The Campbell Playhouse: I Lost My Girlish Laughter

The makers of Campbell's Sups present the Campbell Playhouse, Boston Wells, producer. This is Orson Wells. Hollywood is where the movies come from, and relevant to tonight's broadcast, nobody's had more fun poking fun at Hollywood than George Kaufman.

I have referenced not only to Merton of the movies and once in a lifetime, but also to the whole legend of things George Kaufman has said about the movies. I lost my girlish laughter as the name of tonight's broadcast, and it's the best seller which it deserves to be. And tonight, besides Mr. Kaufman, other guests on the Campbell

Playhouse, Ilka Chase, who's been very important in the animal kingdom, the women, and a dozen other Broadway hits. And tomorrow, Javer, who is a graduate of Zig Field Swoopy, Gordon's Three's a Crowd, Wyman's on your toes, and just last season, the extremely successful London production of Idiot's Delight. There's also Frank redick, Agnes Morehead, Myron McCormick, Ray Collins, and finally our author herself.

But just now I'd like you to hear a word from Ernest Chappell. Each far evening since the new Campbell Playhouse broadcast began, I've been talking to you about Campbell's chicken soup. Tonight I want to tell you some things about the most popular soup in all the world, Campbell's tomato soup.

Year by year, day in and day out, this one soup is served more often than any other. You and I could sweep across the country looking in at dining-room windows any noon or any night.

We'd see again and again people drawing up their chairs to bright steaming plates of Campbell's tomato soup. These are facts. You can check them with your own grocer and among your friends. Why is this one soup so often eaten by so many people?

One reason is that mothers like to serve it to their families, particularly their children, because it provides the nourishment of fresh, sun-ripe and the tomatoes. Then people are captivated by its inviting color and its delightful smoothness.

But the reason most folks like to have it is its flavor. It's a magic flavor created by an exclusive recipe of superb, luscious tomatoes, fine table butter and delicate seasoning. People say the flavor of Campbell's tomato soup cannot be matched and indeed it has something about it that folks never tire of, that young and old enjoy

again and again each time it's served, each spoonful they sit. Are you at your house enjoying Campbell's tomato soup often these days? And now for tonight's story. Orson Wells in his own radio arrangement of the best teller I lost my girlish laughter with Ilka Chase, Kamara Jiva, and the distinguished American playwright George Kaufman

making his debut on the air tonight as an actor. Good evening, Mr. Tuffler. Thank you, sir. Tell him the name of the Tuffler. Oh, fine, thanks. Fine, sir. Mr. Anders, come in yet. Didn't see him at the Tuffler.

Do you see him at the end of the night? No, I haven't seen him yet, Mr. Tuffler. Oh, say what kind of the Jimin? It's funny to 12, Mr. Tusser. Oh, you mind if I turn on your radio, Jimin?

It's something I want to catch. It's your canvas. In order for the most spectacular opening for the season. And so is another Smite yet, Fox and the Brando someone else. As part of the beach, still the steering in the aisle for the college and the Hollywood tonight.

Oh, that's something about moving. And right here, I'll be protecting me. Three of the season. That's better. The first running kid of the season, over tonight, that's okay, I'm gonna do it. Now, that's your play, Mr. Tusser.

Oh, hey, boy, what over there? And room, there's a seating man on the player. I think they liked it all. Congratulations, Mr. Hudson. Thank you, Agnes. Thank you, Agnes. Thank you, Agnes. That's right. You're hamburger 21.

Oh, hey, Tazler. Leland, I thought you were in Hollywood. You did it again, John. I'm glad you liked it, Leland. John, I want you to meet Sawyer Tarn. This is John Tussler. How do you do, Miss Tarn?

I just signed in with Sidney Brant. in pictures before Miss France? Oh yes, I have worked with the final directors for Pauci, Snard, Marnie, Plum, and as well. What's your joiners? Hey, anders, I want you to make Miss Tanya time. How did you? And, uh, Leland, hey, where'd you know Leland? All right,

so I'm gonna play tonight, Anders, find the phone. Let her hold on to him, John. How do you, what's crazy with her? Leading man, how about lunch sometime? Well, be delighted to say. How about you, John? Why are you gonna give up? You mean go to Hollywood? No.

Oh no. I'd rather stay here and work on my own stuff. Now they might buy Santa's nocile and you can't tell and you can work on your own stuff out there. No, it's not that kind of a play, Leeland. No plot for the picture.

What do you know about all of your story in the summer? I'll tell you what it'll do. I'm calling Sidney Brand in the morning. I'll tell him all about it. Oh, hold on. I'll tell you what better be going. We've got to get up early and catch that plane.

Goodbye, Mr. Anders. See you soon. Bye. Goodbye, Mr. Anders. Good luck. Thank you. Goodbye, Leeland. Get in here when you get my car. Yes, Mr. Hayward. Run away, Mr. Hayward. Well, there they go. Up to the west.

for the west your next and there's me yeah there's nobody left in new york now or they're torn down the thick family will a subway is going next week why look at this place they said research department let me go down on the plane right there's an 11 o'clock research department uh... this brand thing he left his heels on the table to small

he sent him up to the office immediately resented apart mister brand will look at the present for front page theater 1125. Great. Search the part. The department please. Hello. This is Mr. Brand, Secretary speaking.

Would you send samples of that finesse, a nursery wallpaper, out to Mr. Brand's residence please? What's that? Yes. Yes. No, any day now. Great search department calling for Mr. Brand. Check on jokes to be used in Russian barbershop before the revolution.

Mr. Brand, can you serve in the conference? Now then, boys, everybody here? Howdy here, Mr. Brand. Thanks, Roy. Boy, Super Films is about to embark on the most important picture in this history. You're just a man to do it, Mr. Brand.

Thanks, Roy. And it's my single privilege to announce to you that Super Films is just signed a five-year contract with Europe's most glamorous actress, Saya Tan. Boy, that's terrific. Thanks, Roy. Palmer, Miss Tan's American debut must be the most significant event in the history of motion pictures.

It must be the most exciting event in the history of motion pictures. It's also profitable. Palmer, I sent you a message to find writers of Miss Tan. Where are they? I don't see them. But, Mr. Brand.

What about stories? Great idea, boy. Hey, Troy, and what about the new theatre guild play, Palmer? I hear Metro and Warner's abidding him before it. I haven't heard there was a theatre guild play, but I've got a scenario department.

What's that for? Well, Mr. Brand, I sent you a copy of that play six weeks ago. Sinners in Asylum. Oh, yeah, remember. Get me a copy of that play. What's near that... It's called Sinners in Asylum, Mr. Brand.

What's that red-bound script on your telephone there? Oh, this? Sinners in Asylum. Oh, it's quite a play. Quite a play, Troy. Yes, boy. Call up on New York office and authorize them to office theatre guild.

A hundred thousand dollars of Sinners in Asylum can get it to one. Right, for that. That's out the week for the author. That's plenty. It sure is, for that. Thanks, Roy. All right, boys. That's all for this morning.

We're picking again after lunch. Right after lunch, for that. Thanks, Roy. Make that call right away. Sure, thank you, boy. Hello, Mr. Brand's office. Ms. Lawrence speaking. One moment, please. It's New York office calling, Mr. Brand.

Hello, Francis. Why'd you get that plate for me, boy? What's that? They turned it down, they're boy. The robbers. Who's the agent? Leela and Heywooder. I might have known it. Well, how much do you want?

Two hundred thousand? Two thousand a week. The authors are Robin. Close the deal. Two hundred thousand, two hundred a week for the author. I mean two thousand, two hundred thousand dollars for stage play in two thousand.

Can you imagine that? Well, let's get back to work. Check with the costumes department. The costumes are in love as all. Yes, Mr. Brand. Oh, Mr. Brand. What is it, Madge? Shall I notify Palmer about sinners in asylum?

What sinners in asylum? Well, that's the picture you're producing, Mr. Brand. You just bought it for two hundred thousand dollars. Oh, yes. Right, all right, check with Palmer on a banner line. The transcript, say your times, American debut in their season's greatest play sentence of the silent, by Americans outstanding playwright.

Americans outstanding playwright. That's Mr. Brown. John Cutler. Cutler. If West comes to me, Peggy, is having trouble at play, he's with a hate office because of my potential, they demand, and the play that's caught in his 200 miles-dollars.

The rumor is that he's doing a burn because he didn't take time out, so he did burn. The hays of his and Sidney Brann of Superfield, at his and made up. The heroine of Senator Michael is being paid to money.

Sidney Brann, Sidney Brann, Superfield, Hollywood, California. Sidney Brann, Superfield and Hollywood, California, what do you mean you're making your standing? Stop. A whole point of the play will be locked. Stop. Will not be party to any such low commercialism.

Stop. My play goes on as is or else. Time's gone, butler. My goodness. John Foster, theater, Gil, New York City. A two thousand week leave you be willing, sir, Paul Barrett, your own funeral stop.

Back you soon, stop. Is it my fault if May's office won't let me be artistic stops? Best wishes, fine, Sydney Brown. Yes. Is, uh, is this Mr. Brown's office? Yes. I, uh, I wonder if I could see Mr. Brown.

Well, I'm sorry. Mr. Brown is in constant. Oh, well, should I waste the event? Well, I wouldn't if I were you. Thank you. Would you mind very much telling me your name? No, I wouldn't mind. My name is Cusler, John Cusler.

Oh, so sorry. I'll tell Mr. Brand you're here. You think he'll be glad? Yes, what is it? Mr. Cusler's here, Mr. Brand. Cusler, Cusler, Cusler. Yes, Mr. Brand. See you, my name's Cusler. Mr. Brand.

Yes, what is it? Mr. Cusler is the author of Sinners in Asylum. Why why did you say so? Turn him in, sir. You can go right in, Mr. Cusler. Thank you. Good luck. You think I'll need it?

Mr. Cusler? Yes, Mr. Cusler. Thank you, Cusler. Yes, I am. Mr. Suffler, I'm looking for you. Mr. Suffler, I had no money. I beg your pardon. I'm looking. Oh, Tuffler. That heavy with a Tuffler.

Can I trip out? Yes, Mr. Very nice with the very nice people. No, I'm speaking to Roy. I beg your pardon. Yeah, Chief. Tuffler, yeah. We're going to do things this way, if you're Tuffler.

It'll cost a million dollars before you can get on the set. And what a cast I'm giving you. Sire time. Europe's most glamorous Tuffler. And I'm working on a deal for Tyrone Power. My own power.

Gee, Chief, he'll be perfect. Thanks, Roy. Hey boys, this is Tutsler. Tutsler, Mr. Fade. Go and direct your picture. He is picture? Well, he wrote to play, you know. Oh, he wrote to play. Tutsler, he's doing the adaptation of your play, Skinner.

How are you? I'm pretty well- thanked. You're a tough-to-play person. And this is Roy, my brother-in-law. He's my assistant. I'm very happy to meet you, Mr. Tutsler. All right, now let's get down to business.

Now, boys, the important thing is to stick as close as possible to the original play. After all, there are a lot of people in New York who have paid good money to see this play, so it must have something.

But of course, we have to remember the Hayes office. now i get my song about about it but when they saw my script it'd be in my usual good taste in their sand delicacy they said to me okay brand we trust you to do the right thing now boy i can't let them know

yeah you know what to do we never let you down here and roe i'd be sure to get down it will be very important yeah okay but of course we're changing the theme of the play uh... you understand that don't you talk about well uh... mister brand yes tusla hi well let us go it's not the

don't be back full tusla we're all a big family here and i'll get a yes for Now we're paying Tesla a fortune to write this annotation. All right, so he's one of the three greatest American playwrights, but has he ever written for the screen? No.

What are his screen credits? None, but you, Skinner, you know what it's all about, depending on you for the finest screenplay of the year. You never know who we might even win the Academy Award.

You're a thankful one, Cheats. That was a rotten deal you got last year. You're right. Thank you, Roy. Roy, you're sure you're getting everything down? Oh, yes, Cheats. I'll be one. Good. Now, Skinner, this is a suggestion, but bear in mind while you're writing.

This is the first time Sawyer-Tarnasen presented the American public. She's got to be a sympathetic character. Now the name of your play Mr. Tussler is not a sympathetic character, so we've got to make time more sympathetic.

Mr. Brant, may I point out that the girl is not supposed to be particularly sympathetic? The whole play happens to be based on the premise that it takes too long to do. I just leave everything to me, Tussler, and I hear this girl of yours.

Yes, she is. Did all her life on an island off the African coast? Africa? Hey, Chief. Africa, are you by any chance referring to my play so there's no silence to Brant? Certainly, Tussler. Your play.

Now this here girl has never known a mother's love and her old man was killed with her mother when she was a baby. The only love she's known is from animals and the kindly natives of the village.

So she is naive. But on the inside there is a roaring volcano. Her mother's Spanish blood. I get what you mean, Steve, I get it. Now go ahead, Skinner. Now here in this primitive background, uh, say, Alex has some camera angles, but no 57 takes.

I don't need a 57 takes. No, it's good. I've got anything to do with this kind of thing. You better say. That's right. I'd say, kid, maybe we could trade some dough by picking up some stock shots from bringing back a lot.

back alive thanks Roy hey what do you mean stock shots this is a major super film but on the other hand that might not be a better day of shooting pick up what this brand i'm worried i don't see where saw your turn has a fire for this role hey i'll see to it that she gives you plenty of fire boy i can just see

you in all the Spanish in a brake loose like an animal she scratches back when she comes face to face with an artificial civilization she's got to be changed she's a wild thing with a with bars around her she's caged Okay, wait a minute.

What a title. Lady in a cage. Scratch, what a title. Thanks Roy. Lady in a cage. Yeah, great, ain't it? Great, ain't it? That's well. That's well. What's the matter, Tuffler? Oh, nothing. All right ahead.

Tuffler, I'm beginning to wonder. Oh, you really have to. I just sort of an angle on the love interest. Yeah, terrific. Yeah, listen. You have a game living on the outpost of civilizations. Yeah, beautiful.

Luscious. He's primeval. Yeah. He's everything to drive a man crazy. Now this is my idea. This is Shipwreck and her own powers have washed up on the shore. He got this down. He wakes up to find this gorgeous creature looking down at him.

There's a passion flower in her hair. That's symbolic. He stares at her. He runs away frightened. He follows. The gentleman may I point out for the last time that that was not my idea when I wrote to him.

I just read a letter to Tesla and you too, Faye. This girl wouldn't run away. She wouldn't be afraid. Now remember, she may be naive, but insider is this flame. The Spanish blood. No, I still think she's run away.

Hey, hey, why should we argue about female psychology when the man who wrote the play is right here in this room. Let that tuckler what you would do, not tuckler. Listen to me, stay carefully.

Yes, sir. It's, uh, it's moonlight tuckler. Got that? We have a long shot of the jungle, and the jungle moon hanging low. Into the camera comes soya tung. Chanting a naked blood saw. Camera follows her as he dances into the waves.

Certainly she sees something. Stop! looking down at Tyrone Power's face. He opens his eyes, blindly he raises up his hand and cuts it. Got that toddler? I've got it. She's warm, alive. He leaps to his feet, cuts.

Mind you, Tyrone Power is the first white man Tarn has ever seen. All the dormant woman in her comes to life. He makes her grab for her. Now, touch her. If you were that girl, if you were there on that tropical beach with Tyrone Power, What would you do?

Well, I'll tell you. Now remember, he's Spanish. Yes, I remember him. He's a great man. I owe power. Yes, I'll tell you. Go on. Go on. I'll feel this way. In a situation of that kind, I'm not sure the public has been quenched.

You see, why don't I tell you that proves my point? Well, boy, that's enough of today. We've gone a long way on tussets. It's been great having you here. You were invaluable. And now I've got to get home.

My wife's going to have a baby. Uh, no, there's Mr. Brown. I'm Ms. Lawler. Where's Ms. Lawant? We didn't expect new economy-friendly. Oh, Mr. Brand, what are you doing in the hospital? What's happened? Come in, man.

What's happened? Baby's doing him in a minute now. That's what's happened. I didn't somebody tell me having a baby would like this. Sit down, sit down, man. My hand's over. Oh, no. It's getting me another set of things.

I'm getting a piece of staff and getting a week. Man, what are you doing here? You sent for me, Mr. Brand. Oh, yes. You've got to get to work. Get me to wardrobe department. Call off my lunch in the corner.

Say your time. Get me co-and long distance. work find a room where you work at a room where I can work I want to get the autopharm and get the appointment. The phone is back in the lonely and who's that?

Hey doctor the floor is out there in the hall or to slippery. Why don't you have carpets? What if a nurse fell out there? Well carrying an infant. Officer was must be under septic. Doctor I think you ought to.

Now you feel like this. I can't eat that stuff. Take it away. Call the brown dov and have him send up a mushroom omelet. Remember to tell us for Brian. Yes. Who's that? Come in.

Yes. What is it? Brian. Show him in. I'm going in. You can go in. Come in, boys. Come on in. Come on. Oh, boy. What happened? Anything? I'm not a thing, Roy. Not a thing.

You see what the costume's about. From the property department's brought over a few items to be approved for the movie. And a man sent them all in. OK, boys. Sit down, boys. Make so far.

Thanks, boys. You sure look comfortable there, boys? Yes. Do you think you're fool-proof, Mr. Brown? What's the matter with you, fellows? Can't a guy go to the hospital for a day without a lot of cheap boys' cracks?

If I drop dead when I get these everything, no, all you'd say it's poor for Anne. It's too bad it works so hard. gee boy studio with good pieces without you thanks royra all right rolly let's you don't get a lot i don't like him to move over bad telephone the pit for a little bit of a business of justice and i don't like to do it over

that is what i thought that i was a lot of how long you think you'll be tied up in the hospital bought a tell you roy you can't tell about the things royia ought to stay around for mrs bran say it's such a time aside that's nice and quiet here may we get the script written hey roy get the name of

that nerd to just that but i can't take any type of pictures now that boys out the script coming well we're all set to go into dialogue we've broken down the storyline they've broken down the story line excuse me tuck the pama have you written the announcement for the baby yet how about this boss

a blank was born this morning to miss a cell my brand wife of the eminent producer Sydney brand of Superfilm that's good mother and child are a part of resting nicely at the Vista Memorial Hospital in Hollywood now in the midst of an important production lady in a cage which will launch sorry at on the new foreign import mister brand is taking a sweet at the

hospital family couldn't we get a little more human interest in their maybe about the weight of the baby things like that you know people like to read human items about famous people and get out of the good name of the book like camera i think we're going to wait until we know exactly what happens it might be

twins taking the human interest you get out of twins i think i was going to get a black was born this morning to mr. Selma brand wife of the eminent producer city brand that's a good man mother and child reported with the You can take me to the hospital.

Yes, one minute. No, this is the one that's in your apartment. I beg your pardon. Just a moment. Oh, Mr. Bran, it's the studio. There's a wire from New York from Le including Haywood. What does he want?

He says he understands it's a boy. Check that report. Go on, Parma. A place was born this morning. Oh, Mr. Bran. So, Mrs. Llamour, Bran, is over. Oh, this is Taya's time. A grand story.

Taya's time. Yes, she wants to see you. Taya's time. She says that she doesn't see you, she'll scream the place down. All right, gosh. Can a man have a baby in peace. What my tellers.

Send her up, send her up. Boy, that'll be all for today. But, Pama, you better stay here and work on that announcement. Okay, boy. And goodbye, fellas. Tuts her. You, Tuts her. Yes, Mr. Brown.

I've got an idea for you for a play. Remind me to tell you about it sometime. Terrific. I can hardly wait. Thank you. A match. Yes, Mr. Brown. I don't want to be disturbed by understanding.

Yes, Mr. Brown. Come in to town, Mr. Brown's expecting you. Say, Daphne. Hello, say, yes? Dear, say, Daphne. Oh dear, sorry. Oh yeah. I'm not well-dared, Sidney. Not well at all. I'm intrigued. So intrigued.

Oh, sorry, that's too bad, I'm sorry. I'm worried, Sidney, about this picture I'm making for you. Well, weren't sorry, I? No, for him to say, what's the matter? I'm so worried, Sidney. Dear, I cannot sleep anymore because of this worry.

Sidney, dear. What is my leading man? Oh, now then, sorry. How many times have I told you? I'm getting Tyrone Power for you. Tyrone Power, what more do you want? But Sidney, I voted to pay for this, but you can't get Sidney.

I give you the leave what you read in the paper, so I have the thing to worry about. I've got Ty won't probably eating out of the palm of my hand. I assure you, Saya, that everything will be all right.

But I assure you, need your Sidney. All right. I will reassure you, Saya. Then I shall bloody you. Oh, dear Sidney. No, dear, Saya. You mustn't worry anymore. Good God, dear Sidney. Good God, yes, Saya.

Oh, Mr. Brad. Madam, Chef, you got your book. Mr. Brown take a letter Mr. George Ogle the loss Zeus Modern Studios Hollywood dear George regarding Tyrone power I'm not only disappointed I am hurt I can't believe that you would let me down the way you have I don't like the idea playing on our friendship

But you know that if you were in a spot and asked me to help you out I'd do it you know I would last night I was talking over my problem with my wife and it is her distinct recollection that you committed Tyrone power to me So I have a witness let me hear from you can clearly regard Sidney Brandt that mr. Brown take a while in the York office

Yes, Mr. Brand. Don't prevent the York City prospects of Tyrone Park still alive, how but don't trust those rats that do. It's more darned to do the right thing. Stop. Want you to line up possible substitutes and get your make screen tests of all available young, eating men in New York seen play prep, we love seen, we all have to meet even

possibly become a very exciting, God's brand. Get it? Palmer, let's get that announcement. A blank was born this morning to Mr. and Mr. Brand. Yes, yes, yes, yes, yes, yes. What is it? Leland Heywood was right, Mr. Brand.

It is a boy. A blank was born... A God, Palmer, it's a boy. A boy was born this morning to Mr. Palmer Brand. Like the M. and the Looper. Get him quiet. Here we go. Ready to shoot.

Boys, this occasion is a great occasion. Right, Tesla? Quite an occasion. All right, let's make it. Where are you going, Spain? Anyway... Okay. Good night. That's it, Harry. Lady in a cage, scene one. Drag the flag, camera mount, take one.

Where's Tom? Where's Tom? Wait, doesn't Tom come through that door? Where the blazers is Tom? All right, cut! Tell us! Mrs. Tom! Maybe she's tired. I'll wait a minute to pay.

Please let's sleep on her own time. The money I pay, I wake her up. I'll wake up! Mrs. Tom! Yes, Mrs. Vane? Mrs. Tom, will you please cooperate? Cooper Vane? Now, Mrs. Tom, we will take the seat again.

We will take the scene again. What scene, Mr. Fae? The storm scene, Mr. Tarn. Your great scene. Now listen, Mr. Tarn. In the scene, you are standing at the window. You understand? Casing out over the ocean.

You are waiting for your dream lover. You are longing for him. And who is going to play my dream lover? We'll be doing our best to get to her own power, Mr. Ah, but you're not sure.

When if we don't get him, Mr. Tarn, we'll get somebody else. What happened I long for a man when I don't know where he is? If I knew who he was, I'm sure I could learn much better.

Mr. Sarn, what difference does it make? Who the man does not appear in the scene? You understand he does not appear. Nobody appears in the scene except you, Mr. Sarn. Oh, here's Mr. Say our words in Europe with the greatest direction.

Trip hop, minus, clumps. Yes, I believe you. I believe you, Mr. Sarn. Talk him over here and we'll take it again. You come into the door, you go to the window, you gaze out over the ocean.

There is yearning in your eyes. You're waiting for your dream lover. You long for him. You want to loan in your hut. Suddenly you hear the door open behind you. You turn and you see an arm coming to the crack of the door.

A hairy arm. You scream. And then... Never mind, Miss Tom. We'll explain that in the next scene. Now then, are you ready? I'd throw it to her. Oh, I get him quiet. Quiet, quiet, quiet.

Hey! I'll throw that very tax away. Oh, that's... Oh, yes, yes. Very tax away. Very high. As a matter of fact, I was a straight for... All right, quiet, please. This is fake. Hey! Anyway, tell them of them.

Rolling. It's up to Steve. Lady and a cad, same one. Crack the bag, Kamal, Marit, take him. Later, all right this time, isn't she? Yeah. If she comes down, good. If she gets to the window, give the signal for the door to open.

Now the arm. Good. Now, I'm sorry. All right, started over quick. You want a cat? No, keep it rolling. All came in time. Okay. Okay, Miss Tom, you can rest now.

Okay, Mr. Van, how did you like it? Hey, it was magnific. That's all I can say, say. You know, Dave, Mr. Cutler, on the stage, you could possibly do a scene like this. Not possibly, Mr. Brown.

You are listening to the Campbell Playhouse presentation of I Lost My Gourlish Laster. This is the Columbia Broadcasting System. This is Ernest Chapel welcoming you back to the Campbell Playhouse. In just a moment we'll return you to Orton Wells, Georgia, Kaufman,

Ilka Chase and Tamara Jiva in I Lost My GIRL-Y SLAFTER. But first, a question. What do you get hungry for when the January weather turns cold and you come home shivering all through? I call it soup weather.

It's time for warming, comforting platefuls of the best-like soup of all, Campbell's tomato soup. If ever it's bright color and its savory steam we're inviting, it's on days like these. The rich, racy taste of your first spoonful seems to hit the spot, and by the time your plate is empty, Campbell's tomato soup has revived you and fortified you.

No other soup in all the world has quite the keen, lively flavor that this one has. No other soup is such a worldwide favorite. Especially right now, Campbell's tomato soup is a wholesome, sustaining dish to have often.

Enjoy it for lunch or supper, or as a first course for family dinner, and serve it sometimes as cream of tomato, adding milk instead of water. water cold days are soup days time for Campbell's tomato soup and now back to the Campbell playhouse hello mr. Brand's office one moment please mr. Brand yeah leave them hey we're

calling you all right I think hello Leland how are you here it feels great What's on your mind, Leon? Oh, what's that? Oh, Bruce Anderson. Who's he? Now listen, hey, when I'm up to your tricks, Anderson hasn't gotten agents.

This is just one time you won't be able to horn in on a good thing. I don't know. The New York office may evolve it in 300. What sure I read the paper. 1,500. 15 don't make me laugh.

Who told you I needed him, Ben? I could get Anderson's dealing direct with our New York office. He's going to sign with us. Hello! Hello, Leela! So now he has to hang up on me.

Match. Yes, Mr. Brown. Take a while, too, film New York. Leela and Haywood, advises the agent for Anders. Is this true stop? He refuses terms off it, and I don't dare repeat the price he wants it and make you sick stop.

Don't let Haywood talk you and anything stop. Why did it have to be Haywood aren't there any other agents of the business stop, regardless, Sydney? Yes, Mr. Brown? Match.

Farmer up there, and Skinner. Yes, sir. And Cottler. Yes, Mr. Brown. Send him in. You come in, too. Yes, Mr. Brown. Gentlemen, the master will conserve with you. It goes without saying it's important. He wants me to.

He always does. After you, gentlemen. Now, boys, I want you all to hear this. Hey, see, Matt, take it down. Gentlemen, we've just signed Bruce Andrews. Now, we've got to have a new angle on his Bruce Andrews.

Bruce Andrews, what did he get here? I'm a new plane. Roy's meeting him. Roy, you're welcome. Photography's the Porto's. All right. Good. Now then, why shouldn't we build up a new type leading man? For 1,500 a week, we should do something with him.

Leland Haywood, that were off. Well, I was talking to my wife, De De De La Lassain, about the cycle of the movie heroes. uh... film is very intelligent about such a story from that issue the fine memory to one she sees a patient of the field of interest i can't even remember names like

what are we talking about it like all of the best of that cycles of the people are over the last eight months and then the fresh guys left the girl down in the window is the screwball boy that's a good for your very word and uh... now we've reached the tail end of the cycle course you say things do

it start all over again to begin but that's obvious no a new ball of reading I see Mr. Brand. I see Mr. Brand. Any particular type in mind? There's something in what you say, Tuffin.

I guess it must be a particular type. What women want today is the romantic gallant, gentle, passionate. But manly, manly, what women want today is Brum Sanders. Hello, Mr. Brand Secretary. My moment, please. Mr. Ogleb, thanks for my damn calling, Mr. Brand.

I'll take a gap. What is it now? Look here, Ogle. I've had just about enough double crossing out of here. What? Yeah? Oh. Oh, here we go. You really mean? Georgie, aww, Georgie. I knew I could count on you.

What a friend, Georgie. What a friend. What is it for us? What's happened? Boys, we've got Tyrone Poe. Tyrone Poe. Match, get back in legal department to draw up contracts immediately before they change their minds.

Jim, give me the clues in the transcript, but hold him off for you days. Match, telephone, sorry, yes, you'll be busy with joy. Now we're going to have a picture. But what about Bruce Andrews, Mr. Brandt?

Yeah, what about the romantic cycle? Oh, uh, let's go on and end this. How about Andes, what do we do? I need rid of him. If you'll be here any minute now. Now, I'll do something.

Stop him, Parma. You've got to keep Andes picture out of the papers. I don't want to worry about him, printed. I want to see him and I don't hear from him. We've got to get rid of him.

Come on. Oh, hey, Mr. Brown, isn't that kind of power? I know we give him a dark house. We'll make it to him, pleasant for him. He'll break his own congress. We'll make a test of him that'll frighten his own mother.

He may be a romantic galant, but it's strictly a law appeal. All right, Tesla. All right. Can I help but this business is full of heartaches. and I've got show profits. Now get busy everybody.

Get busy. And match. Back to bed my wife on the phone. I've got to tell her the good news. That's what makes the day for Selma. Yes Mr. Brad. Can you imagine that? We got my power.

Come on, Selma. Whew. Well, can they make the day for Selma? But what about Bruce Sanders? He's a friend of yours, isn't he? Yeah. You know, sometimes I wonder how me and like brains can sleep at night.

Why, he sure got that stuff. What, I knock him through a loaf. Whew, who are you talking about Roy? That lady man, the boss hired from New York. He's the nuts. Who's the nuts? Prochandish, he arrived.

He's right outside. Boy, can a boss pick him. It will calm down, Roy. And there's going to meet that build up now. Oh, what do you mean? There's been a slight change of plan, Roy.

Yeah? Yeah. We've got Tyrone Power. Try your own power. Oh, boy, can a boss pick him. Hey, magic. What are we going to throw at him, this? What would you do with him, Roy? Well, Jay, I don't know.

Not that we've got trial power. Send Mr. Anders in, Roy. Short thing, Meg. How much do Anders? We have something here, please. Thank you. Sorry, Meg. Hello, Anders. How are you? Hi, Mr. Tussler. Hello.

Nice to see you. How's your picture coming along? Surprisingly. Oh, this Mr. Lawrence, Mr. Anders. She's almost human. Sure she is. How do you do, Mr. Anders? I suppose I ought to say hello to Mr. Brand.

Oh, Mr. Anders, I am afraid I'm Mr. Apologize, Mr. Brand. He's out of town today. but he has read for us to do anything we could for you to work and help you get settled and well we get well the car here to take you to a hotel well how nice everybody is I'm saying mr. Tusser yes everybody is just wonderful

and there's and I've never been out here before mr. Andrews I haven't you know I've always been kind of scared and suspicious about Hollywood but you know back in New York we think mr. Brand's the only man out here with vision and integrity don't we mr. Tusser you took the words right out of my mouth

You'll let me know what happens to me next, won't you Miss Lawrence? Oh, Mr. Brand will tell you very soon, I'm sure, Mr. Andres. Yeah, something tells me I'm about to beat Mr. Brand to it, Miss Lawrence.

Uh, what would you say to a little lunch, Anders? I'd say, well... Oh, Mr. Tuffler, I, uh, I don't think I would if I were you. Don't give it another touch, Miss Lawrence. Uh, by the way, uh, you don't know anything about this lunch.

Don't forget. Me? I haven't heard a word, Mr. Tuffler. Ah, I knew you were that kind, the girl. Come along, Andrew. Don't you like this, my dear? An amateur aviator. Don't bother, Rosebud, be in his old plane.

And Mr. Bland, that door does not to be disturbed. Oh, sweet. Mr. Bland's been in his office all morning, following Lee Lynn Haywood's flight on the radio. He's been everybody around here that he breaks the record.

Oh, he won, I did. How good heavens are you, Miss Haywood? I am. Oh, well, just a minute, Mr. Haywood. Oh, don't bother to announce me. I want to surprise old Sydney. He'll be surprised, all right.

Oh, Sydney, how are you? How's the baby? I broke the record. I want to drink. Well, say, by the way, what to do? You think you're trying to pull off with Andy? Oh, uh, uh, uh, that was a great flight, Leeland.

A great flight, I was betting on you all the way, Leeland. I say that. I haven't much time, Sidney. Yeah, what's wrong, Leeland? Oh, it's mere trifle, Sidney. Just a misunderstanding, I'm sure. I hear you're planning to put power in Andy's part, after all.

Now, look here, Leeland. I'm not quarreling about power, but why do you have to put Andy's on the spot? I get up a Broadway successor come out here and you're trying to get in to break his contract.

Oh, what? The picture business will think he flopped and I can't sell him. Now, Sidney, is that kind? I'm a business man, Leelonotic, you'll mandatory. In this case, Sidney, you're going to be a humanitarian and like it.

I don't know how carefully you read and his contract, Sidney. In case your mind isn't fresh on the thing, let me recall to you, Clause C, Section B. And Bruce Anderson's full recompense shall be the salary specified and the prestige of playing the leading role in said Sidney brand production.

You get it, Sidney? The salary and the privilege of playing the leading role. Get it? What have I got a legal department for? To improve your golf game, no doubt. It's been pleasant seeing you, Sydney.

Give my regards to someone, the baby. I got an opening in New York tonight. Goodbye, Sydney. Mitch, Mitch! Get over to it, Mr. Brown. Am I warden of one? OK, Mr. Brown. All right, baby.

It's time. You called, Mr. Payne? Yeah. We're ready to take the beach scene now. You got it all straight? I think, Mr. Payne. I come up the beach. No, you come. Come down from this jungle over there.

The drums are beating, throbbing in your blood. You're quiet! You're happy as the day is long. You tried not to stumble over the mangrove roots. Quiet! On the beach you see this man. That's Mr. Anders.

Mr. Anders was found. We've met before. How did he? He's the first white man you ever seen in your life. He's lying there. You see him. You stop. You take a step towards him. He moves.

He reaches up. You scream. He opens his eyes. He says, Where am I? You say, Who are you? He says, I believe, Pucheson, of Virginia, then you say, my name, Tahini. He says, Tahini, you are beautiful.

You say, white man, then no. White man, I like you. You say, many moon with Tahini? No. You get it? Yeah. Now let me do the rest and close up. All right, let's make it.

Miss Tard on the set, please. Miss Randers, will you get down there on the beach? Yes, Mr. Tahini. Hi, Mr. Fane. All right, how about you, Tard, FX? Weaves, all that stuff. You ready with that?

Yes. You fellas back, get in the jungle. Give me something. Give me all you got, your savages. Savages, you hear? Savages? Okay, Mr. Bank. All right, let's make it. Good. Tell him I'm rolling. Not the seed.

Lady of the Cage, Jungle Sing, Conan Addison, Say Director, Maricama, take one. Where am I? Who are you? I'm Lee Sussinson of Virginia. My name is Staghi. Sir he needs. You're all a beautiful wife, man. I like you. You see many, many moves with the he needs. Yes. They're going to make it again. Yes again and again and again until

you get it right. Make the face. You will not speak to me this way. It's not my fault that Mr. Anderson is asking. Anderson is cadet. Yes, yes, yes. And you can't do that. Now Listen, Tom, I've been taking this from you for weeks.

You have been taking? In Europe I work with the greatest director. Real office, capacity, snaremon, clumps. Oh, not for a minute longer will I work on this set. I shall go out and Mr. Sidney Bran.

And from Mr. Sidney Bran, I shall say. Dear Sidney. Yes, I am. Sidney, I will not work on you a picture for one minute long. On a why, shall I? What trouble? It needs some parts of it.

I'm an artist. And you directly support... Oh, no, wait a minute, Chaiya. The leading man you gave me is a pack of potatoes. The electricity for the little lighting. They have records of anything. Chaiya.

It was a conspiracy, yes. Chaiya, please. The picture's more than half shot, Chaiya. I don't care how much it's shot. If you're a picture, rather than work out of the juxtaposition, well, how's it? You're a scientist.

Don't do that, Chaiya. I'm an artist. I know. And you're a poet with the greatest direction. I know you have. I know. I know. I'll have faith down here. I'll make him apologize. I know it's a fire in that. What I'll do a fire in what do you think he is? I'll show

him who's boss around here. Now say please for my sake. Say it. Will you finish the picture. Yes. Yeah. Say it. It may have so good to me. Say it. You're tired. That's what it is. I had one of this picture They'll beg you, Miss Galway, and have a nice rest.

To go right, Houston. But it's so dreamy. I'll find, uh, we'll get somebody to go with you, and maybe I'll go along myself. Sorry, would you finish the picture? Yeah, Sydney. You're so kind. So simple, Seth.

Well, that's settled, man. That's settled. You go back on the picture. Yes, I go back. Or do you send me for you? I'll go back. Heads, the Sydney Brand subject lady in a cage. This is to advise you that lady in a cage, formerly tinners in asylum, goes back for retakes.

An unfortunate audience reaction that the sneak preview makes revisions imperative. These things sometimes happen. PS, Taya Town is awful. The bread cook from the Sydney Brand subject lady in a cage. Line up list of all top-notch writers in Hollywood, whom I can hire, borrow to do, and for rewrite sinners.

We're making plastic storage changes, throwing up the sprue tanders and retightling the picture, That gentleman from the south. That gentleman from the south is the title. P.S. Bruthanders is terrific! The Jim Palmer, the Sidney Grant subject, Bruthanders.

You are hereby ordered to spend no expense or conning into awaiting the newspapers that the only important news personality to today is Bruthanders. If anyone asks you questions about sorry, you don't know who she is.

You might also release the news that Faye will direct. He has been re-engaged as super and a terrific boost in money. There's no time to load. Magic, here, boy! Hey, boy! What is he? Come in, Thomas.

What's the matter, Mr. Brand? What's the matter? You ask me what's the matter? Here, I've got one of the ranking stars in the industry, Bruce Anderson, you type of romantic gallons, the biggest things in Valentina.

What do I find? I've got no writers. What do I pay a scenario department? For what do I pay a New York office for that matter? Mr. Brand? Yes, Farmer, what is it? Mr. Brand, I've got an idea.

That'd better be good. Mr. Brand is a writer employed by superfilms who's drawing a salary and doing nothing. His name is Tustler, John Tustler. He's the author of a successful play who would you pay two hundred thousand dollars you may remember centers in asylum otherwise known as lady in the cage otherwise known as a

gentleman from the south shore now is not just possible that mr tussler may be of some assistance to you and your present predicament you know i have a bad idea that all of that where that script you know the one red cover the one that's on the telephone is still there quite a point quite quite there it's right for him hey

uh... royal yet boy get tough on the phone right away i do not miss morning on the jenny He left. I'll get him back right away. Call him up. Send him a wire on the train right away quick.

John Potter Chief, I wrote Chicago. Just read your play stop. I like it and I understand it. Stop. On your return. We'll have new contract stops. Take play in regard. Sign Sidney Brand. Sidney Brand. Super Film Hollywood, California.

So look. Don't just with me. Stop. I know you can't read. Sign. John Potter Chief, I wrote Chicago. I'm hurt. You left without consulting me. Stop. Return immediately. Stop. Your presence. Absolutely. Mr. Stopp, regard, sign Sydney Brand.

Sydney Brand, Super Films Hollywood, collect. I am sorry I hurt you. Stop, it seems all things are possible even left. I will not come back. Stop, I will not come back. Stop, I will never come back.

Affectionately. Sign, John Sussman. John Sussman, Chief Hershey, call you or missing the opportunity of a lifetime. Stop, I'll give you full screen credit. Stop, no man could act for more. Stop, take plain Kansas City.

Stop, expect you regard sign Sydney Brand. Sidney Grant, superfilms Hollywood, collect. I am the happiest man in the world. Stop, there is a lovely lady just opposite me. She hates pictures. Stop, and you offer me a soul-screen set of, well, well, signs, hustler.

John, talk to her on board of chief. I'll give you one more chance. Stop. Either you return immediately. All right, blacklist, you and Hollywood, stop. Which means you'll never be able to have another job here.

Stop, what are you saying? Question mark. Sign, Sidney Bragg. Sidney Grant, superfilms Hollywood, still collect. What do I think? Stop, who told you I could think? Stop. You never thought of that yourself, but if you must know what I think, I'll be glad to tell you that it won't cost you a penny.

Stop. Boom, exclamation mark. I think you're an nasty man. Sign, hustler. Yes. The name of a lady just opposite is Madge, Hustler. May Madge, Lawrence. We were married last night. Sign, John, Hustler. From the foil of the cafe, Circle, Fitt, and Highwood, California, Well, the world's premiere of the super-filled production that gentlemen from the South will be seen by Hollywood's great and famous

for the first time tonight. Ladies and gentlemen, the movie fans have turned out to watch the celebrities arrive and I just can tell it's nice to see you. Good evening, Mr. Tuffler. Nice to see you back in New York.

Take your jolt, Mr. Tuffler. What is Hollywood, Mr. Tuffler? I find, find. Oh, my wife's coming yet? I haven't seen it. Jimmy, have you seen Mr. Tuffler tonight? No, I haven't seen it yet, Mr. Tuffler.

Oh, what time is it, Jimmy? It's 20 to 12, and it's half-world. 20 to 12, say, do you mind if I turn on your radio, Jimmy? Something I want to catch. Sure you can. It's the opening of what used to be a play about social conditions in the South.

It was called sinners in the asylum. You tell you a little about the great range in human emotions or trade in this way to super films, in case that gentleman from the South. He's died through standards and saw you talk.

Cheers, lots of people. You must have indicated terror. Oh, why do I? Hey, I'm Em. This is tough, and it's just some answer. Oh, hello, mad. I'm sorry I'm Nate John I had to go by the house here's a pen of Graham Neil and Halen send it over. Oh Rita. Will you darling John?

$34. E. Sixty-three New York City Starting on new picture super films offer $50,000 for John's husband sign Sidney Brown You better don't answer takes the wire man. Mr. Sidney Brandt Hollywood, California John's offer $50,000 for super film Fine, wrong.

You have to be honest. You will not let you down in the future. Ladies and gentlemen, what an all foreign white eye. Thank you. Thank you, Mr. Brand. You have just heard I lost my girly schlafter, starring our producer Wells as the producer Sidney Brand.

And here he is, Orson Wells. Ladies and gentlemen, I've asked our announcer and his chapel to allow me to interrupt him for a moment to invite you to join George Kaufman, a chase tomorrow J. Allen, the originator of tonight's story, and a somewhat peculiar little ceremony we are holding tonight in the latter's honor.

It's this way, right now, all that any of us on the Campbell Playhouse know for certain about Jane Allen. The author of tonight's story is that Jane Allen is not the author of tonight's story. Jane Allen is a phony, I mean the name Jane Allen is a phony. The real name of the perpetrator of I Lost My Gourlish Laughter is a well-kept secret with

its publishers who have promised to present our authors tonight and think they can do it without revealing her identity or his identity or their identity, whatever it may be. This is a good trick if Random House Incorporated can do it. But George Kaufman, Elka Chase tomorrow, Javen, myself thinks they can't. And just one minute, Jane Allen is actually

going to pay us a visit. We calculate that between us we can expose her or him or their more it and we'd like you to help to consider yourself pleased for tonight, a full member of our special secret service.

To one to unmask all authors and authors to the last poison pen name and standby for orders. When talking about Campbell's tomato soup a while ago, I pointed out that it has a flavor people never seem to tire of.

That is so. From the first taste, it wins you completely. And then as long as you know it, as many times as you have it, your pleasure in it continues. Perhaps it's the fresh taste of sun ripened tomatoes or the table butter that enriches it, or the delicacy of the seasoning.

I think it's all of these that account for the always welcome flavor of Campbell's tomato soup. And I do urge you to have it often, as the mainstay of the day's lighter meal, as the pleasant start for dinner.

And sometimes to have it as cream of tomato with milk added instead of water. But is it on your Saturday shopping list? Put it down, won't you? Campbell's tomato soup, several cans. And now, here's Orson Well.

Yes, Ernest Chapel, but where is Jane Allen? Well, I'm sorry, Orson. I haven't the slightest ideas. Ladies and gentlemen, I have every reason to believe that Mr. Chapel speaks the truth, because, as I think, I've already told you, nobody on this program has the slightest idea who the author of this story really is.

We only know that I lost my girlish laughter with credited on its title page to somebody who calls herself, or himself, or themself. Jane Allen. Well, I think I can tell you this much, Orson.

In checking the channel to Columbia's private studio, we've heard Ms. Allen on the microphone, and she is certainly a lady. Well, that's very nice of you. And it's very nice to hear. Let's see now.

We know that our author is connected in some capacity with the motion picture industry, and perhaps two for even more interesting reasons. She has insisted on an absolutely all-around anonymity. And now we know something more about her.

We know she isn't a man, and that's something. Secret 8 and H, 204, George Kaufman, reporting for service. Yes, H, 204. Orson, if Jane Allen is actually secreted someplace in the Columbia Broadcasting System, why can't we trace her just that way?

Sorry, George, but the rules don't permit it. If we knew what Jane Allen was going to broadcast from, we could simply surround whatever place it is with inquisitive friends of ours and the game would be up.

Oh, all right. We could operate an Ilka Chase reporting for duty, and I have a theory. Yes, operator Chase. My honk here is that this Allen woman is a collective, eccentric story about Hollywood, and that I lost my girlish laughter is simply a conduction.

I agree. Very well inspected, tomorrow, Javer. And now I think it's about time that we put the whole thing squarely up to its originator, Commissioner Ernest Chappell. Are you ready with Secret Studio X? Yes, Inspector.

Here we are. Are you ready Miss Allen? Ready for anything. Is your name Jane Allen? Yes, Mr. Kaufman for wanted, but better. Animal vegetable or mineral. If Inspector Kaufman will have the goodness to stop grilling, I guess, Devan.

I'd like to preserve the aminities and present it to you. Thank you, awesome wells and good evening, ladies and gentlemen. Now Miss Allen, I'd like to ask your question. I must warn you that anything you say will be used by Inspector Kaufman, and chase besides your audience and myself in our unrelenting efforts to unmask you.

Mrs. Allen, how did you come to write, I lost my girlish laughter. Because I got cheated out of a permanent. Commissioner Chappell, did you hear what I heard? Well, it sounded like the lady said she was cheated out of a permanent.

Now, look here, Mrs. Allen, I've never been to Hollywood. I mean to Hollywood to make a picture. Could you please clarify that last statement in words of one syllable? Well, it seems that a writer came into our office. The boss was in conference.

That would be Sidney Brand. The boss was in conference. So this writer approaches me at the desk. He asked him, do I know what? He's beside the sunny, shining, bright golden rays of sheer joy.

A new sit here, chained to your desk. Well, to make a long story short, he sells me. And before I know it, he's parted me from the five dollars I have saved for a permanent.

I see. Well, that just sort of got me to thinking about writers and about books. I thought how nice it would be to be a successful writer, to sell a couple of million copies, to sell the movie rights, the stage rights, the television rights, the submarine rights, to make a million dollars without having to punch a time clock every day to collect your salary.

Miss Allen, did you make a million dollars? How? No, I did not, Mr. Kaufman, but there are other compensation. Yes? Well, you're mine, and there you are, and these are tomorrow, Javer. What I mean to say is you certainly meet some interesting people, even though you don't get to see them.

And Miss Allen, did all those things you wrote about really happen to you? Miss Chase, I lost my girlish laughter is a novel. and a novel is fiction. By the way, Miss Allen, I don't know why I'm asking this, but...

Have you seen any good plays lately? Oh, yes, Miss Kaufman. I saw the opening of your new play, the American Waylusty. You don't say it. And may I say, it is one of the most moving and memorable things I've ever spent your fear.

In fact, a Kaufman, can you tell me why you asked that last question? Elementary, my dear, well, the elementary. The word child's play of deduction. That proves towards the Jane Allen is in New York.

Among other things. Now tell me, Jane, if I may call you Jane, and I might just work hard your Jane is anything else are you planning to write another book I'm afraid I've exhausted Hollywood for the time being and now I'm looking for a new field oh good and you know Mr. Wells I've always been curious

about radio and for what I can gather from this broadcast it looks like a very yes yes Jane just what are you getting at very nice meeting you very nice telling your story and very nice trying to find you all right what they think your name is on a small flip of white paper which I will immediately burn to a crisp so

all things have been very pleasant and when you've written your next book the book about radio and the wild men from Borneo who put on radio shows please Jane let us put it into a radio show until then the campable playoffs has always remained obedient to yours and you miss Ellen I promise you will remain shrouded

in the deepest suit and image and now in a chapel you please divulge the real name for the people who played with us tonight I lost my girlish laughter well to begin with Orson Wells was Sidney Brand the George Kaufman was tussler Ilka Chase This was Mads Lawrence and the Tomata Jiva was Saudi at time.

Faye was played by Ray Collins, Palmer by Frank Redick, Roy by Everett Flohn. Edgar Barrier played the part of Bruce Anders, Myron McCormick impersonated Leeland Hayward. The part of Francis Smith was played by Agnes Mourdhead, Raleigh by Joseph Cotton.

William Allen was the assistant director, and the music for the Campbell Playhouse was conducted by Bernard Herman. And now, Orson, will you tell us about next week's story? Next week the American nation observes the president's birthday by aiding him in his fight against infantile paralysis by dancing so that others may walk and next week we bring you one of America's foremost actresses

in a story by one of America's foremost authors. It has been of immeasurable importance in bringing home to the American people the necessity for an organized fight against disease. Ladies and gentlemen, next week's broadcast will be an adaptation of Aerosmith by St. Crale Lewis and our guest will be Helen Hayes.

Until next Friday night until Aerosmith, my sponsor, the makers of Campbell's Sups, and all of us in the Campbell Playhouse remain obediently yours. The makers of Campbell's Suits join Arts and Wells in inviting you to be with us at the Campbell Playhouse next Friday evening to hear Aerosmith starring Miss Helen Hayes.

Meanwhile, if you have enjoyed tonight's Campbell Playhouse presentation, won't you tell your growth to so tomorrow when you order Campbell's tomato soup? This is Ernest Tappell saying thank you and good night. This is the Columbia Broadcasting System.