.
16:43What?
16:44Yes, I saw them leave while we weren't looking.
16:46How did you know if you weren't looking?
16:48I looked.
16:49Oh, you're wonderful.
17:02Yes.
17:03It's about time we were discussing the charity bazaar.
17:05Oh, I suppose so.
17:06I'm so tired.
17:07Couldn't have waited so far.
17:08It's been delayed too long already.
17:10Just because you try to do so much shopping in New York
17:12and aren't feeling well today.
17:13Finish your tea and you'll feel better.
17:15I'm all right, Auntie.
17:16All right.
17:17Oh, there's that silly whistling
17:18we heard outside of church this morning.
17:20Stop fidgeting, Theodora.
17:21What's gotten into you?
17:22Nothing.
17:23I'm not having it at all.
17:24You fidgeted all during church, too.
17:25If going to New York for one day affects you like that,
17:27well, I...
17:28Oh, I wish whoever it is doing it
17:30would stop that whistling.
17:31Well, I'll go to the window and see.
17:33You don't have to see.
17:34It's the same whistling.
17:35It must be the same man that was outside of church.
17:37I'll make sure, Auntie.
17:38Well, it is, isn't it?
17:39Why, uh, yes.
17:41Walking by?
17:42No, sort of, uh...
17:44Resting on the gate.
17:45I'll phone Captain O'Donnell
17:46and have that good-for-nothing loafer put in jail
17:48where he can whistle to his heart's content.
17:50Oh, don't bother, Auntie.
17:51I'll tell him to go away.
17:52Now, don't argue too much with him.
17:54Just tell him once,
17:55and then I'll call the police.
18:04How dare you do this to me?
18:05How dare you?
18:06How did you?
18:07How did you?
18:08Right smart weather we're having, lady.
18:09Right smart.
18:10Will you get away from here
18:11and leave this town as fast as you can go?
18:12Isn't that the way to talk to a friend?
18:14An old drinking companion?
18:15Please, will you listen to me?
18:16My aunt is watching us.
18:18As far as she is concerned,
18:19I don't know a soul outside of them two.
18:21And if she suspected what you know about me,
18:23she'd have fits.
18:24Oh, now, be a nice man, won't you, please?
18:26Tip your hat politely,
18:27and then get away from here, will you?
18:29Marvellous.
18:30This beats my first guest by a mile.
18:32Won't you please go?
18:34I know a homestead you got here, lady,
18:36but one of your lawns looks seedy,
18:37and your lawns do need a tender.
18:39No, they don't.
18:40You know what you need?
18:41Oh, don't be absurd.
18:42We've never had a gardener.
18:43We've got one now.
18:44Oh, please, won't you listen to me?
18:45I think he can't be damaged.
18:46I can start right away,
18:47right this minute.
18:48No, no, no, no, no.
18:49It's very simple.
18:50Why doesn't he go along?
18:51Theodora, did you tell him
18:52we'd call the police?
18:53I wants work, Mum, work.
18:54He says he's a gardener.
18:55We're not interested.
18:56Well, you ought to be, Mum.
18:57Your garden looks pretty bad to me.
18:59We don't care how it looks to you.
19:00And don't stand there arguing
19:01to top of your voice.
19:02You just go along
19:03about your own business.
19:04It's Sunday.
19:05I was just telling him that, Aunty.
19:06Sunday?
19:08Quiet, you loafer.
19:09You got me all wrong, Mum.
19:11You got me all wrong.
19:12I'm no loafer.
19:13I'm just telling the little lady
19:14here the story of my life.
19:16You can't go shouting
19:17the story of your life
19:18in front of our house.
19:19You're quite right, Mum.
19:20Now, come in.
19:21Open the gate for me, Missy.
19:22But I don't want you to.
19:23Open the gate, Missy Adams.
19:25Oh, all right, all right.
19:26I could strangle you.
19:29Wait a minute.
19:30Don't close it yet.
19:31Why not?
19:32Because my dog
19:33goes where I go.
19:34In with you, Herman.
19:35Is this your dog?
19:36Yes.
19:37Just for half a night.
19:38Really a nice character.
19:39Sure.
19:40Nice smile and ready wit.
19:42Yes.
19:43We've decided to throw him together.
19:45Into the garden, too?
19:46Just with his front feet.
19:48Shall I knock?
19:49No, no.
19:50It's open.
19:51And by the way,
19:52my name is Theodora Lynn.
19:54Theodora Lynn it is.
19:55Miss Adams?
19:56I hate you.
19:58Look here, young man,
19:59and keep that dog out of here.
20:01He's so much a growl with me.
20:02He never growls with anybody,
20:03do you, Herman?
20:04You see what I said?
20:05You see what I said?
20:06Come here, Herman.
20:07I have to get out of here.
20:09In just one minute,
20:10I'm going to call the police.
20:11Oh, I wouldn't mind, Rebecca.
20:12I think maybe...
20:13Thank you, young...
20:15Thank you, young lady.
20:16You see, ma'am,
20:17my name is Dewberry.
20:18You're just wasting your time, young man.
20:19I see.
20:20You're refusing work
20:21to a man who needs it,
20:22who's willing to work,
20:23who wants a chance
20:24to recover his self-respect.
20:25That isn't very charitable-minded,
20:26is it, ma'am?
20:27Very charitable-minded
20:28is the rest,
20:29but if you...
20:30All right, all right.
20:31Very well.
20:32I'll find work
20:33right in this town, too,
20:34young lady.
20:35I was telling your poor...
20:36your little niece outside.
20:37I'll have a lot to say
20:38about a lot of things
20:39that are said around here.
20:40There is some work around here,
20:41Aunt Rebecca,
20:42cleaning up and so on
20:43and setting the gardens
20:44to run.
20:45Thank you, lady.
20:46That's what I call
20:47intelligent charity.
20:49Yes, I'll show him
20:50to the spare material house.
20:52Have you gone mad, Theodora?
20:53This way, gardener.
20:54You just lead the way,
20:55young lady.
20:56I'll follow you.
20:57If you think you're going
20:58to that spare room alone
20:59with my niece...
21:00Oh, you can come, too,
21:01if you insist.
21:03Good morning.
21:04Good morning.
21:05Just what are you doing?
21:06I'm gardening.
21:07Did you have to hitch
21:08that dog to the lawnmower?
21:09Don't you like it?
21:10I thought it was
21:11an inspiration.
21:12Oh, well, I'll hitch
21:13that barking horse
21:14at once and stop this now.
21:15All right.
21:16Now, Herman...
21:17Herman doesn't like
21:18our idea, Herman.
21:19No, I certainly don't.
21:20You ought to know better
21:21than to say
21:22just circus right here
21:23and I'll punch you hard.
21:24Now, look here,
21:25you want me to disappoint
21:26you, don't you?
21:27No, I don't want to
21:28disappoint you.
21:29I don't want to disappoint
21:30you.
21:31Now, look here,
21:32you want me to disappoint
21:33people who walk miles
21:34to look me over?
21:35I bet I've played
21:36to an audience of a hundred
21:37in the last hour.
21:38I hope it's your
21:39farewell performance.
21:40Herman,
21:41let this be a lesson
21:42to you.
21:43It's a disgrace
21:44to have a little fun
21:45in Linfield
21:46and don't forget it.
21:47Not here.
21:48I've got some things
21:49I want to say to you
21:50privately.
21:51If this was New York,
21:52you could come up
21:53to my apartment
21:54and...
21:55Well, it isn't New York,
21:56so just move over
21:57to those rose bushes
21:58and start trimming.
21:59I don't like rose bushes.
22:00How did you attract
22:01me to Linfield?
22:02I have an elaborate
22:03espionage organization
22:04all set up
22:05for people like you.
22:06Oh, you have?
22:07Yes.
22:08Outside of that,
22:09I've got a homing instinct
22:10like a pigeon.
22:11You know, you reminded me
22:12of a pigeon
22:13the first time I saw you.
22:14Oh, did I?
22:15Now, that's strange.
22:16Now, wait a minute.
22:17I insist on your telling me
22:18how you found me.
22:19Well, you dropped
22:20a few papers
22:21out of your purse
22:22when we both had that
22:23flight difficulty
22:24getting out of the cab
22:25at the station.
22:26Remember?
22:27Yes.
22:28Yes, I do remember
22:29that memory.
22:30Good.
22:31Then you must remember
22:32that I made so bold
22:33as to try and kiss you
22:34when I kissed you.
22:35Look, I am not interested
22:36in your memoirs.
22:37Now that you've had
22:38your little laugh,
22:39why don't you go away?
22:40I like it here.
22:41And anyway,
22:42I've got a new mission in life.
22:43Oh.
22:44I'm going to break you
22:45out of this jail
22:46and give you to the world.
22:47The real you, I mean.
22:48I'm going to tell everybody
22:49I miss you.
22:50You wouldn't be so low
22:51as to tell my aunt
22:52and Linfield about me.
22:53I would, but I won't.
22:54You'll do it yourself.
22:55Oh, no.
22:56Never.
22:57Uh-huh.
22:58Yes?
22:59Berries.
23:00Oh, oh, uh,
23:01uh, blueberries.
23:02Why?
23:03That's what you and I
23:04are going out to pick tomorrow.
23:05Oh, now, don't be silly.
23:06I can't go skipping off
23:07into the woods with you.
23:08Not skipping.
23:09Picking.
23:25You're a wreck, Mr. Dewberry.
23:27A total wreck.
23:28I've come to a conclusion.
23:29Yes.
23:30Berry picking
23:31is for the berry pickers.
23:32I'm through.
23:33And outside of that,
23:34you're a nasty character.
23:36I was wondering
23:37when you'd catch on.
23:38Are you going to give me
23:39some of the berries
23:40out of that pail?
23:41Well, if you weren't
23:42flat on your back,
23:43you could dig into the pail
23:44yourself, you know.
23:45I don't want it.
23:46Drop them in my mouth.
23:47That's a good joke.
23:48Say, who do you think
23:49is going to chew them up
23:50for you?
23:51Drop them way back
23:52so they just slide down.
23:53I tell you.
23:54I'm sorry.
23:55I'm putting you
23:56to bed.
23:57Give the fellow
23:58the exercise he needs.
23:59More.
24:00Honestly,
24:01you're such a fool.
24:04I was wondering
24:05when you'd catch on.
24:07Laugh again, will you?
24:09I will not.
24:11You're ashamed
24:12of having laughed,
24:13aren't you?
24:14Out loud and everything.
24:15Oh, dear.
24:16What would Linfield say?
24:17Miss Theodora Lin
24:18laughed, my dear.
24:19I swear she did.
24:20I heard her myself.
24:21Nobody will believe you.
24:22You know,
24:23you're a strange,
24:24sad case, my girl.
24:25Tell me more, doctor.
24:26To start with,
24:27you're really a nice girl,
24:28full of normal desires.
24:29But I'll tell you
24:30what's happening to them.
24:31Like what?
24:32They're being strangled to death.
24:33You mean murder?
24:34No, suicide.
24:35Oh.
24:36What Linfield doesn't let you
24:37feel you're right about.
24:38Love, laughter,
24:39freedom, fun,
24:40what you want to experience
24:41and can't.
24:42Yes, yes.
24:43Go on, doctor.
24:44There's a happy world
24:45out yonder, young woman.
24:46Break loose.
24:48Don't tell Linfield.
24:50Don't tell Linfield.
24:52Look, I am very happy
24:53the way I am.
24:54Thank you very much.
24:55Oh, no, you're not.
24:56You won't be free
24:57and happy
24:58until you do what I tell you.
24:59Now, with my help...
25:00Now, wait a minute.
25:01As a matter of fact,
25:02you, uh,
25:03you could help me.
25:04Say the word.
25:05What do you want me to do?
25:06Get out of Linfield
25:07and stay out.
25:08Then I'll be very happy
25:09and very free.
25:11You see, Dr. Desai,
25:12my, my real life
25:13is right here.
25:15Carolyn Adams
25:16was an accident.
25:17She won't die anymore.
25:18Too bad,
25:19if you ask me.
25:20Okay, that's your answer
25:21if I ask you.
25:22And until then,
25:23thank you, doctor.
25:24I'll be sure to call you
25:25if anything ever does go wrong.
25:26You promise?
25:27I promise.
25:28I promise that nothing
25:29ever will go wrong.
25:46You are listening
25:47to the Campbell Playhouse
25:48presentation of
25:49Theodore Goes Wild,
25:50starring Loretta Young
25:51and Austin Wells.
25:53This is the Columbia
25:54Broadcasting System.
26:18This is Ernest Chapel,
26:19ladies and gentlemen,
26:20welcoming you back
26:21to the Campbell Playhouse.
26:22In just a moment,
26:23we shall resume
26:24our presentation
26:25of Theodore Goes Wild.
26:26But first,
26:27do you remember,
26:28I'm sure many of us do,
26:30being sent as a child
26:31by Mother to the market
26:32and that among the things
26:33she ordered
26:34was a soup bone
26:35for making soup?
26:36Ah, yes, sirree.
26:37You trot down
26:38to a friendly store
26:39in the neighborhood
26:40and made your wants known
26:41and the soup bone
26:42was faithfully brought back
26:43and made part
26:44of a hearty,
26:45old-style,
26:46heartwarming soup
26:47that Mother made so well
26:48and you enjoyed so much.
26:50But I'll wager
26:51that the boy or girl
26:52going to the store
26:53for Mother nowadays
26:54doesn't very often
26:55have a soup bone
26:56on the list.
26:57Instead,
26:58the grocery likely
26:59tucks into the bag
27:00one or more cans
27:01with a familiar
27:02red and white label
27:03that says,
27:04Campbell's Soup.
27:05Mother knows
27:06that into the making
27:07of Campbell's soups
27:08go luscious vegetables
27:09and fine,
27:10selected meats.
27:11And these soups
27:12are the kind
27:13she wants her family
27:14to have.
27:15And so she buys them
27:16and serves them regularly.
27:17I'd like to ask
27:18if you at your house
27:19have turned
27:20I sincerely believe
27:21that if you do so,
27:22you'll be delighted
27:23to see how keenly
27:24your family will enjoy
27:25these fine soups.
27:27And now we resume
27:28our Campbell Playhouse
27:29presentation of
27:30Theodora Goes Wild
27:31starring Orson Welles
27:32and Loretta Young.
27:44I insist
27:45on an explanation, Theodora.
27:46I can't imagine
27:47what in the world
27:48you were thinking
27:49when you were traipsing
27:50off into the woods
27:51with a gardener,
27:52a man you never saw
27:53before yesterday.
27:54Well, Aunt Rebecca,
27:55I admit it was wrong
27:56to walk down Main Street
27:57like that with him
27:58carrying a pail of blueberries
27:59and I'm sorry
28:00everybody happened to see it.
28:01But I honestly can't see
28:02that it was all
28:03so very sinful
28:04to be seen publicly
28:05with this loafer.
28:06Really, Theodora?
28:07I suppose Linfield
28:08has his mind
28:09all made up about that.
28:10If Linfield hasn't,
28:11I have.
28:12Theodora,
28:13I'm putting my foot
28:14down once and for all.
28:15He's not a fit companion
28:16for you.
28:17Now look,
28:18if you're going to be
28:19stubborn about it,
28:20his work's about done.
28:21You said just a few days.
28:22He can be discharged
28:23right now.
28:24But I don't want him
28:25to be discharged.
28:26All right,
28:27I'll tell him to go
28:28at once.
28:29It doesn't make any
28:30difference to you
28:31what I want, does it?
28:32It's what you happen
28:33to think is good for me.
28:34You've been doing that
28:35to me since I was
28:36three years old
28:37and I'm sick of it.
28:38You've bullied and scolded
28:39and frightened me
28:40all I'll stand for.
28:41Do you know
28:42what you're saying?
28:43I certainly do
28:44and I haven't said
28:45half of what
28:46I'm going to say.
28:47I'm going to say
28:48every word of this.
28:49There's no law
28:50that can put that Gardner
28:51off these premises.
28:52He is going to stay.
28:53I say he's not.
28:54What I choose to do
28:55is none of Linfield's business.
28:56This is a free country
28:57and I'm over 21.
28:58But as far as Linfield
28:59is concerned,
29:00the whole town can go
29:01and take a jump on the lake.
29:02He'll do it.
29:03That Gardner will stay
29:04as long as I want him to
29:05and that's forever
29:06because I love him.
29:18Michael!
29:19Michael, where are you?
29:21Michael!
29:25Michael!
29:27Oh.
29:33You're free, baby.
29:34Step out and be yourself.
29:36There are big things ahead
29:37and you'll travel faster alone.
29:39I'm leaving in a hurry
29:40because it'll be better that way.
29:42Good luck.
29:43And Mrs. Carolyn Adamson.
29:46Michael.
29:48Oh.
29:51Oh, Michael.
30:00All right.
30:01All right.
30:03Why does this have to be
30:04the only apartment in New York
30:05just because I don't rush?
30:08Oh.
30:09Hello, Michael.
30:10Theodora, what...
30:12What brings you...
30:14I should have let you know
30:15I was in the neighborhood
30:16I suppose by...
30:17by whistling.
30:18But you see, Michael,
30:19I can't whistle very well.
30:20Just listen to this.
30:21Look, Theodora...
30:22Huh?
30:23Oh, maybe we'd better
30:24close the door, huh?
30:25I know what you came here about.
30:26Do you?
30:27Yes.
30:28That note.
30:30Well, about that note, Theodora...
30:31Yes?
30:32Writing it was the most
30:33difficult thing I ever had to do.
30:34Yes?
30:35You see, I ran away because...
30:38If I'd had any idea
30:39that it would become
30:41as serious as it did,
30:43I wouldn't ever have
30:45gone to Linfield.
30:47I had no right to
30:49let it become serious.
30:50Now, please believe me.
30:51I don't believe you.
30:53Well, if you'd let me explain.
30:55I'm not stopping you from explaining.
30:56Well,
30:57I can't just say what I want to say now.
30:59Now, some other time.
31:00I'm expecting my father.
31:01I'm afraid some other time
31:02won't do, Michael.
31:03Theodora, there's nothing
31:04more important in the world
31:05to me than you.
31:06Nothing in the...
31:07There they are.
31:08Now, Theod...
31:09Oh, Theodora,
31:10if you...
31:11Theod...
31:12Theodora, they can't find you here.
31:13Who are they, Michael?
31:14My father and...
31:15Yes?
31:16Theodora.
31:17Yes?
31:18Won't you please
31:19go into another room
31:20and go sit down someplace?
31:21Yes, Michael,
31:22I'll sit down someplace.
31:23Right here.
31:24Oh.
31:25Hello, Father.
31:26Uh-huh.
31:27Uh, hello, Agnes.
31:28Hello, Michael.
31:29Now, what do you mean
31:30by this, Michael?
31:31Running out of town,
31:32not letting us know about it?
31:33Where were you?
31:34Well, I...
31:35I was out of town.
31:36I know that.
31:37Where were you?
31:38It's a funny thing, Father,
31:39but...
31:40Who's there?
31:41Who's what?
31:42Oh.
31:43Oh.
31:44You mean, uh...
31:45Oh.
31:46Yeah, excuse me,
31:47there's, uh...
31:48Uh, Miss Lynne
31:49from, uh,
31:50the Stevenson office.
31:51She's just, uh...
31:52Miss Lynne.
31:53She brought some material over
31:54I'm going to illustrate
31:55as a matter of...
31:56My father, Miss Lynne.
31:57How do you do, Mr. Grant?
31:58Well, I suppose
31:59I'll have to introduce myself.
32:00I'm Mrs. Grant.
32:01Mrs. Grant.
32:02Michael, your mother.
32:03Well, not exactly, Miss Lynne.
32:04I'm Michael's wife.
32:05Oh.
32:06Oh.
32:07Oh.
32:08Oh.
32:09Oh.
32:10How do you do?
32:11Michael.
32:12Where did you say you are?
32:13In the country.
32:14Sketchy.
32:15Oh, that's a new name for it.
32:16Uh, did you drift back
32:17into town accidentally?
32:18No.
32:19Or did you remember
32:20that I'm giving a reception
32:21for the government?
32:22I remember there's...
32:23Yeah, of course I remember.
32:24Yes, well, I trust
32:25that you'll be good enough
32:26to remember also
32:27that I expect you
32:28and Agnes to be present.
32:29Well, he's the one
32:30that's insisting, Michael.
32:31It'll erupt to me.
32:32But, Father...
32:33I expect you
32:34and with Agnes.
32:35Father, this...
32:36This pretence
32:37of my happy marriage
32:38can't go on.
32:39It's been washed up
32:40for five years.
32:41Agnes is just
32:42as sick of it as I am.
32:43That's a lie.
32:44I'm sicker of it.
32:45I thought we agreed
32:46there'd be no divorce
32:47as long as I hold
32:48public office.
32:49Well, you gave me your word
32:50and that's the way
32:51it's going to be.
32:52Nothing can be done
32:53with him, Michael.
32:54But there'll be no buts.
32:55You know what's expected
32:56of you, Michael.
32:57Come on, Agnes.
32:58Uh, goodbye, Mrs.
32:59Goodbye.
33:00Goodbye, Michael.
33:01Goodbye.
33:02I can scarcely wait
33:03for the governor's reception.
33:04Neither can I.
33:05We always have
33:06such cheerful meetings,
33:07don't we?
33:08That's all.
33:09That is.
33:10That's it, aren't there?
33:11It's all clear now, isn't it?
33:12Well, in a way, Michael.
33:14Uh...
33:15You know...
33:16You know, seeing these
33:17paintings of yours
33:18gives me an idea.
33:20What you need, Michael,
33:21is an artist's model.
33:22I... What?
33:24An artist's model.
33:26The slightest use
33:27for a model.
33:28Oh, but that's
33:29unimportant.
33:30You've got one now.
33:31Who?
33:32Me.
33:33What for?
33:34Oh, to mow the lawn
33:35and do the transplanting
33:36and pick the berries
33:37You see, Michael,
33:38you're living in jail.
33:39You don't call your soul.
33:40You're wrong, you...
33:41Now, wait a minute.
33:42If you're pretending
33:43there's any similarity
33:44between your situation
33:45and mine, Theodora...
33:46Well, what's the difference?
33:47What's to stop you
33:48from being free?
33:49Well, I'm under an obligation
33:50to my father.
33:51After all,
33:52I haven't any right to...
33:53Oh, I see.
33:54Michael,
33:55you claim to love me,
33:56don't you?
33:57You know I do.
33:58And the very minute
33:59I'm free, darling Theodora...
34:00When precisely
34:01is this minute to be?
34:02Well, just let father
34:03serve out his term
34:04as lieutenant governor.
34:05Yes?
34:06Never.
34:07And that means
34:08that within two years...
34:09Two years?
34:10Yes.
34:11Two years is exactly
34:12two years to law, Michael.
34:13Now, be reasonable, Theodora.
34:14If I had any way in the world...
34:15If you had any courage,
34:16if you had any outlook,
34:17why, why, why,
34:18you wouldn't think
34:19of waiting for two years.
34:20Oh, Michael,
34:21it's pretty clear to me
34:22that what you need
34:23is a model.
34:24Theodora,
34:25you're not being fair.
34:26Oh, yes, I'm being fair.
34:27Is this the phone
34:28to the lobby downstairs?
34:29Yes, that's the...
34:30Why?
34:32Hello?
34:33What are you doing?
34:34Those boxes and things
34:35Yes, yes, that's right.
34:37What are you talking...
34:38What boxes?
34:39What things?
34:40Well, my clothes.
34:41You don't think I'm going to...
34:42going to stay here indefinitely
34:43without any clothes, do you?
34:44Exactly what do you think
34:45you're going to do?
34:46Return a favor, darling.
34:47Well, how?
34:48By moving in here
34:49and breaking a scandal
34:50about my ears?
34:51Well, you've got
34:52to expect a scandal
34:53when you've got a model
34:54living in your apartment.
34:55Please.
34:56Oh, no, no, no, no.
34:57No.
34:58Now, let me.
34:59I'm sure it's for me.
35:00There, I was right.
35:01Oh.
35:02Bring them right in, young man.
35:03Thank you very much.
35:05Oh.
35:06Boy, uh, well,
35:07will you, uh, please
35:08take these things
35:09into the spare bedroom?
35:10Yes, ma'am.
35:11And, uh, boy,
35:12tell them at the desk
35:13is there any call
35:14to Miss Caroline Adams.
35:15I'll be in Mr. Grant's
35:16apartment from now on.
35:29That's very funny, Miss Lynn.
35:31I am not Miss Lynn.
35:32I am Miss Adams.
35:33And I don't want you
35:34to think that this
35:35is a friendly call,
35:36Mr. Stevenson,
35:37because it isn't.
35:38I came here to have a fight.
35:39But, really, Miss Lynn,
35:40there isn't anything that...
35:41Adams.
35:42I am dissatisfied
35:43with the treatment
35:44I received from my publisher.
35:45I mean you, Mr. Stevenson.
35:46Why don't I get
35:47any publicity around here?
35:48But, my dear Miss Lynn,
35:49Miss Adams, I...
35:50You may call me Theodora,
35:51Mr. Stevenson.
35:52Go on.
35:53Call me Theodora.
35:54Theodora.
35:55Oh, that sounds very good.
35:56Very good indeed.
35:57You know the Caroline Adams
35:58of Theodora,
35:59but who else knows
36:00Theodora as Caroline Adams?
36:01Nobody.
36:02That's right.
36:03The widest-selling author
36:04in the country,
36:05and who knows
36:06anything about me?
36:07Who knows that I'm young
36:08and modern and...
36:09Oh, you were going
36:10to say beautiful.
36:11Well, come along, were you?
36:12Oh, yes, of course.
36:13Beautiful.
36:14Beautiful.
36:15Thank you very much.
36:16Why aren't the facts
36:17of my life and Lynnfield
36:18known everywhere?
36:19Do you realize
36:20what a story that would make?
36:21But you said
36:22I always thought that...
36:23You never thought.
36:24I'm beginning to see
36:25why the publishing business
36:26is so bad.
36:27Publishers don't care
36:28about increasing
36:29the sales of their books.
36:30Don't they?
36:31I want lots of it.
36:32I want my picture
36:33on every jacket
36:34of every book of mine sold.
36:35I want the story
36:36of Theodora Lynn
36:37and Caroline Adams
36:38splattered over every paper
36:39in every town in this country.
36:40Do you get the general idea,
36:41Mr. Stevenson?
36:42I think I do.
36:43Well, make sure that you do.
36:44You know,
36:45you don't want to forget.
36:46There are lots
36:47of other publishers,
36:48but there is only one
36:49Caroline Adams.
36:50Mr. Waterbury!
36:51Mr. Waterbury!
36:52Well, what is it, Henry?
36:53Say, look!
36:54Look what's just
36:55coming out of the wire!
36:56What?
36:57Caroline Adams,
36:58the author of that
36:59scorching serial
37:00isn't Caroline Adams at all!
37:01What in the world
37:02are you talking about?
37:03Well, that's her wire.
37:04It says...
37:05Mr. Waterbury,
37:06you'll never guess
37:07who Caroline Adams is!
37:08Well, for heaven's sake,
37:09who is she?
37:10Theodora Lynn!
37:11What?
37:12Yeah!
37:13Caroline Adams
37:14is Theodora Lynn?
37:15Henry, don't stand there
37:16with your mouth open
37:17and get busy!
37:18Just off the type
37:19we use for the war,
37:20Mr. Clare!
37:21At 8 Collins Streamer,
37:22Henry,
37:23Lynn Field's daughter
37:24is Caroline Adams,
37:25celebrated novelist,
37:26our own Theodora Lynn!
37:27Henry, it's the biggest news,
37:28biggest of the world series!
37:29Just a minute, gentlemen,
37:30just a minute.
37:31You'll all have your interview.
37:32Okay, Miss Adams.
37:33Yes?
37:34What about a little advice
37:35to the young people of today?
37:36Oh, very well.
37:37It, uh,
37:38it seems to me
37:39that nothing is more important
37:40to the modern young girls
37:41than this, gentlemen.
37:42Be free.
37:43Express yourself.
37:44Take your life
37:45into your own hands
37:46and mold it.
37:47Oh, that's swell.
37:48Yes, that is pretty good,
37:49isn't it?
37:50The world will try
37:51to take your freedom away from you,
37:52but you'll have to fight
37:53for it.
37:54You'll have to fight
37:55for it.
37:56You'll have to fight
37:57for it.
37:58Anything else, gentlemen?
37:59Have you started
38:00a new book, Miss Adams?
38:01Well, as a matter of fact,
38:02I have one
38:03pretty well in mind, yes.
38:04Well, would you care
38:05to tell us
38:06anything about it?
38:07I'd be delighted.
38:08Let me see.
38:09It's about a,
38:10about love
38:11that came to a young girl
38:12hidden away
38:13in a small mountain town.
38:14Outwardly,
38:15she seems to belong
38:16to that narrow
38:17benighted community,
38:18but in her heart,
38:19she longed
38:20to be called baby.
38:21Oh, that's great,
38:22Miss Adams.
38:23And then out
38:24of that big city
38:25there came
38:26that little Hamlet,
38:27the man who did
38:28call her baby.
38:29And from then on,
38:30gentlemen,
38:31the story warms up.
38:32Of course,
38:33I haven't worked
38:34out the ending yet,
38:35but I'll guarantee
38:36you it'll be
38:37interesting at least.
38:38That wouldn't be
38:39the story of your life
38:40by any chance,
38:41would it, Miss Adams?
38:42Well, I shouldn't wonder.
38:43Who's the man?
38:44The man.
38:45Well, after all,
38:46gentlemen,
38:47I'm entitled to one
38:48little secret,
38:49don't you think?
38:50Yeah, but only one.
38:51That's the rule.
38:52So suppose you tell us.
38:53Isn't this
38:54Michael Grant's apartment?
38:55Michael Grant?
38:56Lieutenant Governor.
38:57Unless I'm mistaken.
38:58Oh, indeed.
38:59You're not mistaken.
39:00Yes, this is
39:01Mr. Grant's apartment.
39:02We can print that,
39:03can't we?
39:04I beg your pardon?
39:05That you're living
39:06in Mr. Grant's apartment.
39:07Well, gentlemen,
39:08since I am,
39:09I don't know
39:10what we can do about it.
39:11Though how you ever
39:12learned that fact
39:13out of me,
39:14I'll never know.
39:20Now don't tell me
39:21there isn't anything
39:22you can do about it, Michael.
39:23You have to do
39:24something about it.
39:25No, I can't.
39:26If you only understand,
39:27Father, this girl
39:28has made up her mind.
39:29Yes, she certainly has.
39:30Given your address,
39:31your apartment,
39:32call the police
39:33and have her thrown out.
39:34What your father means, Michael.
39:35I know what my father
39:36means, Agnes,
39:37but he forgets
39:38that New York
39:39will be looking on
39:40if I call in the police
39:41and that will be
39:42fine publicity
39:43for the Governor's
39:44reception, Father.
39:45Now, you must do it
39:46without publicity.
39:47The idea of a notorious
39:48woman like that.
39:49Did you read what she
39:50has to say about herself
39:51hidden away in a hamlet,
39:52her soul enslaved
39:53by a woman
39:55We don't need
39:56your corrections, Agnes.
39:57This isn't any
39:58consideration of yours.
39:59Why not?
40:00Well, it isn't.
40:01After all,
40:02if she's out to break up
40:03our marriage, Michael,
40:04maybe I ought to root for her.
40:05I want you to behave
40:06yourself, too, Agnes.
40:07All right.
40:08But let me say this.
40:09Don't.
40:10This woman can do
40:11anything she wants to
40:12as long as nobody
40:13suffers with Michael.
40:14Right.
40:15If it gets talked about
40:16and I'm made to look
40:17like a foolish, deceived wife,
40:18I'll protect myself.
40:19Michael's not going
40:20to drag me into anything.
40:21Can't you understand
40:22I'm not dragging
40:23Yes, sir.
40:24I just don't understand
40:25how I'm going to do it.
40:26Well, that'll be up to you.
40:27You're so clever, Michael.
40:28You'll think of something.
40:41Come in.
40:44Oh, Michael.
40:46Well, Michael,
40:47make yourself at home.
40:49Here, let me take your hat.
40:50Won't you sit down?
40:51No, I won't sit down.
40:52I've just come to tell you
40:53something, Theodora.
40:54Oh, but you mustn't think
40:55you have to have a reason
40:56for coming, Michael.
40:57After all, this is your home
40:58as much as mine.
40:59You're always welcome.
41:00You know that, right?
41:01Stop it, Theodora.
41:02Don't you know you're getting
41:03yourself the worst possible
41:04kind of reputation?
41:05Am I really, Michael?
41:06Oh, I knew I would,
41:07but I didn't dare hope
41:08that you knew that.
41:09I want you to stop it.
41:10Michael, darling,
41:11I can't stop it, don't you see?
41:12I'm just being myself.
41:13Whatever happens,
41:14that's the way I am.
41:15I'm free, Michael.
41:16Free.
41:17You ought to try it sometime,
41:18you know.
41:19I'd wring your neck right now.
41:20Oh.
41:22You do care about me, don't you?
41:24Listen to me, Theodora.
41:25I came up here to ask you
41:26to do me a favor.
41:27That's the second thing
41:28you said you came up here about.
41:29But to start with,
41:30you said you only came up here
41:31about one thing.
41:32You know, you confuse me, Michael.
41:33Please, Theodora.
41:34Theodora, please.
41:35All right, Michael.
41:36What is it?
41:37Try to be quiet
41:38until after the governor's
41:39reception, please.
41:40Oh.
41:41I'll tell you what.
41:42Why don't you get out of town
41:43until the reception is over?
41:44That's all I ask of you.
41:45I'll come up to Linfield
41:46and talk to you
41:47in a month.
41:49Oh, Tony.
41:50Get out now.
41:51You're making my life miserable.
41:53Oh, that's a sign
41:54that a struggle's going on
41:55within you, Michael.
41:56But you will be victorious.
41:57Don't worry.
41:58Yes, the light will break
41:59suddenly, and then you'll
42:00rise up and tell your father
42:01what I told Linfield.
42:03Oh, you'll be so happy, Michael.
42:05You can break your chains
42:06if you want to.
42:07We all can.
42:08Why can't you be
42:09a little reasonable, Theodora?
42:10I've forgotten how
42:11after Linfield.
42:12Is that your final answer?
42:13Yes.
42:14There's nothing I can...
42:15Nothing, Michael?
42:16Nothing.
42:17Goodbye.
42:18Goodbye.
42:20Don't stay away
42:21so long next time, Michael.
42:22I want you to treat
42:23this apartment
42:24as if it were your very own.
42:35Excuse me, Governor Cameron.
42:36Governor Cameron,
42:37look this way.
42:38Governor Cameron,
42:39Mrs. Cameron,
42:40can we have a picture
42:41of all of you?
42:42Why, of course, boys.
42:43Hold it.
42:44Hey, we won't bother
42:45you anymore, Governor.
42:46Do you mind if we hang around
42:47and get whatever pictures
42:48we can?
42:49Why, of course not.
42:50Thanks.
42:51Governor Cameron,
42:52you remember my son, Michael,
42:53and his wife?
42:54Why, of course.
42:55How do you do, Michael?
42:56How do you do, sir?
42:57Still painting, Michael?
42:58Pity he isn't a statesman,
42:59isn't it, Governor?
43:00Pity.
43:01Haven't I seen your name
43:02in the papers recently,
43:03Michael, about...
43:04Oh, no.
43:05...which I can recall
43:06the incident.
43:07You don't mean the story
43:08about Carolyn Adams.
43:09That is Theodora Lin,
43:10do you, Governor?
43:11Why, I don't really remember.
43:12But she was the woman
43:13that was living
43:14in Michael's apartment,
43:15you know.
43:16She was a celebrated
43:17novelist, Governor.
43:18Yes, she is.
43:19A sensational novelist,
43:20Governor,
43:21and a woman with quite
43:22a private reputation.
43:23Oh, quite a misunderstanding,
43:24Governor.
43:25I assure you.
43:26You see, I never met
43:27the lady myself.
43:28It was a matter of fact
43:29that my publisher,
43:30as it happened,
43:31gave her the keys
43:32to my apartment.
43:33You know how the newspapers
43:34are, Governor.
43:35Indeed, I do.
43:36Yes, you do.
43:37I hope steps are taken
43:38to clear this matter up.
43:39They will be, sir.
43:40You know your father
43:41and...
43:42Well, Michael is clearing
43:43the whole thing up.
43:44I'm clearing the whole matter
43:45up, sir.
43:46Your father and I
43:47have been very careful
43:48to keep this administration
43:49clean, my boy.
43:50Oh, I know that, sir.
43:51Agnes.
43:52What?
43:53Darling,
43:54this is our dance,
43:55I believe.
43:56By Michael, I guess.
43:57You dance with your husband,
43:58you must dance with me.
43:59Thank you, Governor.
44:00See you, Governor.
44:04Governor.
44:05Governor, you dance
44:06divine.
44:07Thank you, miss.
44:08I didn't quite get your name.
44:10Adam.
44:11Oh, yes, Adam.
44:12Well, you're a
44:13splendid dancer, too,
44:14miss Adam.
44:15Well, thank you, Governor.
44:19Michael.
44:20Michael, tell me quickly.
44:21Yes?
44:22Is that that woman
44:23with the Governor?
44:24Yes, sir.
44:25There's no question about it,
44:26father, can't you see?
44:27Oh, this is terrible.
44:28In five minutes,
44:29everybody in the house
44:30will know who she is.
44:31They got a picture of her
44:32a minute ago with the Governor.
44:33All right,
44:34I'll take care of that.
44:35Now, hurry.
44:36See to it that she gets
44:37out of this house, Michael.
44:38Take her out into the garden
44:39on the terrace anywhere
44:40and keep her there
44:41for the rest of the evening.
44:42Oh, there you are, friend.
44:43Miss Adam.
44:44Oh, yes, miss Adam.
44:45Mr. Grass.
44:46And Michael Grass.
44:47How do you do?
44:48How do you do?
44:49Adam.
44:50So nice, miss Adam.
44:51Isn't it the most delightful party?
44:53You know, I don't know
44:54when I've enjoyed myself so much
44:55and the Governor dances to find me.
44:58Give me a charming lady
44:59to dance with
45:00and I'm young again.
45:02Yes, that's what Michael
45:03always says, isn't it, Michael?
45:04Yes, it's what I always say.
45:06Ah, there's the music again.
45:08May I have the pleasure
45:09of this dance, miss Adams?
45:10Could you use the power
45:11of my office to keep
45:12miss Adams for myself?
45:13But you should be served
45:14occasionally, I suppose.
45:15Ah, you're a wonder.
45:16I relinquish miss Adams
45:17to you, Michael, with regret.
45:19Thank you, Governor.
45:20I'll see you.
45:24You're not taking time
45:25with me, are you, Mr. Grass?
45:27Would it help you
45:28if I whistled?
45:29The only thing that would help
45:30would be if the floor
45:31would open up
45:32and swallow us both.
45:33Or anyway, you.
45:34How did you get in here?
45:35Oh, isn't that funny?
45:36I said to myself,
45:37I bet the first thing
45:38Michael asked me is
45:39how did I get in here.
45:40How did you get in here?
45:41Oh, darling, don't hold me
45:42so tight, this is hardly
45:43the first time.
45:44How did you get in here?
45:45Oh, you don't have
45:46to give me that.
45:47The, uh, Stevenson's
45:48had an invitation
45:49and they decided
45:50not to come and so
45:51I want to talk to you.
45:52Come on out here
45:53in the balcony.
45:54See?
45:55See, darling, my arm.
45:56You're awfully strong.
45:57Now then.
45:58You're obviously
45:59at this party
46:00to start something.
46:01What are you going to do?
46:02Do?
46:03Don't try to fool me.
46:04Everywhere you are
46:05these days, something
46:06happens.
46:07Listen to me, Theodora.
46:08If you try to start
46:09anything here tonight,
46:10I'm going to start
46:11persecuting you.
46:12And that goes if you're
46:13not out of this house
46:14in 15 minutes.
46:15Oh, you couldn't really
46:16persecute me, could you, Michael?
46:17Yes, I could.
46:18Well, maybe not,
46:19but I'd hire somebody
46:20and you've got to get
46:21out of my apartment
46:22and out of New York
46:23inside of two days.
46:24Is that clear?
46:25Do you mean that, Michael?
46:26I mean every word of it.
46:27I'm, I'm to go back
46:28to Linfield?
46:29Linfield.
46:30And, and just wait?
46:31And wait.
46:32Oh.
46:33Is this really goodbye?
46:34Only for now.
46:35You do as I ask you
46:36to do, Theodora.
46:37You're bribing me, Michael.
46:38I'm, I'm not bribing you.
46:39I'm just trying
46:40to make something.
46:41All right, all right, Michael.
46:42I'll go.
46:43I'll go back home.
46:44But I, uh,
46:45I would like something
46:46to remember you by.
46:47Have anything.
46:48Sure, anything.
46:49Well, could I,
46:50could I have a kiss, Michael?
46:52Not here.
46:53When I see you off,
46:54I'll bring you on the train.
46:55I'll kiss you down on the...
46:56But supposing you don't
46:57come to the train,
46:58supposing you're afraid...
46:59Oh, I'll come to the train
47:00and kiss you on the train.
47:01But I can't take that chance.
47:02Theodora.
47:03Michael.
47:04Pull it.
47:05I said bye, Mr. Grant.
47:06Hang on.
47:07I told you boys
47:09You mean you arranged all this?
47:10Well, aren't you flattered, Michael?
47:12Fine.
47:13Beautiful scene.
47:15Take it easy.
47:16Double cross on it
47:17for those photographers.
47:18I'll break their necks
47:19if they print that picture.
47:20I'll skin them alive.
47:21Why, Michael,
47:22you know you can't catch them
47:23when they're hollering.
47:24As for you,
47:25if I ever said I loved you, Theodora...
47:26If you ever said you loved me, what?
47:27What?
47:28I beg your pardon.
47:29Oh, Governor.
47:30Hello, Governor.
47:31Why, what's going on here?
47:33Can't you see, Governor?
47:34It's my husband and Miss Adams
47:35with their arms around each other.
47:37Michael,
47:38you really distinguished yourself
47:39this time.
47:44Mr. Waterbury.
47:45Mr. Waterbury.
47:46Yes, what is it, Henry?
47:47Say, look at this on the wire.
47:48Here.
47:49Here, Mr. Waterbury.
47:50What?
47:51Where?
47:52This is Michael Grant's
47:53suit for divorce.
47:54Grant's Carolyn Adams
47:55has loved thee.
47:56Yep.
47:57Henry, my boy,
47:58the moment has come.
47:59I want nothing but ready
48:00on the front page this afternoon.
48:01Nothing but ready.
48:02You understand?
48:03Oh, I wish we hadn't used
48:04that big type last time.
48:08Good morning, Mr. Waterbury.
48:09Yes, Miss Wynn,
48:10Mr. Waterbury.
48:11Yeah, what is it now, Miss Rebecca?
48:12It's this headline in your paper.
48:13Well, we've got to print headlines
48:14in the paper.
48:15The paper looks silly without them.
48:16That's right, Miss Wynn.
48:17Very funny, Mr. Waterbury.
48:18Very funny.
48:19Theodora arriving Saturday.
48:20Well, she is arriving
48:21Saturday, isn't she?
48:22Yeah, she certainly is,
48:23Mr. Waterbury.
48:24Most illustrious citizen
48:25of Linfield,
48:26our other hometown.
48:27She is our most illustrious
48:28citizen, isn't she?
48:29She sure is.
48:30All of Linfield
48:31to welcome its own
48:32its celebrity.
48:33Theodora is...
48:34Tells everything in a few words,
48:35don't it?
48:36Well, let me tell you,
48:37Mr. Waterbury,
48:38I won't have it.
48:39Won't have what?
48:40This civic reception
48:41you're planning for my niece.
48:42I'll see to it that nobody
48:43in this town participates
48:44in your disgraceful plan.
48:45And if you think...
48:46Miss Rebecca,
48:47let me tell you something.
48:48You may be able to ruin me
48:49in my paper,
48:50but it's all right with me
48:51if you do.
48:52If there's nobody else
48:53down at the station Saturday,
48:54there'll be Henry and me.
48:55And if I have to get my paper
48:56out on Monday for the last time,
48:57Miss Rebecca,
48:58I give you a fair warning,
48:59you'll be in the headlines.
49:00You'll be the headlines.
49:06Now, Mr. Waterbury?
49:07Not yet.
49:08Another 30 seconds later.
49:09Okay, but her arms
49:10are getting awful tired.
49:13Yes, sir, now?
49:14I'll tell you when.
49:18Now?
49:19Now?
49:24Now!
49:26Oh, I'm so glad you're all right.
49:27Oh, thanks.
49:28What is this, dear?
49:29I...
49:30I don't understand.
49:31Theodora,
49:32I mean your friend,
49:33I want to welcome you
49:34on behalf of the people
49:35of Linfield.
49:36You've shown that
49:37by being yourself,
49:38by not concealing
49:39anything that you do,
49:40because you know
49:41that what you're doing
49:42is right,
49:43there's no reason why anybody...
49:44That's enough out of you,
49:45Jed Waterbury.
49:46What are you doing here,
49:47Miss Rebecca?
49:48Welcoming my niece home.
49:49You know anybody
49:50who has a better right?
49:51But I...
49:52Just because you didn't see me
49:53doesn't mean I wasn't here.
49:54That's what telegraph poles
49:55are for, Mr. Waterbury,
49:56to hide behind
49:57from people like you.
49:58And another thing,
49:59I never did hear
50:00a brass band play
50:01as bad as yours, dear,
50:02just now.
50:03I guess I've got to do
50:05Let's see you play
50:06as if you meant it.
50:07Blow hard, all of you,
50:08like it was your last blow.
50:10Are you ready?
50:11One, two, three...
50:31That's the whole story,
50:32Aunt Rebecca.
50:33I haven't left out
50:34a single thing,
50:35and the only reason
50:36I didn't tell you
50:37was because...
50:38Oh, it was my fault.
50:39You got a notion
50:40I was trying to make you
50:41do what I wanted you to do.
50:42Well, I guess I was.
50:43Only if I'd known
50:44you was as capable
50:45of handling things
50:46by yourself as you are.
50:47You know, Theodora,
50:48I...
50:49I got a confession
50:50to make to you.
50:51Well, what is it, Aunt Rebecca?
50:52Well, I've always been
50:53telling you to behave
50:54like all the linds
50:55there ever was before you.
50:56Yes.
50:57I forgot to tell you
50:58there's been wild linds
50:59as well as quiet ones.
51:00Ah, don't go
51:01and whine like that.
51:02It's no surprise to me.
51:03I, um...
51:04I can remember
51:05when I was your age
51:06there was a young fellow
51:07over in Springfield.
51:08Yes?
51:09Oh, no, no.
51:10I guess I better not.
51:11Oh, go on, Aunt Rebecca.
51:12Oh, no, not another time.
51:13Now, right now,
51:14I tell you what,
51:15you go out in the tool shed
51:16and get me, um...
51:17get me my garden scissors.
51:18Those bushes need pruning.
51:19Oh, but Aunt Rebecca,
51:20surely they can wait
51:21till tomorrow.
51:22Go on, go out
51:23in that tool shed
51:24and get me, uh...
51:25get me my garden scissors.
51:26Yes, Aunt Rebecca.
51:28Just as long
51:30as my heart
51:33goes on
51:36Hello, Theodora.
51:38Michael.
51:39I wanted to come to the station,
51:41but Aunt Rebecca...
51:42Oh, I'm glad you didn't.
51:44Oh, it's so much nicer here,
51:46just the two of us, Michael.
51:48Oh, I beg your pardon, Herman.
51:51I meant just the three of us.
51:57THEODORA GOES WILD
52:04You have been listening
52:05to the Campbell Playhouse
52:06presentation of
52:07Theodora Goes Wild,
52:09starring Loretta Young
52:10and Orson Welles.
52:12Mr. Welles will be back with us
52:13in just a moment,
52:14but right now, if I may,
52:15a brief reminder.
52:17When you enjoy
52:18Campbell's vegetable soup
52:19at your table,
52:20you are eating vegetable soup
52:21every bit as fine
52:22as any that ever came out
52:23of a home soup kettle.
52:25That's because it's made
52:26in the old-fashioned,
52:27old-home way.
52:28It's 15 different
52:29garden vegetables,
52:30and its invigorating beef stock
52:31give it the stoutness
52:32and substance,
52:33the really hearty eating
52:34that you want in a soup
52:35at this time of year.
52:37No wonder, indeed,
52:38that families everywhere
52:39look upon Campbell's
52:40vegetable soup as,
52:41well, as almost
52:42a meal in itself.
52:44Now, wouldn't piping hot plates
52:45of vegetable soup
52:46as Campbell's make it
52:47taste really good
52:48at supper tomorrow night?
52:50And now, here is Orson Welles.
52:52Ladies and gentlemen,
52:54it gives me great pleasure
52:55to present tonight's guest star.
52:57Not only is she
52:58one of Hollywood's
52:59best-known actresses,
53:00but she is, by common consent,
53:02one of the best-liked members
53:03of the movie colony.
53:04Ladies and gentlemen,
53:05Miss Loretta Young.
53:06Good evening,
53:07ladies and gentlemen,
53:08and thank you, Mr. Welles.
53:09I'm particularly happy
53:11to be here tonight
53:12because I really think
53:13I'm what could be called
53:14a Campbell's Playhouse veteran.
53:16I was on the very second
53:17Campbell's Playhouse broadcast
53:19in private India
53:20with Ronald Coleman
53:21back in, oh, October 1934.
53:23I was going to bring
53:24that up.
53:25Our records show
53:26that you've only appeared
53:27with us five times,
53:28including tonight,
53:29since then,
53:30and that's not nearly enough.
53:32I want you to promise
53:33you'll be back with us
53:34again very soon.
53:35I'll be glad to appear
53:36again here, Orson.
53:37While we're about it,
53:38I feel I must warn you,
53:39Loretta,
53:40about tonight's broadcast.
53:41Warn me about what?
53:42Well, you know what
53:43you're going to be suspect
53:44from now on, don't you?
53:45Let an anonymous novel
53:46appear anywhere.
53:47Let any author use
53:48a non-declarable
53:49and we'll all be convinced
53:50you're the author.
53:51Well, that's a marvelous idea.
53:52And it'll make a good plot
53:53to make Theodora go wild.
53:54Great, and I could play
53:55a young artist called Michael
53:56and go to Linfield
53:57and pick up a dog
53:58called Herman.
53:59Well, if you've got
54:00the idea already.
54:01I'm ready any time you are.
54:02Well, it's a deal.
54:03As soon as I finish
54:04with my next picture.
54:05That wouldn't be
54:06a Columbia Pictures
54:07Corporation picture,
54:08would it?
54:09Yes.
54:10It would be awesome
54:11and thank you very much.
54:12Don't mention it.
54:13Thank you, Loretta Young.
54:14And good night.
54:15Good night.
54:16Miss Young, of course,
54:17ladies and gentlemen,
54:18with Theodora.
54:19Jed Waterbury
54:20with Ray Collins.
54:21Mr. Grant Sr.
54:22Mrs. Michael Grant
54:23with Georgia Backus.
54:24Mary Taylor
54:25with Mrs. Stevenson.
54:26Aunt Rebecca
54:27with Clara Blandick.
54:28Frank Reddick
54:29with Arthur Stevenson.
54:31And Michael Grant
54:32with your obedient servant.
54:33Now it's to next week.
54:35Next Sunday night,
54:36ladies and gentlemen,
54:37our offering will be
54:38The Citadel
54:39by A.J. Cronin.
54:41A human story
54:42of the struggle
54:43of a young doctor
54:44and his wife to see
54:45and hold their way clear
54:46against the complexities
54:47of modern life
54:48and its professions.
54:49And as Christine,
54:50the clear-eyed wife
54:51who manages to remain true
54:52at all times,
54:54not only to her own self
54:55but to her husband's
54:56true self as well,
54:58we regard ourselves
54:59as extremely fortunate
55:00in being able to present
55:01an actress who has been
55:02universally acclaimed
55:03as the outstanding
55:04motion picture discovery
55:05of last year.
55:06With unanimous critical acclaim
55:07for a performance
55:08in Wuthering Heights
55:09and Dark Victory.
55:11One of the brightest
55:12of the new stars
55:13in the Hollywood firmament,
55:14Miss Geraldine Fitzgerald.
55:17And so until
55:18next Sunday night
55:19in The Citadel,
55:21my sponsors,
55:22the makers of Campbell Soups
55:23and all of us here
55:24in the Campbell Playhouse
55:25remain, as always,
55:27obediently yours.
55:52THE CITADEL
55:56The makers of Campbell Soups
55:57join Orson Welles
55:59in inviting you to be with us
56:00in the Campbell Playhouse
56:01again next Sunday evening
56:03when we present
56:04A.J. Cronin's
56:05The Citadel
56:06with Miss Geraldine Fitzgerald
56:08as our guests are.
56:10Meanwhile, if you've enjoyed
56:11tonight's presentation,
56:13won't you tell your grocer
56:14so tomorrow when you order
56:15Campbell's Vegetable Soup?
56:17This is Ernest Chappell
56:18saying thank you
56:19and good night.
56:21THE CITADEL
56:24This is the Columbia
56:25Broadcasting System.