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00:00The Makers of Campbell's Soup presents the Campbell Playhouse, Orson Welles producer.
00:30Good evening, this is Orson Welles. Our offering this evening,
00:36It Happened One Night, is already a motion picture classic. Despite its tender years,
00:41it was born in 1934, shrewdly concerned with the oldest, in fact the eternal subject,
00:46the way of a man with a maid, this time against the vigorous background of life among the quality
00:51and the not-so-quality of the Atlantic seaboard. It's been a favorite attraction among moviegoers
00:57everywhere since Mr. Frank Capra and the Columbia Pictures Corporation first blessed us all with it.
01:04Our guest stars might well have been tailored for the celebrated parts of Peter and Ellie.
01:09Mr. William Powell surely needs no alteration at all to be the charming, happy-go-lucky
01:15newspaper man whom fate threw together on that now historic bus ride with a spoiled and spirited
01:19heiress certainly never more faultlessly imagined than tonight by Miss Miriam Hopkins.
01:25But first, before the madcap doings of this night begin to sweep us along at their own breakneck pace,
01:30Ernest Chappell suggests that we do a little opposing. Chappell? Thank you, Orson Welles, and
01:35ladies and gentlemen, it's simply this. Suppose you had never tasted Campbell's tomato soup.
01:41Suppose you'd never had a sunny bowl of it beckon you with its welcoming color and with its tempting
01:46aroma. Suppose you'd never drawn your chair up to the table, lifted your spoon, and learned with that
01:51first smooth sip how its lively tomato flavor could wake up your appetite. Suppose you still
01:57had to try this soup that almost everyone likes best, Campbell's tomato soup, and still had to
02:03discover how it glorifies the flavor of fine tomatoes in a way all its own. Well, surely then
02:08you'd have a treat in store for you now, wouldn't you? But enough of supposing. It's likely you
02:13already know Campbell's tomato soup, know how it can literally make a meal, how it can put delight
02:19in a simple lunch or family supper, or pleasantly begin a dinner. You've probably had it often, and I
02:25hope you've had it lately, because this season's crop of tomatoes was exceptionally luscious, and
02:31you'll enjoy their superb flavor now in Campbell's tomato soup. Now, wouldn't fragrant platefuls
02:38contribute to the enjoyment of your dinner, perhaps tomorrow night? And now, Orson Welles,
02:45and now William Powell and Miss Miriam Hopkins in It Happened One Night.
02:58I beg pardon, Mr. Andrews. What is it now, Captain? It's your daughter, sir. She won't eat. Very well,
03:04she won't eat. But it's not very well, Mr. Andrews. She doesn't need to eat. You see, I'm practically face to
03:09face with a mutiny. A mutiny? Yes. For the last 40 hours, I've had her food taken into her stateroom
03:14by three different stewards, the chef, the assistant chef, several busboys, and while it's
03:19not exactly nautical, this morning the first mate and the second mate both tried. Well, Mr. Andrews,
03:25sir, I don't like to burden you with details, sir, but she hit the first mate in the eye with
03:30a coffee cup. She rubbed a cheese omelet in one steward's hair. She threw a bowl of hot soup at
03:35a bowl of hot soup. She'll eat when she gets hungry. I've threatened to put my men in irons,
03:41and they say they prefer that. Get another tray ready. I'll take it in. It's dangerous
03:45business, Mr. Andrews. Kidnapping is no child's play. My daughter will realize before I'm through
03:51that I'm no child. Steward, if that's another tray, I'll wrap it around your ears.
04:01Oh, so it's you. Pardon my bursting in like this, Lady Ellie. I didn't have time to phone
04:07your secretary for an appointment. Don't be sarcastic. It won't help you any. I'm not going
04:12to eat. Not until you let me off this boat. And you can't get away with that kidnapping,
04:17a bunch of gorillas shoving me in a car, that crowd outside, the justice of the peace. They
04:21must have thought I was a criminal the way your men... You're being unfair. I had one fella that
04:25did nothing but explain to everybody that you were a harmless lunatic who would escape from
04:30an asylum. What? Nobody thought you were a criminal at all. If anybody wanted particulars,
04:34my man told him you had delusions you were Marie Antoinette. I couldn't do better than that for
04:38you, could I? Where do you think you're taking me on this yacht, Father? Here and there, South
04:45America to start with. South America? Yes, my child, South America. Both sides of South America.
04:51You remember the map? One side is painted yellow and the other side green and brown. After you've
04:56seen the yellow from the yacht, that is, because you won't be allowed to land, you'll get a nice
05:01change to the green and brown. And then... You'll have a corpse on your hands, that's what you'll
05:05have. We're leaving Miami in an hour as soon as we get some supplies aboard. I won't eat a thing
05:09while I'm on this boat. In that event, we won't need so many supplies. What do you expect to
05:14accomplish by all this? I'm already married. I'll get it annulled if it takes every penny I've got.
05:19Well, what have you got against King Wesley? Nothing much. I just think he's a fake, that's all.
05:23He's one of the best flyers in this country. Right now, he's planning to break the round the world
05:27record. Who's going to finance him? Let me guess, you. Well, he's no good and you know it. You married
05:33him only because I told you not to and that's why you're not eating, Ellie. Because I've been
05:38sending food to you. Well, you're a fool not to eat this filet mignon before it gets cold.
05:42Look, Ellie, just touch it with a knife and it melts. Well, if I give in now, will you give me a chance
05:49to prove later that you're wrong? I always give people a chance to prove anything that they can
05:54prove. You know that, Ellie. Okay, you've won. Get my robe from the closet, will you? All right, I will.
06:00Now, I'll tell you what, Ellie. You give me your word you won't try any funny business. We'll go ashore
06:05tonight and have a nice dinner at the LP. Hey, Ellie! Ellie, let me out! Ellie! Not a chance! And quit rattling that
06:13knob. I've just locked the door. You can't get away with it, Ellie! I have gotten away with it! All right, Ellie!
06:18I've got the key to the stateroom in my pocket. You can't get out until you let me out of this closet!
06:24Ellie, do you hear me? I heard you. I was just wondering how... I've got it. What? In case you've forgotten,
06:30there's a porthole right here. Porthole? Ellie, you wouldn't... I certainly would, dear. Ellie, people, where's that porthole?
06:35If you hear a splash, don't worry. You always splash when you dive. You're crazy! You can't do it! Ellie, I order you not to!
06:46Anybody'd think he can order me. Goodbye, Pop.
06:54Hello, operator. I want to send a straight wire. Lovington Detective Agency, New York. Watch all roads, air transports, and railway stations out of Miami.
07:08Keep close tabs on King Wesley. Intercept all messages. Hellcat just escaped. Huh? What do you mean you can't transmit the word
07:16hellcat? Okay, make it my loving daughter Ellie.
07:26Bus leaving for Jacksonville, Charleston, Richmond, Washington, Philadelphia, and New York.
07:34Passengers will please display their tickets.
07:38Bus leaving in ten minutes.
07:42Here I am, boy. Right back at this post. Oh, here's the ticket you asked me to buy you, lady.
07:46Thank you very much. You can keep the change. Oh, thank you, lady. Thank you.
07:55What'd you say? What's going on over there? Well, over there,
07:59some gentleman's calling somebody long distance, and his thumbnail's just cheering him on.
08:04Yes, well, that's clear from here.
08:07Say, they've been drinking, if you have, please.
08:15Charleston, Richmond, Washington, Philadelphia, and New York.
08:22Now look, now look here. You get him on the phone, Petey, and you tell him.
08:26Hey, hey, quiet, you guys. This phone booth is no convention hall. How can I talk?
08:31You're right, Petey, but you tell him. Let him know what he can do with his job.
08:36My distinguished managing editor's voice is just starting to come in.
08:41Hello? Hello, you big baboon. You know who this is. This is Peter Grant.
08:47P as in pusillanimous, which is what you are. E as in elephant, like your feet.
08:53T as in thick-headed, which is... Oh, you remember me now, huh?
08:57Sure, I'll tell you what I called about, that telegram firing me.
09:01Well, you can't fire me because I resigned. Let me tell you something else.
09:04You fired... I resigned the best news round your filthy sheet ever had.
09:10Yeah, you're just a man who can't do it.
09:12Quiet. Hey, the trouble with you, my fat-headed friend,
09:16is that you wouldn't know good copy if it came up and introduced itself to you by name.
09:19I'm through with you and your paper. I'm through with all papers.
09:22I'm through with stupidity. I'll never write another newspaper story for you or anybody else.
09:27If I have to starve...
09:28Well, now, wait a minute. That's going too far, Peter, because...
09:31Did you ever starve? Because, let me tell you, Peter...
09:33Fine. It's none of your business what I'm going to do.
09:36I may build a subway to Moscow. None of your business.
09:39What's that? I seem to have a lot of money for long-distance calls to New York?
09:45Hey, listen, beetle-brain, why don't you get your secretary to tell you when you get a collect call?
09:51Take it easy. Remember your blood pressure. Goodbye, molasses mind.
09:56Yeah, goodbye, molasses mind.
09:58Molasses mind. You mind if I use that to my advantage, sir?
10:02No, not at all. That's my farewell gift to you. Is my chariot ready?
10:05Our bus ought to leave in a couple of seconds, Pete.
10:09All aboard!
10:11Hey, driver, wait for me!
10:12All aboard!
10:16Goodbye, Pete!
10:17Goodbye! Goodbye, boys!
10:18Goodbye!
10:19Whoo!
10:20This almost didn't make it.
10:22Okay, buddy, take your seat.
10:23All right. Well, make up your mind, lady. Get in or get out.
10:27Why don't you look where you're going?
10:29I was looking.
10:29All right, you two. All right. Take your seats. You've got a long trip ahead of you.
10:33You can finish the argument in North Carolina or Delaware, but not here.
10:36All aboard and goodbye. Goodbye.
10:50Uh, pardon me, lady.
10:52Yes?
10:52Would you mind taking those papers off that seat, so I can sit down?
10:57You see, I don't like sitting on newspapers.
10:58I did once, and all the headlines came off on my white pants.
11:02I'm not interested.
11:03Yeah, but the people in town were.
11:05They followed me all over and read the news from the seat of my pants.
11:08Some of them still have cricks in their backs.
11:09I need this seat for, uh, for my luggage and things.
11:12Your luggage is on the rack, and that seat's for two.
11:16I don't like it any more than you do.
11:17Oh, all right. All right. And tell that man not to drive so fast.
11:20Are you talking to me?
11:22Yes. Tell that man not to drive so fast.
11:24Oh, ma'am. Don't drive so fast, ma'am.
11:28There. That'll teach him.
11:40Could you bring me back a promo?
11:44Hey, young lady.
11:46What do you want?
11:47I'm all covered with brambles, and don't say it's not your fault.
11:50Why don't you leave me alone?
11:51He was a good 50 yards away before I could get going.
11:54Then after I got through chasing him,
11:55there I was in the middle of the brush, and not a sign of the skunk.
11:58Well, if chasing skunks is your hobby, all right. I'm not interested.
12:01Uh, maybe this will interest you. Your overnight bag's gone.
12:03What?
12:04I was getting out of the bus myself,
12:05and I saw that mug that sat in front of us grab your bag and run off with it.
12:09I ran after him like I told you, and he got away like I told you.
12:12Oh, but it can't be. Everything I had was in it. My clothes and my money.
12:15Well, you've still got your purse. Your ticket must be in that.
12:17What, my ticket and four dollars in cash?
12:19Well, that's what I've got to get to New York on.
12:21And you can wire up more money when we get to Jacksonville.
12:23Oh, but I can't. You see, I...
12:25Yes, I guess I will.
12:26I reported to the driver. About your bag, I mean.
12:28No, I'd rather you didn't.
12:30Don't be a fool. You lost your bag.
12:31The company will make good. I'll report it for you.
12:33I don't want it reported.
12:34And please be good enough to stay out of my private affairs.
12:37Hey, you got the whole thing wrong, lady.
12:39The fellow that stole the bag is in your private affairs.
12:41I just tried to get them back.
12:42Oh, Louis!
12:52Hello.
12:53You can sit here if you want to.
12:55No, thank you.
12:56There's a seat back there, next to a gentleman.
12:58Next to a what?
13:00Oh, all right.
13:01Find out your mistake for yourself.
13:03Nothing can be a mistake from now on.
13:06Pardon me.
13:08Is this seat taken?
13:10Why, sure.
13:11Sure, sit down, sister.
13:14My name's Shapely.
13:15Shapely is as Shapely does, I always say.
13:18Get it?
13:19I said, get it?
13:21Oh, yes, I get it.
13:23And let me tell you, sister, you made no mistake sitting next to me.
13:26You know, you got to be awful careful on these buses who you hit it up with.
13:29Well, I remember once when I was coming through North Carolina.
13:33I got together with a good-looking dame, just like you.
13:36Well, sir, I was just starting to make time with her when she got yanked off the bus.
13:40And who do you think she was?
13:42I said, who do you think she was?
13:43Your grandmother.
13:45Oh, you're kidding, huh?
13:48Yes.
13:49Well, sir, she was a girl bandit.
13:51The one the papers have been writing about.
13:52What do you know about that?
13:55I said, what do you know about that?
13:57Nothing.
13:59Well, what's the matter, sister?
13:59You weren't saying much.
14:00Seems to me you're doing all right without any assistance.
14:03Oh, right there with the answers, huh?
14:05Oh, only don't think I'm sore, because I'm not.
14:08As a matter of fact, you're my type.
14:10I could go for you in a big way, believe you me.
14:12Well, believe you me, you bore me to distraction.
14:15Kidding, huh?
14:16No!
14:17Ah, beg pardon, mister.
14:19Yeah?
14:19There's a seat in the back of the bus for you.
14:22What's the idea?
14:23I'd like to sit with my wife, if you don't mind.
14:26Did you say wife?
14:27Yeah, on your way.
14:30Excuse me, I was just trying to make things funny.
14:35If you promise not to snap my head off, I'd like to thank you.
14:39Forget it, I didn't do it for you.
14:40His voice is beginning to get on my nerves.
14:50Well, it's popcorn, popcorn crisps, and strawberry bars.
14:52Here you are, folks.
14:53Candy, postcards, cigarettes, magazines.
14:54Here, boys.
14:55Get them.
14:55Give me that money.
14:57A dollar sixty for a box of candy, and you with only four dollars.
15:00How do you expect to get to New York at the rate you're going?
15:02That's none of your business.
15:03You're on a budget from now on.
15:05I won't stand for it.
15:06I won't.
15:06Say, you are a spoiled brat, aren't you?
15:08Just the kind that would marry King Wesley.
15:10You're perfect.
15:12What?
15:14What was that?
15:15You and Wesley should make an ideal team.
15:17Oh, you must have me confused with someone else.
15:20Quit kidding.
15:20It was all over the front page at the last stop.
15:23Lucky for you, I got the only paper.
15:24Oh.
15:25Take my advice and grab the first bus back to Miami.
15:28I don't want your advice.
15:29I suppose you notified my father.
15:31What for?
15:32Oh, he'd be sure to give you some money for being such a bright boy.
15:35What a lovely mind you have.
15:37Well, don't tell me you haven't already done it.
15:38I'm not that interested.
15:40You, King Wesley, your father, that's all a lot of room for me.
15:43Hey, hookworm.
15:59Yes, sir?
16:00I want this telegram sent exactly as it is.
16:02Can you read?
16:04Joe Gordon, New York Evening Mail.
16:06Dear Birdbrain,
16:07Thought you'd like to know the biggest story of the year.
16:09Just dropped into my hat.
16:10Stop.
16:11I know where Ellen Andrews is.
16:13Stop.
16:14How would you like to have the story?
16:16Question mark.
16:17I thought so.
16:18Well, try and get it.
16:19Stop.
16:20And what I said about never writing another line for you still goes.
16:23No love, no kisses, no regard.
16:25Signed, Peter.
16:26Send that collection.
16:34Hey, folks.
16:37Attention, attention, I'm up.
16:39We just got word the road up ahead is so torn, we can't take a chance.
16:43We've got to spend the night here.
16:45Now, if any of you passengers want to sleep on the bus, it's okay.
16:48Those that don't, there's an auto camp up the road a ways called the Twin Apples.
17:03I made all the arrangements.
17:04Here it is.
17:05Your hotel for the night, lady.
17:07The Twin Apples Auto Camp.
17:09Clean, self-respecting, wholesome, under new management.
17:12Good evening.
17:13I'm the new management.
17:14Good evening.
17:15I just put some more blankets in your place.
17:17I do hope you're going to like it, Mrs. Grant.
17:20Your husband said you're very fussy.
17:22Oh, but you've got to excuse me.
17:23I've got to see about the other people.
17:24My husband, sir.
17:26That's me.
17:26Always talking out of school.
17:28Alarm, he'd open the door for you, my dear.
17:31You'll precede me, my dear?
17:34Go on, you brat, get in there.
17:37Like it?
17:38Not much.
17:39I think it's beautiful.
17:40Two charming beds, a table, two chairs, an oil burner for cooking, all encompass the home.
17:45I'd like an explanation, please.
17:47I just had the unpleasant sensation of hearing you referred to as my husband.
17:51And I...
17:51That's right.
17:52I forgot to tell you I registered as Mrs., Mr., and Mrs.
17:55Mr. and Mrs.
17:56You don't think that I'll put up with that, do you?
17:58Hey, wait a minute.
18:00Let's get something straightened out right now.
18:02If you've got any idea that I'm interested in you, just forget it.
18:05What I've done is a matter of simple mathematics.
18:08These cabins cost two bucks a night.
18:09I'm very sorry to inform you, Mrs. of Mr. and Mrs.,
18:13that our family purse won't stand for separate establishments.
18:16Well, I hope you don't expect me to stay here under the same roof.
18:19I don't expect you to do anything.
18:21I furnish you with a place to sleep.
18:22And if you don't like it, you can...
18:23Well, you can spend the night someplace else.
18:25It's all right with me.
18:27My first impression of you wasn't far wrong.
18:29I know.
18:30A gentleman like King Wesley would vacate and let you have a place for yourself.
18:35Well, I'm not King Wesley, thank heaven.
18:38Well, what do you think you're doing now?
18:42Well, for your information, this is a clothesline I am fastening to the wall.
18:46Now, watch me closely.
18:47I've nothing to conceal, but the hand is quicker than the eye.
18:51I now put two extra blankets, one from each cot, over the clothesline.
18:55The room you will observe is now cut in half.
18:58We each have our own private little cubicle.
19:00I suppose that makes everything quite all right.
19:02Does for me.
19:04I like privacy when I retire.
19:06Prying eyes annoy me.
19:08You may or may not know, but at this moment, I'm in my undershirt.
19:12Thanks to the blanket unseen by any eyes but mine.
19:16Are you implying that I've...
19:17Never can tell about your kind.
19:19As long as we're on opposite sides of the blanket.
19:22It's the walls of Jericho.
19:23That's what it is.
19:25Have you ever heard of the walls of Jericho?
19:27I know my Bible as well as you do.
19:29The Israelites were behind those walls and
19:31Watchman McCallum blew his trumpet and the walls came down.
19:33It wasn't Watchman McCallum.
19:34It was...
19:34Who's it?
19:35But you've got the general idea.
19:36Joshua, that's who it was.
19:38Joshua and the trumpet.
19:39I'm all out of trumpets.
19:40Here's my other pair of pajamas for you.
19:42Catch.
19:43I got them.
19:44Now listen, you're not really serious about all this, are you?
19:47I'm serious about getting undressed.
19:50Don't you like to know how a man undresses?
19:52No two men do it alike.
19:54I wouldn't know.
19:54Yeah, that's why I'm telling you.
19:56You know, I once knew a chap who kept his hat on until he was completely undressed.
20:00Very comical effect.
20:01I doubt it.
20:02Years later, his secret came out.
20:04He wore a toupee.
20:05As a matter of fact, I have an idiosyncrasy all my own.
20:08My coat comes off first, then the tie, then the shirt.
20:12Then among the conservatives, the pants.
20:15But that's where I'm different.
20:16I go for the shoes next.
20:18Are you listening?
20:20Left shoe, right shoe.
20:23That's all.
20:23Sorry.
20:24Now, if I was a centipede...
20:26I get the idea.
20:27Should you have any similar confessions to make, I'm very willing to listen.
20:32You've already taken off your coat, I'm sure.
20:34Now, after that...
20:37After that...
20:38The blanket will keep my secret.
20:40I suppose so.
20:42What do you mean, you suppose so?
20:44You're absolutely right.
20:45The walls of Jericho will protect you from the big bad wolf.
20:49The night's rest will do you a lot of good.
20:53I'm really tired.
20:55Do you mind if I sing?
20:56I generally sing myself to sleep.
20:57Wouldn't do me any good if I did mind, would it?
20:59No.
21:01Oh, if I had the wings of an angel...
21:07Say, you don't know how it goes on from there, do you?
21:09No.
21:11Well, that's a catch in my singing.
21:12That's the only line I know.
21:13Do you mind if I sing it again?
21:14Oh, if I had the wings of an angel...
21:19All finished.
21:20Well, if you want me to do it again, I don't mind.
21:22No, I caught the drift of it.
21:24Are you in bed now?
21:26Yeah.
21:27Don't you sing?
21:28Not when there's nothing to sing about.
21:30Oh.
21:31By the way, who are you?
21:34Who am I?
21:35Why, I am the whippoorwill that cries in the night.
21:39I'm the soft morning breeze that caresses your lovely face.
21:42I'm the waiter with the water for your daughter.
21:45I am the...
21:46Have you a name by any chance?
21:48Oh, my name?
21:50Peter Grant.
21:52Peter Grant.
21:54I don't like it.
21:56Well, pleased to have met you, Mr. Grant.
21:59Pleasure's all mine.
22:01You know, I've been thinking about what a tough life you had.
22:06Twice a missus and still unkissed.
22:08I can get along without your sympathy.
22:10I bet you're in an awful hurry to get back to New York, aren't you?
22:13Your first husband?
22:14I probably don't count.
22:16I say, I probably don't count.
22:20Good night, Mr. Grant.
22:23Good night.
22:24Good night.
22:44Come on, wake up.
22:46What?
22:49What time is it?
22:50Eight o'clock, time to get up.
22:51Here, I got something for you.
22:52I'll throw it over the blanket.
22:53Catch.
22:54Over to you.
22:56Yeah, but not shopping.
22:57Groceries, toilet goods, and get up.
22:59Breakfast will be ready in no time.
23:00I'll have mine in bed.
23:02Hey, stop talking nonsense.
23:03Goldilocks, I'm going to count ten.
23:06If you're not out of bed by then, I'll come around that blanket and yank you out myself.
23:09If you dare.
23:10One, two, three, four, five, six, seven, eight, nine.
23:15I'm out, I'm out.
23:16Good.
23:17You'll find the showers and things right back in the second cottage.
23:22Outside?
23:23Certainly outside.
23:25Hey, you've just been brought up wrong.
23:27That's what's the trouble with you.
23:28All the best homes have them outside.
23:44Hello, Slog.
23:46What makes you so disgustingly cheerful this morning?
23:48Yes, must be the spring.
23:50Could be the company.
23:51Oh, not a chance.
23:52Look, Mr. Grant, what do you do?
23:55Oh, for a living, I mean.
23:56Nothing, if I can help it.
23:58Well, don't you work?
23:59Sometimes.
24:00What at?
24:01Whatever's the least work.
24:04Don't tell me they have house detectives in auto camps.
24:06Come in.
24:08Your bus leaves in five minutes, missus.
24:09Oh, thanks.
24:11Goldilocks, you know how to pack?
24:13Well, my maid general is...
24:15You're going to learn right now.
24:16Here's my bag.
24:17And to start with, you don't just throw gents' pants in any which way.
24:21No.
24:21No.
24:22You fold them first.
24:34This is the Campbell Playhouse.
24:36Orson Welles, producer.
24:38You are listening to our presentation of It Happened One Night,
24:42starring William Powell and Miriam Hopkins.
24:44This is the Columbia Broadcasting System.
24:51This is Ernest Chappell, ladies and gentlemen,
25:11welcoming you back to the Campbell Playhouse.
25:13In just a moment, we shall resume our presentation of It Happened One Night.
25:18But in the meantime, this, too, happened one night at the supper table
25:23in a home perhaps not unlike your own.
25:25Listen.
25:27Dear, I've got a confession to make.
25:29This is not my own homemade soup.
25:32No.
25:33Tastes mighty good.
25:34Believe I'll have some more.
25:35It is good, isn't it?
25:37It's Campbell's.
25:38I just couldn't find time today to make soup, so I thought I'd try Campbell's just once.
25:42Well, dear, if I were you, I wouldn't stop at once.
25:45Let's try some more Campbell's soups.
25:47If they're all as good as this,
25:48there's not much need of your going to all the bother of making soup anymore.
25:52This is great.
25:53And that's what's been happening in homes everywhere,
25:55as one good home cook after another has tried Campbell's soups,
25:59compared them with her own,
26:01and realized they must have been made in the true home way,
26:04delicious, wholesome, and nourishing.
26:07And discovering how her family enjoy their fine flavor,
26:11she's given up making soup and turned her soup making over to Campbell's.
26:15So I'd like to invite you, if you haven't already done so,
26:19to let this happen one night in your home.
26:22Do that, and I believe you too will let Campbell's make your soups for you.
26:27Make them from then on.
26:29And now Orson Welles resumes our Campbell Playhouse presentation
26:32of It Happened One Night, starring Miriam Hopkins and William Powell.
26:45["It Happened One Night"]
26:57Oh, he flies through the air with a great ecstasy.
27:03You're not singing.
27:05Yes, I am too sick.
27:06Nobody is singing unless his voice is louder than everybody else.
27:09Sing.
27:09Oh, he flies through the air with a great ecstasy.
27:14Sit down.
27:14There's a young man on the flying trapeze.
27:18There's a young man on the flying trapeze.
27:24All right, all right, okay.
27:26It's all right, folks.
27:27It's all right now.
27:29We just hit a deep rut.
27:30That's all.
27:31Oh, yeah.
27:31You hear?
27:32Just a rut.
27:34He flies through the air with a great ecstasy.
27:38Come on, you sing.
27:39Sit down.
27:40There's a young man on the flying trapeze.
27:42Wait a minute.
27:42We'll get this thing fixed up.
27:44Please.
27:47Fine service, I must say.
27:49Won't even let a man finish a song.
27:51Come on, you.
27:52All right, come on.
27:53Hurry up, folks.
27:54Hurry up.
27:55All out now.
27:57Hey, that's in pretty deep, young fellow.
27:58It sure is.
27:59That song made a mess out of these roads all right.
28:04Excuse me.
28:05What do you want, shapeless?
28:07The name is Shapely.
28:08I want to talk to you.
28:11What about?
28:13Something personal, if you don't mind.
28:15I mind very much.
28:16I'll give you a minute.
28:17Let's go over in back of the bus.
28:19All right, what is it?
28:22I, uh, I thought you might want to look at a newspaper I bought the last time we stopped.
28:27This piece about the multimillionaire heiress they can't find.
28:31I, uh, I thought you might want to look at it.
28:34Traveling like this, you know, you kind of lose track of what's going on in the world.
28:38Thanks.
28:39Says here they're offering a reward of $10,000 for her now.
28:43Be kind of sweet if a fellow could collect that.
28:4510,000 smackers are always sweet.
28:48You know what I'd do if I was to run across that dame?
28:50What?
28:51I'd go 50-50 with you.
28:53Oh, that's what's on your mind.
28:55$5,000 or I grab the works.
28:58I see.
28:59You know, I guess I was pretty lucky running into you.
29:04You're just the man I need.
29:05I can use a smart guy like you.
29:07Oh, well, I know my way around, I guess.
29:10There isn't anybody watching us, is there?
29:12No.
29:13You pack a gat?
29:15A what?
29:15A gat, a gat.
29:16Let me frisk you.
29:18Got any fireworks on you?
29:19What?
29:20No.
29:21That's all right.
29:22I got a couple of machine guns in my suitcase.
29:24I'll let you have one of them.
29:26Machine gun?
29:27Yeah, expect to have a little trouble up north.
29:29May have to shoot it out at the cops.
29:31Sometimes the law gets stubborn, you know?
29:34Shoot it out at the cops?
29:36I'll talk to the killer.
29:38He'll take care of you.
29:39Good guy, the killer.
29:41Killer?
29:41Yeah.
29:42That's who I'm taking her to.
29:44The big boy himself.
29:45Are you...
29:46You're not kidnapping her, are you?
29:48What do you think?
29:50We're not interested in that penny-handed reward, you and I.
29:52$10,000, chicken feed.
29:55We're holding her for a million smackers.
29:58And I say, look, I didn't know it was anything like this.
30:01Well, you know now.
30:03You're in this thing with both feet and you're staying in, get me?
30:05You know too much.
30:07Ever hear of Bugs Dooley?
30:09No.
30:10He looks something like you, but he was kind of talkative.
30:14You want to know what happened?
30:15He was found in the bottom of the river one day.
30:18A rock tied around his neck in a bathtub full of cement.
30:22Poor Bugs, he couldn't take it.
30:23Blew his brains out, besides.
30:25Well, that's terrible.
30:26He had it coming to him.
30:28Yeah, oh, sure.
30:29Sure, but don't you worry about me.
30:32I don't talk.
30:33I never talk.
30:34Okay, only remember not to talk.
30:37Now beat it and stay away from that bus.
30:39Yes, sir.
30:40Start walking toward those woods.
30:41And remember, I got a rod in this pocket
30:44aimed right at the middle of your back.
30:45Yeah, I'll remember.
30:47Why?
30:48I think you better run.
30:49Yeah, sure.
30:51Everything's safe.
31:04Do you realize we've been walking nearly three hours?
31:07Oh, we should never have left the bus.
31:08Yes, we should.
31:09You can't tell who else besides Shapely bought that paper.
31:12Poor Mr. Shapely.
31:14The rate he started, he's probably crossed two straight lines by now.
31:17But it's good exercise for him.
31:19Well, it's not good for me.
31:20I'm tired.
31:21All right, all right.
31:23We'll register at that haystack there.
31:25Maybe they got a suite with baths.
31:27I thought we were really going to find a place to sleep.
31:30That's it.
31:31We're not going to sleep out here.
31:32I don't know about you, but that's what I'm going to do.
31:35Fix us up a bed like this.
31:36There's a lot of hay on the ground.
31:39Peter.
31:40What is it?
31:41I'm hungry.
31:42It's just your imagination.
31:43No, it isn't.
31:44I'm hungry and scared.
31:46You can't be hungry and scared at the same time.
31:48If you're scared, it scares the hunger out of you.
31:50I'm sure you're right, but I'm still hungry.
31:52Don't you ever think of anything except your stomach?
31:55Here, I'll fix you a bed.
31:56I'll fix my own bed.
31:58Peter, it's not very comfortable.
32:01If I lie flat on my back, then the hay gets in my side when I turn.
32:04That's easy.
32:05Stop turning.
32:06You're becoming terribly disagreeable lately.
32:09Snap my head off every time I open my mouth.
32:11Now, don't open your mouth.
32:12If being with me is so disagreeable to you, you can leave.
32:16You can leave any time you see fit.
32:18Nobody's keeping you here.
32:19I can get along.
32:22I said I can get along.
32:23I said I can get along.
32:26Did you hear?
32:27I said...
32:29Peter.
32:30Peter!
32:31Peter!
32:32Oh, where are you?
32:33What's the matter?
32:34Oh, Peter.
32:36What got into you?
32:37Oh, Peter, I'm so scared.
32:38Well, you're not scared now, are you?
32:40No.
32:40Well, let go of me.
32:42Oh, excuse me.
32:43Just went to find you something to eat.
32:45Hope you like watermelon.
32:46Why didn't you tell me?
32:48Here, now eat your head off.
32:50I don't want it now.
32:51You're a man.
32:53You're enough to drive a guy crazy.
32:55Lie down and go to sleep.
32:56I'm not tired.
32:56Lie down.
32:57All right.
32:59You bully.
33:00And the trouble with you is you've always had your own way.
33:03That's why you're such a mess now.
33:04You attach importance to the wrong thing.
33:06Right now, there's only one thought in your mind.
33:08To get back to King Wesley.
33:10That's not so.
33:11Don't interrupt me.
33:12Always chasing after something you think you want.
33:14Oh, you know, only you don't really want it.
33:16The truth is, you're running away.
33:18From yourself, mostly.
33:19World's full of people like you.
33:20Don't know what they want.
33:22Do you know?
33:23Sure.
33:23What?
33:24I just want to be a little alone, that's all.
33:27Life's all right if you don't try too hard.
33:29After all, you can only eat three meals a day.
33:31Only sleep in one bed.
33:32You sound like a hobo.
33:34I am.
33:35I only work when I have to.
33:36Doesn't sound very exciting.
33:37I'm not looking for excitement.
33:38That's your racket.
33:39You know a lot about me and my racket, don't you?
33:41I can read you like a book.
33:42I'm just wasting my time.
33:44You're destined to be a dope the rest of your life.
33:46Good night.
33:47Good night and pleasant dreams.
33:49I said pleasant dreams.
33:51I heard you.
33:52Pleasant dreams to you.
34:05Well, what did you say we're supposed to be doing?
34:08Hitchhiking.
34:08Well, you've given me a pretty good idea of the hiking,
34:11but when does the hitching come in?
34:12It's a little early yet.
34:13All right, the car's up.
34:14Well, it's just the same for you.
34:15We'll wait right here till they come.
34:17All right.
34:18You've probably never walked further before than from your car to some cafe.
34:22Oh, Peter, there's the car.
34:28Oh, it's gone.
34:29It certainly is.
34:31Well, what if nobody stops for us?
34:32They'll stop, all right.
34:34It's just a matter of knowing how to hail them.
34:36You're an expert, I suppose.
34:37The best in the world.
34:39No end to your compliments, is there?
34:41No end at all.
34:42Hmm.
34:43You see, a lot of people think they can get a ride in a car.
34:46Get a ride by just holding out their hand.
34:49Well, that's wrong.
34:50It's all in the thumb.
34:52Unless you know how, you never get anywhere.
34:55Just a failure.
34:56But if you handle your thumb right, it's got to work.
34:58It depends on how you feel.
34:59There are different ways to do it.
35:01For instance, number one is a short jerky movement.
35:05That shows your independence.
35:06You don't care if they stop or not because you got some money in your pocket, see?
35:09Oh, you're wonderful.
35:10Number two is a wider movement in the direction you want to go.
35:14A smile goes with this one.
35:16That means you got a couple of brand new stories about the farmer's daughter.
35:19You're a genius.
35:20That's what you are.
35:21That's nothing.
35:22Now, you take number three.
35:23That's the real thing.
35:24That's the pathetic one when you're broke and hungry and everything looks black.
35:29That's a long movement.
35:30It starts about a foot outside on your shoulder and then over to the other shoulder with a
35:35follow through.
35:36Amazing.
35:36That's what it is.
35:37Amazing.
35:38But you've got to have a grouping chin.
35:40Oh, well, you can't have everything.
35:43Here comes a car.
35:44Just watch me.
35:45Keep your eye on my thumb.
35:49I'm still watching your thumb.
35:51Yeah, something must have gone wrong.
35:53I guess I'll try number two.
35:55When you get up to 100, wake me up.
36:05Maybe they don't see your thumb.
36:06Maybe if you stood on your head.
36:08Shut up.
36:10Do you mind if I try?
36:11You?
36:12Haha.
36:14You're such a smart aleck.
36:15Nobody can do anything but you.
36:17That's right.
36:17Well, I'll show you how to stop a car.
36:20You haven't got a chance.
36:22Think so?
36:23Well, we'll see.
36:24What are you going to do?
36:25Well, I'm not going to use my thumb.
36:27If you want to know.
36:28Hey, drop that skirt.
36:30You don't understand.
36:31That's what I'm using for a thumb.
36:37You want a lift, folks?
36:39Oh, thank you, mister.
36:41Why didn't you take all your clothes off?
36:43You could have stopped 40 cars.
36:44We didn't need 40 cars.
36:57Well, here's another auto camp.
36:59A new home, Goldilocks.
37:00In you go.
37:03Well, here we are on the last lap.
37:06Yes, here we are.
37:08Tomorrow morning, you'll be back with your father.
37:10And Wesley.
37:12Yes.
37:13Tomorrow morning.
37:16What are you doing?
37:18I'm putting some tacks on the wall for the...
37:20For the walls of Jericho?
37:22Yep.
37:22Walls of Jericho.
37:24Will you give me that blanket, will you?
37:26Here it is.
37:27Thanks.
37:28He's certainly outsmarted your father.
37:30You ought to be very happy.
37:31Yes, I ought to be very happy.
37:34Here's some pajamas for you.
37:36Well, I'm thinking of it.
37:38Am I going to see you in New York?
37:40No.
37:41Why not?
37:42I don't make a policy of running around with married women.
37:44Oh, there's no harm in coming to see us.
37:46Not interested.
37:47Won't I ever see you again?
37:49What do you want to see me for?
37:50I've served my purpose.
37:51I brought you and Wesley together, didn't I?
37:52That's what you wanted, wasn't it?
37:54Peter, have you ever been in love?
37:57Now, come to think of it, I've probably done the world a great favor.
38:00Got two pinheads out of circulation.
38:02Haven't you ever wanted to fall in love?
38:05Me?
38:06Well, there's no one else on the other side.
38:07The blanket is there.
38:09Oh, me?
38:10Yes.
38:10Well, I've thought about it.
38:11Who hasn't?
38:12If I ever met the right kind of a girl, somebody that's real, somebody that's alive,
38:17they don't come that way anymore.
38:19I suppose not.
38:20Certainly, I thought about falling in love.
38:22As a matter of fact, it may seem funny to you, Miss Ellie Andrews,
38:27but I'm just like everybody else, even if I haven't got any money.
38:29Even if I'm not King Wesley.
38:31Of course you're like everybody else.
38:33I mean, you're not.
38:34I mean...
38:34Hey, stay on your own side of the blanket.
38:37Well, I didn't know if you could hear me from where I was.
38:39I can hear everything you've got to say.
38:41Well, all I've got to say is this.
38:43I love you.
38:45You're married.
38:47I'm not really married.
38:48And anyway, I don't care.
38:49I love you.
38:50Oh, we can run away.
38:52Everything will take care of itself.
38:54Please, Peter.
38:55You can't just disappear out of my life now.
38:58I couldn't live without you.
38:59Oh, Peter.
39:00Go back to your bed.
39:01Peter, don't you understand?
39:02I mean it.
39:04I found out the last few days.
39:06Oh, I found out so much.
39:08I know now...
39:09Go back to your bed.
39:12You mean, you don't...
39:14Go back to your bed.
39:17Peter.
39:19All right.
39:21It's all right.
39:23And go to sleep.
39:25Yes.
39:27I'll go to sleep.
39:40Listen, mister.
39:48I know it's late, but I've got to get to New York tonight.
39:51Look, I paid $200 for this watch a year ago.
39:53And all I'm asking is $20.
39:55But this is a gasoline station, buddy, not a hock shop.
39:57Listen, fellow.
39:58I'll tell you what I'll do.
39:59When I come back in the morning, I'll buy it back from you and give you $20 profit.
40:03What do you say?
40:04I ain't used to this kind of thing.
40:05Okay.
40:06It's a deal.
40:09Hiya, Gordon.
40:16Get out of here.
40:17Now, wait a minute, Gordon.
40:18Get out.
40:19Joe, listen.
40:20Don't Joe me.
40:21Okay, Joe, listen.
40:22Those wires I sent you are on the level.
40:24It's the biggest story of the year.
40:25I've come to give it to you.
40:26You mean about the Andrews girl?
40:27That's it.
40:28I've got it all written up right here in my pocket, all ready to go.
40:30All I want is $500.
40:32What do you need 500 bucks for?
40:33To tear down the walls of Jericho.
40:36What?
40:37Well, never mind.
40:38Listen.
40:38To start with, Ellen Andrews is going to have her marriage annulled,
40:42and then she's going to marry somebody else.
40:44You're drunk.
40:44Would a story like that be worth 500 bucks to you?
40:47If it's on the level.
40:47Well, that's the story.
40:48On the level.
40:49Who's she gonna marry?
40:51Me, Joe.
40:52Now, I know you're drunk.
40:53Get out of here.
40:55And don't annoy me anymore.
40:56Now, listen, Joe.
40:57You've got to get this money for me now.
40:58Minutes count.
40:59She's waiting for me in the auto camp outside of Philadelphia.
41:02I've got to get right back.
41:03She doesn't know I've gone.
41:04I figure it'll take about $500 to get us married and set until I can find something to do.
41:08Read a story, all right?
41:10On her way to join her husband, Ellen Andrews falls in love.
41:15Listen here, Pete.
41:17If you're kidding me.
41:23What is it?
41:24Open that door!
41:25Just a minute.
41:27What's the matter?
41:28Where has your husband gone, young woman?
41:31My husband?
41:31If he is your husband.
41:33Oh, isn't he here?
41:34You know he ain't.
41:35He left an hour ago with his suitcase.
41:37Fell off the gas station up the road, told me.
41:38Borrowed $20 from him.
41:41He'll be back.
41:42That's why he took his suitcase.
41:44I don't understand.
41:45There'll be one thing you've got to understand.
41:46You're to get out of here right away.
41:48But you can't put me out at the crack of dawn.
41:49Oh, yes, I can.
41:51You want me to call the police or will you go peaceful?
41:54Well, can I use your telephone?
41:57I've decided to make a call.
41:58I've been...
41:58You ain't going to stick me for no phone calls.
42:01You can phone from the sheriff's office.
42:02Come on, start packing, you husband.
42:04Oh, believe me, this is a terrible mistake.
42:06Don't I know it?
42:17Listen, Hank, this is Gordon Hull, the morning edition.
42:19Break down the front page.
42:20Then send me a couple of rewrite men right away.
42:22Ellen Andrews isn't going to marry King Wesley at all.
42:25Yes, I know what I'm saying.
42:27She's going to give him the air.
42:28Wait a minute, Hank.
42:28There's another phone driving me crazy.
42:30Hello, what?
42:32Ellen Andrews?
42:34You're crazy.
42:35Oh, uh-huh, uh-huh.
42:38Okay, grab a card and stay with him.
42:40Hank, Hank.
42:41Hank, forget what I just told you.
42:43I was having a nightmare, Hank.
42:45Bill Graham just called.
42:46Ellen Andrews has phoned her father from an auto camp
42:48near Philadelphia to come and get her.
42:50He's getting a police escort.
42:51Wesley's going along too.
42:53Andrews says he won't contest the marriage after all.
42:56He'll do anything to get her back.
42:58She's been traveling by bus.
42:59The minute she read her father and Wesley made up,
43:01she phoned in.
43:02And one thing more, Hank.
43:04Call up the police department.
43:06Tell them to find Peter Grant.
43:08Send out a general alarm.
43:10I want that drunken bum thrown in jail.
43:18Ellen Andrews returns home.
43:23Marriage halted by father to be resumed.
43:27Ellen Andrews and aviator to have home wedding as love triumphs.
43:32Lovers reunited as father and wife.
43:34Glad to be home, says Ellen.
43:36Ellen Andrews to be married tomorrow.
43:48Ellie.
43:49Oh.
43:50Oh, hello, Dad.
43:50Hey, I had knocked several times.
43:52I'm sorry.
43:53I must have been daydreaming.
43:55Everything's set, Ellie.
43:58You look lovely.
44:00My child, you look perfectly lovely.
44:02And be a beautiful bride tomorrow.
44:05Are you pleased with your gown?
44:08As I said, are you pleased with your gown, Ellie?
44:11Oh, the gown.
44:13Yes, it's beautiful.
44:14Isn't it?
44:15Ellie, what's the matter?
44:16What's wrong?
44:17Nothing.
44:18You've been acting so strangely since your return.
44:22I'm worried.
44:24Ellie, isn't this what you wanted?
44:27What you wanted?
44:29You haven't changed your mind about King, have you?
44:31Oh, Father, no.
44:32Because if you have, it isn't too late.
44:34You know how I feel about him.
44:35All I want is to make you happy.
44:37I know, Dad.
44:39Ellie, what is it?
44:42Aren't you happy, child?
44:44Oh, Dad.
44:46I thought so.
44:46I knew there was something on your mind.
44:48What is it, Ellie?
44:50Ellie, you haven't...
44:53You haven't fallen in love with someone else, have you?
44:56Have you?
45:00I haven't seen you cry since you were a baby.
45:03This must be serious.
45:06Where'd you meet him?
45:07On the way from Miami.
45:08Don't tell me you fell in love with the bus driver.
45:10Oh, no.
45:10Who is he?
45:12I don't know very much about him, except that I love him.
45:15Well, everything will be all right.
45:17All we've got to do because...
45:19He despises me.
45:20He despises everything I stand for.
45:22He thinks I'm spoiled and pampered and selfish.
45:24He sounds wonderful.
45:25With an insight like that, I'd think that you...
45:27He doesn't think so much of you either.
45:29No?
45:29He blames you for everything that's wrong with me.
45:32He thinks you raised me stupidly.
45:33The man's crazy.
45:34He's marvelous.
45:36I'd like to have a talk with him.
45:37No, you...
45:38I practically threw myself at him and he left me.
45:41Anyway, we can call this wedding off.
45:43Oh, no. I'm going through with it.
45:44That's silly, child.
45:45It's ridiculous.
45:46Boy, you feel what I feel.
45:46No.
45:48I've got to settle down.
45:50Really doesn't matter how or where or with whom it matters.
45:53Wouldn't do any good to walk out on King now.
45:56Wouldn't make any difference.
45:57Never see Peter again.
45:58Peter, is that his name?
45:59Peter?
46:00Yes.
46:00Peter Grant.
46:01Peter Grant!
46:02What?
46:04Do you know him?
46:04No, but I got a letter from a Peter Grant this morning.
46:08Never heard of the fellow before in my life.
46:09Here it is.
46:11Dear Mr. Andrews, I'd like to have a talk with you about a financial matter
46:15in connection with your daughter.
46:18Peter Grant.
46:18Oh.
46:20That was his interest in me.
46:22The reward.
46:23Oh, I shouldn't have read it.
46:24Oh, yes, you should.
46:25Are you going to see him?
46:27I don't think so.
46:28I don't see any reason why.
46:29Oh, please see him.
46:30Pay him off.
46:30He's entitled to his reward.
46:32He did an excellent job of keeping me thoroughly entertained.
46:35It's worth every penny he gets.
46:37Tell him I said so.
46:39May I come in?
46:40Oh, sure, King.
46:42Come in.
46:43I'll be going.
46:44I know you're not supposed to see me in my wedding dress till tomorrow,
46:47but I'm so glad to see you, King.
46:50Here's some champagne.
46:51Have a drink.
46:52Oh, thanks, Ellie.
46:54How do you feel, Ellie?
46:55You happy?
46:56Happy?
46:57Why shouldn't I be happy?
46:58I'm getting the handsomest man in captivity.
47:01That's you, King, in case you don't know.
47:03Here, King, let's have another drink.
47:05Let's drink to us.
47:06We finally made it, didn't we?
47:07We certainly did.
47:09It's up to us now.
47:10I want our life to be full of excitement.
47:12Let's never let up.
47:13Never a dull moment.
47:14Let's get on a merry-go-round and never get off.
47:16Promise you'll never let me get off.
47:18It's the only way to live.
47:20There's no time to think.
47:21Just keep going.
47:22Whatever you say, darling.
47:23Oh, I knew you'd say that, King.
47:24That's why it's going to be so wonderful being married to you.
47:26Wonderful, wonderful, wonderful.
47:30Oh, come, drink up.
47:31To you and me.
47:43Good afternoon, Mr. Andrews.
47:45Sir, you're feeling grand.
47:47Yes.
47:48And before we begin, let me get this straight.
47:51Wasn't my idea to come here just before this wedding ceremony?
47:54Not that I mind getting a load of this three-ring circus you're pulling.
47:58I've always wanted to see what love looks like, triumphant.
48:00Haven't had a good laugh in a week.
48:02But you insisted that this was the only time you could see me.
48:04I'm, uh, leaving for California, young man, right after the ceremony.
48:08And I wanted to get this financial affair of yours straightened out, whatever it is.
48:13You don't know what it is?
48:14About your daughter.
48:15I don't know what it is.
48:16My daughter told me nothing about any financial claims you have on her.
48:21That's typical of your daughter.
48:23Take those things for granted.
48:25Why does she think I lugged her all the way from Miami for the love of it?
48:28You misunderstand me.
48:30When I say she didn't tell me anything about it, I meant not until a little while ago.
48:34She told me to say she thinks you're entitled to anything you can get.
48:38Oh, she does, huh?
48:40Isn't that sweet of her?
48:41You don't, I suppose.
48:42I don't know.
48:42I have to see what you base your claim.
48:46I assume you feel justified.
48:48If I didn't, I wouldn't be here.
48:50Got it all itemized.
48:51Want me to read it to you?
48:52Go ahead.
48:53Cash outlay, $8.60.
48:55Top coat ruined by lipstick, $15.
48:58One pair of pajamas left behind at Philadelphia, kept by auto camp proprietor in lieu of rent, $6.
49:03$8 when new.
49:04Usury to redeem pledged watch, $20.
49:09Total, $49.60.
49:12Is that all you want?
49:15Forty-nine dollars and sixty cents.
49:18Now, if you're thinking of the time I wasted, forget it.
49:20I'll throw that in.
49:21Well, that's very generous of you, but I...
49:22Now, what's the matter?
49:23Isn't it cheap enough?
49:24A trip like that would cost you $1,000, many more.
49:27Let me understand you correctly.
49:31You mean you want $49.60 in addition to the $10,000?
49:35What $10,000?
49:37The reward.
49:38Who said anything about a reward?
49:41I'm afraid I'm a little confused.
49:43I...
49:44I assumed you were coming here for...
49:46All I want is $49.60.
49:50I wish you'd write me out a check and let me get out of this place.
49:52It gives me the jitters.
49:54You're a peculiar chick.
49:55We can go into that some other time.
49:58Average men go after the reward.
50:00All you seem to be...
50:00Listen.
50:01Did anybody ever make a sucker out of you?
50:03This is a matter of principle.
50:05Something you probably don't understand.
50:08When somebody takes me for a buggy ride,
50:09I don't like the idea of having to pay for the privilege.
50:13You were taken for a buggy ride?
50:15Yes.
50:16Lap road, buggy whip, all the trimming.
50:18How about the check?
50:19Do I get it?
50:20Here you are.
50:21Thanks.
50:23You mind if I ask you something frankly?
50:26Go ahead.
50:27I'm not promising to answer.
50:30Do you love my daughter?
50:32Any guy that would fall in love with your daughter
50:34should have his head examined.
50:35That's precisely my opinion, but answer my question.
50:38She just grabbed herself a perfect running mate.
50:40King Wesley.
50:41The pill of the century.
50:42What she needs is a guy that would poke her in the nose every day,
50:45if it was coming to her or not.
50:47If you had half the brains you're supposed to have,
50:49you'd have done it yourself long ago.
50:50Every word of what you say is gospel truth,
50:52but you still haven't answered my question.
50:54Normal human being couldn't live under the same roof with her
50:56without going nuts.
50:58She's my idea of nothing, less than nothing.
51:01No, I take that back.
51:02You're my idea of less than nothing.
51:04I'm still not able to quarrel with one single thing you've said,
51:07but I wish you'd answer my question.
51:08Do you love her?
51:10Yes.
51:11But don't hold that against me.
51:12I'm a little screwy myself.
51:27Oh, you're a fool to do this, Ellie.
51:30I've always been a sucker.
51:32I might as well continue.
51:33That fellow Grandison.
51:36Fine, he's okay.
51:37You're an idiot to let him get away from you, Ellie.
51:39Oh, don't talk to me about it.
51:40He never wanted the reward.
51:42He wouldn't take it, Ellie.
51:42He just asked for $49.60.
51:45What?
51:46What he spent on you.
51:47It's a matter of principle with him.
51:49You took him for a ride.
51:53You're lying.
51:53No, I'm not, Ellie.
51:54He loves you.
51:55He told me so.
51:56Told you what?
51:57Well, sing it again.
51:58He loves you.
51:59Ellie, you don't want to be married to a mug like Wesley, do you?
52:04Dad, you're the grandest dad in the world.
52:06Now, don't worry about Wesley.
52:07I can buy off Wesley with money.
52:09That's all he wants.
52:10And all I want is to meet him.
52:12Oh, dad, what'll I do?
52:13Very simple, very simple.
52:14There's a car waiting for you at the front gate.
52:16If you hurry and catch up to him.
52:18I'll do it.
52:19Goodbye, dad.
52:20Good luck, Ellie.
52:21If any of the guests get in your way, Ellie, knock them down.
52:26What is it, Mr. Andrews?
52:28Did Ellie forget something?
52:29Yes, Wesley, she forgot.
52:31She forgot she was going to marry you.
52:32She remembered just in time.
52:34But she's not going to marry you, Wesley.
52:36She's not going to marry you.
52:37And I hope you want to make something of it.
52:40Here you are, Wesley.
52:45A hundred thousand.
52:46I'm not contesting that annulment.
52:47That's satisfactory, isn't it?
52:49Oh, yes.
52:50Very satisfactory.
52:51I ought to punch you in the nose, too.
52:53But I'll forget about it.
52:54I'm so happy.
52:54Oh, goodbye, Mr. Andrews.
52:56Don't you even want to know where they work?
52:58No, sir.
52:58Then I'll tell you.
52:59I just got another wire.
53:00They're in Glen Falls, Michigan.
53:02Here's the wire.
53:03Up in the...
53:04What's holding up the annulment?
53:06Don't you realize that even the walls of Jericho can topple?
53:10They're both nuts.
53:11They certainly are.
53:12Isn't it wonderful?
53:13I wired them back perfectly legal now for them to topple.
53:17Pop.
53:17But you're nuts, too.
53:19Thanks.
53:40You see, the couple in that cabin are awful peculiar.
53:44Peculiar?
53:46Crazy as a bass singer, both of them.
53:48Don't even think they're married.
53:50Oh, they're married, all right.
53:51I've seen the license.
53:52Then you get them a rope and an extra blanket.
53:55A night like this, too.
53:56What do you imagine that's for?
53:58I don't know what anything they want is for.
54:00I just brought them a trumpet.
54:02Trumpet?
54:03Yes, one of them toy things.
54:06Sent me down to the store to get it.
54:07What do they want the trumpet for?
54:10Don't ask me.
54:11I never used a trumpet in my life.
54:13They just turned out the lights.
54:24A rope and an extra blanket and a trumpet.
54:31I can't figure it out.
54:39You have been listening to the Campbell Playhouse presentation of It Happened One Night,
54:48produced by Orson Welles and starring William Powell and Miriam Hopkins.
54:54In just a moment, Mr. Welles will be back with us,
54:56and the moment's time is all I need to remind you how perfectly Campbell's tomato soup
55:02meets the question of what soup to serve on almost any and all occasions.
55:06When you have friends in for dinner, bright plates of Campbell's tomato soup,
55:10steaming and fragrant, lend a gracious and festive air.
55:14And as cream of tomato prepared with milk instead of water,
55:17it has a richness and a smoothness that fit in delightfully with a gay party mood.
55:23And so when you're having guests and also when just your family sit down to a quiet meal together,
55:28I'm sure you'll want to remember the soup that is most people's favorite.
55:32The soup served often and enjoyed always.
55:36Campbell's tomato soup.
55:38And now here is Orson Welles.
55:40And now, ladies and gentlemen, having proved to you we think that being taken for a bus ride is not
55:45necessarily the modern equivalent of being taken for a buggy ride.
55:49As a matter of fact, what is generally called a net result of the same,
55:53it gives me great pleasure to present you our guest stars of the evening,
55:55Mr. William Powell and Miss Miriam Hopkins.
55:58Thank you, Orson Welles.
55:59Good evening, ladies and gentlemen.
56:00Thank you, Orson Welles, and good evening, ladies and gentlemen.
56:02Mr. Powell and Miss Hopkins, of course, are both old friends of the Campbell Playhouse.
56:07Mr. Powell, in fact, was once the master of ceremonies, his very microphone.
56:12And Miss Hopkins has favored us with a goodly number of impressive performances.
56:16In your behalf, ladies and gentlemen, I propose to welcome them back as actual members
56:20of the Campbell Playhouse family and to assure them...
56:22Just one moment, Orson.
56:23There's a small matter I'd like to take up with Mr. Powell first, if you don't mind.
56:26You may have noticed, my dear Mr. Peter Powell.
56:28And you may have noticed, my dear Miss Ellie Hopkins, that there was a distinct promise
56:33of a sequel in the final scene of It Happened One Night, played by your revered father and myself.
56:38References made, I may even say that a hope is held out
56:42for the fact that you were to receive a crack in the jaw daily,
56:45starting with your nuptials, for your own good and that of your neighbor's.
56:48So if you'll be good enough...
56:50Oh, that's what I wanted to talk about.
56:52Just because you happened to have a scene in which I wasn't present,
56:54you thought you could be bold and brave and not be held to account for it, didn't you?
56:58Well, let me tell you...
56:58Of what?
56:59Please, Mr. Powell, Miss Hopkins.
57:01Well, he started it.
57:02And I propose to finish it, too.
57:03There must be something I can do, then.
57:05Ah, I have it.
57:06What have you?
57:07Well, nobody's going to talk about what he's going to do to me and think he can get away with it.
57:11Well, just because I'm not around when he says...
57:12Please, Miss Hopkins.
57:14Oh, listen, just for one moment.
57:17Peter, darling.
57:18Ellie, my love.
57:20Bill.
57:21Miriam.
57:22I'm just a court of domestic relations in swing.
57:25Mr. Powell and Miss Hopkins, I want to tell you on behalf of the Campbell Playhouse
57:28how delighted we are to have you back with us.
57:30I can't imagine a more delightful reunion.
57:32Mr. Grant.
57:33And you will be back with us again as soon as you can.
57:35Of course.
57:36Of course.
57:36Thank you very much, William Powell and Miriam Hopkins.
57:40Good night.
57:41Good night, all of you.
57:42Good night.
57:42Ladies and gentlemen, in tonight's Campbell Playhouse production,
57:47also present in the company were Mr. Everett Sloan, Mr. Ray Collins, Mr. John Hausman,
57:54your obedient servant, Miss Virginia Gordon, Mr. Richard Wilson, and Mr. Benny Rubin.
58:00Music, as always, was the responsibility of the good Dr. Bernard Herman and his wildcats.
58:05And now, as to next week, as to next Sunday night, ladies and gentlemen,
58:09we offer you our version of one of the most fascinating chronicles,
58:13I think, of an English theatrical family.
58:16The celebrated Broom Stages by Miss Clemence Dane.
58:21By Miss Clemence Dane.
58:24As our guest star, we are especially happy to welcome back to the Campbell Playhouse
58:27for next week's performance, Miss Helen Hayes,
58:30who, as you know, is appearing on the air exclusively with us this season.
58:35So until then, until next Sunday night, and Broom Stages, my sponsors, the makers of Campbell Soup,
58:40and all of us here in the Campbell Playhouse remain, as always, obediently yours.
58:50Music
59:07The makers of Campbell Soup join Orson Welles in inviting you to be with us in the Campbell
59:11Playhouse again next Sunday evening when we present Clemence Dane's Broom Stages
59:16with our exclusive Campbell Playhouse star, Miss Helen Hayes, as our guest.
59:22In the meantime, if you've enjoyed tonight's Playhouse presentation,
59:27won't you tell your grocer so tomorrow when you order Campbell's Tomato Soup?
59:33This is Ernest Chappell saying thank you and good night.
59:37Music
59:39This is the Columbia Broadcasting System.