50 Greatest Old Time Radio Drama Shows

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In this episode, we delve into the world of classic American entertainment with a focus on the iconic showboat era. The episode features a dramatization of Edna Ferber's "Showboat," brought to life by the Campbell Playhouse with Orson Welles and a stellar cast including Margaret Sullivan and Helen Morgan. The story unfolds with the trials and tribulations of Magnolia, a young woman raised on a showboat, as she navigates love, loss, and the challenges of life on the river. The narrative is enriched by the presence of legendary figures like Orson Welles and Edna Ferber herself, who adds depth to the storytelling with her unique insights.

The episode not only highlights the vibrant and tumultuous life aboard the showboat but also reflects on the broader cultural and historical context of the time. With a blend of romance, drama, and nostalgia, listeners are transported to a bygone era where the Mississippi River was a stage for dreams and drama. The episode concludes with a poignant message from Edna Ferber, urging listeners to cherish and preserve the cultural heritage and literature that define America, even amidst the challenges of the modern world.

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Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio 

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Step into the world of power,  

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loyalty, and luck. I'm gonna make him an offer he can't refuse. With family, cannolis,   and spins mean everything. Now you wanna get mixed up in the family business. Introducing  

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The Godfather at champacasino.com.   Test your luck in the shadowy world at The Godfather slot. Someday, I will call upon you to do a service for me. Play The Godfather now at champacasino.com.  

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Welcome to the family. No purchase necessary. VGW Group VoIP. We're prohibited by law. 21 plus terms and conditions apply.  

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The makers of Campbell Soups presents   the Campbell Playhouse,   Orson Welles,  

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producer.  

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Good evening. This is Orson Welles.   Sixteen weeks ago tonight, I joined the Campbell Playhouse. And if you remember, we dramatized Rebecca.   Well, I'm pretty sure if you remember Rebecca, you will never forget Margaret Sullivan.   And I know you're glad that Margaret Sullivan is back with us again.   With us this evening to play Magnolia   in Showboat.   Now I've tried to make our radio version of Showboat as true to its original as possible, but don't worry. The Campbell Playhouse wouldn't dream of being so different   as to do Showboat without Helen Morgan.  

Helen Morgan is Julie.   Wonderful, wonderful Helen Morgan with an old song which is new to her, new to Showboat, maybe even new to you.   And then there's   William Johnstone who's playing Gaylord Ravenel,   Ray Collins who's playing Wendy, and I'm playing captain Andy Hawkes.   Finally, Edna Ferber herself. Edna Ferber, who wrote Showboat,   comes to our microphone and begins tonight her career as an actress,   begins it in the service of one of her finest stories   and in the character of one of her most famous creations,   Parthi Hawks.  

Ladies and gentlemen, the big show will start in just one minute. Come one, come all, it's the rage of the river. To quote captain Andy, it's the sensation of the century.   In one minute, ladies and gentlemen,   showboat.   Just before we start, a word from Ernest Chapel.  

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Up to a comparatively short time ago,   vegetable soup more than any other had been associated with the traditional home soup kettle.   For years, many housewives followed the old time custom of making this soup in their own kitchens   until one by one they discovered Campbell's.   They found that Campbell's vegetable soup had the same good flavor,   the same nourishing quality they themselves had always driven to get.   Now if it happens that you are one of those who haven't made this discovery and if you still think good vegetable soup can only be made at home,   may I suggest that you try Campbell's vegetable soup?  

I'm sure its convenience will appeal to you immediately. It's ready to serve in almost no time at all. But what is even more important is this.   You will find in Campbell's vegetable soup the same good homemade character and the same homey flavor that you'd look for in the finest kettle of soup you ever made in your own kitchen.   Campbell's have kept faith with time honored home traditions in making this soup.   You can tell that in the taste of your first few spoonfuls.   Expert home cooks sipping this soup critically   nod their approval.  

So won't you give Campbell's vegetable soup a trial? Make a note of it in planning tomorrow's meals.   And now Margaret Sullivan and Orson Welles with Helen Morgan and authoress Edna Ferber in Show Boat.  

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If you were an obituary of Old South Clark Street in Chicago's Gay 90s, you may remember a still,   Nola Ravenel,   Soubrette.   And that amazing slow smile that's still talked about among the older writers on the dramatic pages. Some of the same men who today print four column pictures of her daughter Kim, Kim Ravenel, on the front pages of the Sunday sections.   To Magnolia, it all seemed like a vague dream now.   Those long years in Chicago with Ravenel, months of heartbreak and failure after he'd gone away.   The years of success.  

Playing Chicago, playing the circuits, playing the East,   and then at 60 retired living with Kim in New York, watching Kim's success,   knowing all the right people going to the right places,   a strange dream world in which she'd been living all these years.   And now suddenly back,   reality in that piece of yellow paper delivered to Kim's dressing room the night before,   crumpled now from being held in her hand all day as the train carried her south   back towards the river,   back home.   Parthenia   Anne Hawkes died suddenly 08:00 before evening show.   Cotton blossom playing cold spring Tennessee.  

Sympathy, company,   George Doc Bernato.  

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You've just gone, Ganga, mothers. That's all. Staying on this miserable boat all these weeks and making me come all the way down here to catch you. We're going back to New York on the night train, and on the tenth, we sail for London. No. You do, Kim.   I don't I'm staying here. You're what? I'm staying here, Kim, with the showboat. You can't mean it, mother. Flopping up and down those wretched rivers in this heat and the flies and the mud. You could be with me in London or on the island or even in New York in it. It. It's cool there. Kim.   Yes, mother. Kim, listen to me.  

I've made up my mind. I'm staying here.   Mother, I don't understand.   Of course you don't. How could you?   Listen, Kim.   Listen to that.   I can hear the galais that playing for miles around up and down the river.   In a little while, it will be twilight. That's the most exciting hour of the day. I'll begin to light the lance inside the auditorium   and the searchlights along the bluff.   And people will start coming in down to the landing, along the riverbank, down the roads.   The farmers and their wives, river folk hang us on.   And by seven, they'll all be here. There won't be an empty seat.  

Crops have been good along the river this year. Even the boxes will be filled.   And then presently,   the show will start.   It hasn't changed, Kim.   It hasn't changed at all.  

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It's been years since Nola Ravenel was magnolia,   hawks, the rage of the river, the sensation of the century, the queen of the cotton blossom.   The cotton   blossom. That's what Captain Andy's showboat is called.   Green trimmings and gold letters a foot high, Captain Andy Hawkes cotton blossom floating palace theater.   Elrading the company, not counting the crew, Andy Hawkes himself captain and owner with thirty five years experience on keelboats, steamboats, packets, and showboats.   A little nervous, wiry man with a horrible habit of clawing and scratching at his whiskers that hung like brushes just below his white canvas cap.   There was his wife, Parthenia Anh Hawks, a bulky, frigid female with a long, hoarse face and a New England passion for discipline.  

There was Julie Dozier with her rich, deep voice.   There was old Windy,   Pilot, and George Schultz, and the rest of them.   And year after year, the cotton blossom floated down the river. It started out in April and got back in September. And year after year, they gave the same place, East Lynn, Lady Audley's Secret Tempest in Sunshine,   Madcap Marjorie,   Uncle Tom's Cabin.   Year after year, they grew more successful.   And then one morning at Mobile, Captain Andy made a shocking discovery. In the night, his agent had packed her trunks and left,   left with a black mustached gambler who had followed her down the river from Paducah, Kentucky.  

In that afternoon, the Captain's Cabin, a great battle was fought over the fate of the girl with a pale face and a large mouth whom America Years later was to applaud under the name of Magnolia Ravenon.   At this time,   she was just 16,   and her name was Maggie Hawkes.  

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My own daughter, an actress  

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over my dead body, Hawkes. And she know Reed's ain't hanging around on trees. No, sir. Take us a week to get one from Chicago, another week for her to learn her parts, and then maybe she won't be no gang good.   Maggie could go in there tonight. She'd be great. I won't care of. Now, party, you're just working yourself on. I ought to be proud of her stepping in, saving us money. We we gotta close-up if she don't. Rather have her in her grave. Well, she knows all the parts.  

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Why I ever allowed her to step foot on this filthy scowl with a lot of riffraff that I wouldn't touch with a 10 foot pole. Now listen here, party and your hawks. We got the biggest advance sale we had this season. Yes. The doc's downstairs raking it in with both hands. If you had the least bit of gumption in you instead of sitting there whining and carrying on, I you What's the advance? Well, 300, not anywhere near 04:00. Oh, well. Have it your own way then. It's no use arguing with you. But remember, it's against my wishes and over my dead body. And if any harm comes of it, I'll know where the blame lays.   Magnolia.  

Magnolia, why ain't you on the stage rehearsing? How do you think you'll be able to go on tonight if you don't do no rehearsing?  

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Magnolia,   the mysterious comedy tragedians   here to believe of the raid of the river, the sensation of the century. You can see it tonight, folks. In the Parsons Pride set forth in unrivaled scenery and costumes by her side, mister George Shultz, favorite from Duluth to New Orleans, for ten years lead and play with mister Booth, mister and missus Means, and a score of other luminaries.   After the show, there's a concert with singing and dancing. It'll cost you 15¢ extra, but it's worth it. It's worth it, ladies and gentlemen. I can tell you to hear miss Julie Dozier,   fresh from triumphs, the East, and the latest numbers from her repertory, bring the children.  

Come one from all the cotton blossom trophy.   It's just one big family family.  

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What? Have all your friends deserted you? No, but friendship is too cold a passion to stir my heart now.  

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Oh, give me a friend in preference to a sweetheart.  

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My dear miss Brown,  

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miss Lucy. Oh, please don't call me miss Brown. Lucy.  

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Defender of the father.  

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Will you be a poor man's bride?  

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Oh, yes, Henry. Yes.   Lucy,   my own.  

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Bravo.   Bravo.   Now, folks,   folks, for them that's paid the 15¢, we got a first rate concert. First on the program, ladies and gentlemen, the one, the only, the inimitable   Julie Dozier will render our latest triumph from the East, the song that stopped the show in New York that brought them cheering to the feet of Baltimore,   the song that they're still crying at in Boston,   Why No One to Love, composed and written by mister Stephen Foster. Ladies and gents,   miss Julie Dozier.  

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No wonder   love   in this beautiful   What have you done   in this  

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beautiful   world   that your side?   I'm no one   to   love.  

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Strange woman, Georgia,   with her white face and her deep set, dark, dead eyes.   In the four years she was on the cotton blossom, Magnolia got to like her better than anybody else in the world, except Captain Andy, maybe.   In a way, she had a lot to do with what happened to Magnolia   in later years.  

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Julie.   Who is   it? Oh, Magnolia. How can I come in?   I couldn't go to sleep. I was so excited.   I heard you singing.   Come in and shut the door. Julie,   listen.   I wanna tell you something,   and I wanna ask you. Do you think I can ever be an actress?   A real actress, I mean.  

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Why, sure, honey.   You were wonderful tonight.   A little scared maybe, but, oh,  

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Sheila loved you. Mama doesn't want me to be an actress. Not really.   Besides, I'm not pretty. Mama says I'm not. Oh, when you smile, you are.  

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You've got the loveliest smile I ever saw. Have I, Julie?   Listen to me, Magnolia.   I'm gonna tell you something,   only it's a secret.   Guess what?   When you grow up,   don't smile too often.   But whenever you want anything very much   or like anyone   or want them to like you,   Smile.   I guess maybe you'll learn that without me telling you.   Well,   good night, honey. Oh, Julie, I don't wanna go yet. There'll be one in where you are, and then Parthill will be after us.  

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Good night. Good night, Julie.  

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A year later,   Julie was gone.   She left in a way that Magnolia never forgot. One morning, they put in at Lemoyne, Mississippi. It was late April.   The cotton blossom was only a few weeks out of St. Louis   on her way down the river.  

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Hey, Julie.   Julie?  

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Julie? Yes? It's Papa and me, Julie. Can we come in?  

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Hello, Julie. Jiminy. Talking here. Them shades down. Say, Julie,   guess you got an admirer in this town.   What do you mean? Somebody stole your picture for aiming all right up out in the layout in lobby. I put up another. Now that's going.   Julie, what's the matter? Yeah. Are you sick, Julie? Well, are you now, Julie? Well, now ain't that a shame. You   you can play alright tonight, though, can't you? No. I  

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I can't play tonight.  

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Don't ask me. Well, if you're sick as all that, you better see a doctor.  

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I'll be alright   after a while.  

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Hawks.   Andy Hawks. Oh, here I am party down here in Julie's room. Come on down. Doing down there sitting around the gabbing. I'll wager with the best advanced sale we've had since we started out. Here it is 11:00 and half the house gone already. I never played this town before. License always too high. They starved for some play acting. What's the matter with her? Oh, she's sick. Well, so long as you're alright for tonight, Julie. Says she won't be.   Won't be? Why, she ain't sick, is she? I mean, sick. Yes. She is, mama.   Well, what you doing sitting here for, Maggie? Go fetch your doctor. I don't want a doctor. Person's too sick to play, they're sick enough to have a doctor. Play in Xenia tomorrow. Good as stands we got. Probably won't be able to open there neither if you're sick as all that. Well, I'll I'll be able to play tomorrow.  



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How do you know?   I'll be alright as   as soon as I get out of this town. That's  

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funny.  

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What  

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is? Just come over me.   Julie.   Yes?   You took sick at this very town. Time we came downriver last year. Well, nothing so funny about that. Soon she heard we wasn't opening here because the license was too high. She got well all of a sudden. Oh, leave me alone, can't you? Well, I may not know much. Why do you think a girl didn't have the right to feel bad? Now pardon you get along ten to that ticket office. We can't show tonight. We gotta leave no. Sure. You won't be feeling better by night time, Julie.  

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Oh,  

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leave me alone, can't you? Oh, sure. Sure, Julie. Now party's scatchers.   Here. That's the horse.   All's down there? Yeah. What's that? No, captain.   Seems like there's something up. What do you mean? Sheriff's outside on deck.   What is it? A licensed pay. He's welcome around here as anybody in a way No. Seems like he wants to have a look at all the folks aboard, and he ain't no state to be reasonable.   Guess that's him coming down now. Alright. Let him come. Alright. Please, captain. Don't let him come down. Don't let him. Who's captain of this hippo?   Well, I am. What's wanted with him? Hawk's his name. Captain Andy Hawk. Cutty ears in the rivers. Well, cap,  

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Who are you? Sheer for this town.  

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Understand you got mixed color in your show. Mixed color? What's that? What do you mean, mama? Hush, Maggie. No such thing.  

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No such thing on this boat. Name of the Negress is,  

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let's see.   Julie Dozier.   Julie? Yeah. Which one's her?   That's   me. You Julie Dozier?  

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I am.  

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Who's been telling you this stuff, sheriff? Fellow lives here. Seen a picture when he come to buy tickets to your show.   This fellow says you was born here.   That's right. Your mammy was colored.   Well Yes.  

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Well?   You done here now, sheriff.   But if you are, you can get out.   Or have you got something more to say?  

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No.   Guess I'm done now. I'll be going.   Only let me tell you this, Captain Hooks. You better not try to give no show with mixed blood in this town tonight.   Just thought I'd warn you.   Bye, Captain Hooks.  

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Bye, ma'am. Maggie, you'll come away from here. No. I wanna stay with  

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Chewy.  

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Chewy No.   You're not going to cry, honey.   Why, it's only like it's only like I was going   going the way we do winters   after we close the showboat.  

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You know what?   It won't be coming back again when it's free.  

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Oh, heaven. And our business folks are always meeting up.   Ain't that so, Captain?  

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Yeah. Sure thing, Maggie. Come on, Maggie. You got your practicing to do. No. No. No. I wanna stay with Julie.  

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March.   Mama, I hope you I can't stay with Julie.   Please, I want you on a show. Well, Julie,  

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what do we do?  

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I'm going, Captain Andy.   Don't worry. I'm gone.  

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Well, I'm sorry, Julie.   It's too bad. You're the   best actress we ever had in this boat.  

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Well, better go. My thing's all packed.  

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Julie.   Yes?   I just wondered,   I'm fixed for money.  

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Oh, I'm I'm fixed alright. I I've been saving. You treated me well, Kevin. Yeah.   I'd I'd like to see a   goodbye to Magnolia  

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if you don't mind. Julie, you know how part he is.   She don't mean no harm, but, well,   I guess she feels you and Maggie maybe shouldn't.   I I see. You know, women folks are funny that way. Okay.  

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Well, I guess I'm ready.   Yeah.   Goodbye.   Goodbye and and thank you, captain.   You've you've been awful good.   And captain,  

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tell me I know you. Goodbye for me.  

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Sure will.   Goodbye, Julie.  

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Years later when Magnolia was married and living in Chicago, she saw Julie once again.   Julie looked an old woman by then. She passed her on the street. And by the time the carriage had stopped,   Julia disappeared.   But there could be no mistake about those deep, dark, dead eyes   set in that white face.   After Julia had gone, life went on as usual on the cotton blossom. Three months went by. They floated down the river, Memphis, Vicksburg, Natchez, Baton Rouge. And then at the August,   they reached New Orleans. And there, a second disaster overtook the cotton blossom.  

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Their leading man left them. George Schultz  

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came to the box office where Andy and Parthay were busy counting up before going ashore. He looked very pale but determined.   He had a letter in his hand.  

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I gotta go, Cap. Go? Go where?  

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Well, what do you mean, Chauncey?  

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It's from her,   from my wife.   She's in the hospital at Little Rock.   That gambling fella left her. She ain't got a cent. Oh, now Shultz.  

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I wouldn't do it for myself  

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no matter what, but   it's her, captain. It's for her, not me. Yeah. Shultz.   I gotta go, I tell you.   You can pick up somebody here in New Orleans.   There's a dozen better actors than me laying around the docks this minute. Well I got to talk to a fellow a while ago down on the wharf.   I said I was an actor on the Cotton Blossom and he said he'd acted too. Maybe he'd like the job. Yes. I suppose he would. What do you think this is? A bumbolt?   Plenty of wharf rats in New Orleans would like nothing better. He ain't no wharf rat, missus Hawks. There he is down there yet. Take a look at him down by that stern wheeler there.  

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I'd go ashore and talk to him if I was you. What? Hitting that fur down there in the brown suit with the yellow cane? Yeah. That's right. I couldn't go out and talk to him about acting on no showboat. He's, he's a gentleman. Maybe,  

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but nobody feels like one with a   quack in his shoe.   Yes. He's got a quack in his shoe. I can see from here. I can't say I like the looks of him, especially,   but we can't be choosers.   Well,   Hawks, what you waiting  

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for?  

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Ladies and gentlemen, it's my good fortune to present to you tonight the most magnificent company of playards   ever assembled on the Mississippi. Magnolia, Hawks, you know her and you love her a   aside, the sensation of the century,   the rage of the river, mister Gaylord   Ravenel.  

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That he and Magnolia   should fall in love   was inevitable as the cosmic course.   She'd never met a man like Gaylord Ravenor.   Magnolia hadn't. He was the most handsome man she'd ever seen in the best dressed, even though his clothes were new.   Maybe it was because he was so clean and elegant that he seemed different, but it was more than that really.   He had such nice ways, always polite and gentle and doing little things that no man she ever knew would have bothered his head about.   From the first day he came on board the cotton blossom, everybody adored him, everybody that is except party.  

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Person would think he was the only juvenile   left in the world.   Matter of fact, I can't see where he's such great shakes of an actor. Rolls those eyes of his a good deal and talks deep voiced but got hands whites a woman's and fusses with his fingernails.   I'll wager if you look around New Orleans, you'll find something queer for all he talks so high about being a Ravenel of Louisiana   and his folks governors in the old days and inscriptions about him in the church and whatnot.   Shifty,  

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that's what he is. Mark my word. The best juvenile lead ever played the rivers never heard that having clean fingernails hurt an actor any. Oh, it isn't just clean fingernails.  

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It's everything. I can't bear the sight of him. Calabrio and soft silky and cocky can get around a woman my age. Well, I'm worth a dozen of him. When it comes to being smart,   I wonder where he is now. What do you want with him? Don't want anything.   Just to know where he is. That's all. Well, he's inside. Inside where? With the Magnolia listening to her. You left him to stay alone with your child. Well, do it, heaven's party. What's the harm that gentleman listening to a little pie on the plane playing I'd like to do? Now sit down. I'll do no such thing, and you won't either. Come along inside where we can keep an eye on the tour. Oh, party. You hear me, Hawks? Alright. That's pretty soon you're playing there, Magnolia. Yes. Isn't it? She'd do better by it if she did more practicing. I don't get time, mama. What was rehearsing?   Seem to have time enough for all sorts of foolishness if you ask me.  

Papa?  

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Yes, Maggie?  

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No. Mister Abner was just telling me about being all the way to Paris. Oh, that's so, Abner? Yes, captain. Paris?  

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It all sticks. I've never even been to Chicago. Well, it's not so much, but it has got some nice things about it. I wish New York was. Oh,   Oh, there's a real town. Yassiree.  

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If I was a girl, I'd soon enough tire of this sort of Poppinjay talk. You can listen to music, Patey.   Does seem you managed to get around a lot for a young man, mister Ravenel.   I have, ma'am. Most folks would say it didn't look right of you. That so? Takes the pile of money, don't it?  

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Well, I,  

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Well, however'd you come by so much. Not by your acting, I'll lay. I was telling Andy just now I don't see that you're any great shakes as an actor. Now see here, party. A body can take an interest in a young man, can't be hooked. I just say that most folks would have it that no young man could come buy so much money on us. Mama,   I think I'll go to bed. And about time too. Come in, Hawks?  

[00:26:55] Unknown:

I'll be along a minute.  

[00:26:57] Unknown:

Good night, Mr. Ravenel. Good night, Miss Magnolia. Come along, Maggie. Come along.  

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They floated down the river hundreds of miles of willow fringe streams flowing blue in the sunlight, olive green in the shade,   wild honeysuckle clamoring over black tree trunks,   bare, unpainted cabins the color of the sandy soil.   Sometimes the river was a great broad stream rolling down to the sea and sometimes it was a shallow,   narrow stream little more than a creek through which the cotton blossom went slowly,   digging away cautiously from town to town.   It seemed no time at all before they played all the bayous and were on their way up the river again and back at the docks in New Orleans.  

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Six Hundred And Fifty Eight, Seven Hundred And Twenty Five somehow.   Eighty five. Papa?   Oh, Papa, it's almost four, and you haven't even changed your clothes. Can't leave this money laying around buttons, can't I? Banks letting me on the side door afterwards so as I can bank out cars and two horses and we drive off the bus. Magnolia ain't gonna turn out an unreasonable woman like your ma, are you? Where's mama? Isn't she ready, though? Yeah. She's ready, alright. Dressed up fit to kill. Don't know where she went, though. Saw her a while back hustling the shore. I had a long talk with the sheriff and then threw off into town. Can't go without it. She might just well sit down and relax. Okay. Now for $6.78   and I Miss Magnolia.  



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Oh, how  

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beautiful you look. What? You're looking very beautiful yourself, miss Magnolia.  

[00:28:24] Unknown:

Say, hey, Ramonald. Oh, yes, captain.   His mighty handsome looking suit of clothes you got there ain't,   thinking of leaving us, are you? Why no?  

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You've given me the turn. Why no cause for that, captain. First time you saw me, I was in temporary difficulties,   sort of thing that can happen to any gentleman.   Now as you can see, things are better. Yes, Siree. I certainly can.  

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Now I tell you what, Ravanel,   you you stick with me and I'll raise you to,   20,   25.   20 5?   30 a week,   they they ain't a juvenile on the rivers. They never got anywhere near that. Let's not talk money now, captain,  

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unless,  

[00:29:07] Unknown:

unless you'd like to advance me 50 for a week Our pleasure. Pleasure, Admiral President. To hear you, sir. $30.40,   25, and 58. Thanks.  

[00:29:14] Unknown:

What I really came in for was to ask if you and missus Hawkes and miss Magnolia here would take dinner with me tonight. There's a restaurant I know. Oh, papa, please. And now Maggie, you know your mom. If she's gone off, nobody knows where to.  

[00:29:26] Unknown:

Oh, mister Randall, we're gonna take a drive out to the lake and then have dinner soon. He hadn't even changed his clothes since almost 04:00. Probably is 04:00. Maggie.   Just don't care anything about me. It's all this old bit boat and business and money. We're gone. Just give me another thirty seconds. Be too late to drive and that's what I like doing. Well, if you trust me, captain, I know where I can get a fine turnout. Chestnuts. The highest steppers would see, sir. If we start right now, what If I can, can't I? But Maggie, if you're my, ever clubs are here. You Not here, is she? Heck, I don't see heart and thirst much. Who couldn't that? Well, we meet you at six for dinner. At Antoine, sir. At Antoine, what? Oh, come on, mister Ramdall. Harry. Yes, miss Magnolia. I'm coming. Good afternoon, sir. Good afternoon.  

[00:30:03] Unknown:

957155875,   8   20 5, 50 8, and 87872.   8 70.   What is it?  

[00:30:16] Unknown:

Hawks. But two of them with me all eyes. I tell you, I saw What's wrong with your woman? Gone clean crazy?   He's a gambler  

[00:30:24] Unknown:

and a murderer. Who's a gambler and a murderer? He is. For 2¢ I'd murder you. Come howling in the old man's trying to run his business. Listen to me, you fool.  

[00:30:32] Unknown:

I've been to the chief of police and the perfect gentleman if ever there was one, and he's killed a man. The chief of police killed a man? What man? Ravenel.   Ravenel's killed a man. A good heaven twin. Year ago. Right in this very town. Oh, well, they didn't hang him, did they? Hang who? Ravanel.   Why no. Said he shot himself defensively. Well, he killed a man and let him go. Yes. What's that prove?   Proved you're right to, don't it? Alright. What of it? What of it? This very minute your own daughter is out with a murderer.  

[00:31:03] Unknown:

That's what Missus Hawkes, ma'am, when I was 19,   I killed a man. And for twenty five years and more, I've been as respected as hey. Partly   what? Oh, boy there, doc.   Mister Means, somebody fetch some water.   Partly is treated.  

[00:31:35] Unknown:

You are listening to the Campbell Playhouse presentation of Showboat starring Margaret Sullivan and Orson Welles with Helen Morgan and authoress Edna Ferber.   This is the Columbia Broadcasting System.   This is Ernest Chapel, ladies and gentlemen, welcoming you back to the Campbell Playhouse. In a moment or two, we will resume our presentation of Edna Ferber's showboat.   This is the story of a glorious institution,   now all but vanished from our American scene. The great days of the showboat are past, gone with the customs and manners of a more leisurely aide.   How times have changed since those days? Dining then was an event, a meal of many courses.  

It started with a great gleaming tureen of savory hot soup and went on to the meat course with many side dishes and finally some substantial dessert.   We in our day have modified our view of eating.   A new knowledge of what is good for us has tempered our eating habits.   Soup has held its own. Indeed today, soup is not only enjoyed as an opening course, but also as the main dish of many lighter meals.   Knowing this, women welcome the fact that good soups are readily available in red and white labeled cans marked Campbell's.   Delicious soups they are too. Chicken gumbo, hearty vegetable soup, beamed with bacon soup, chicken noodle. These and many more Campbell's make in the time honored homemade way.  

How many of you tried in your home?   Now we resume our Campbell Playhouse presentation of showboat starting Orson Welles and Margaret Sullivan with Helen Morgan and authorist Edna Ferber.  

[00:33:28] Unknown:

Magnolia, as you may remember, never remembered very clearly what happened that afternoon. Gaylord Ravenel drove her far out into the country to a little church with a graveyard, and they got out the carriage and walked around under the trees. And there were graves there with the names of Ravenel on them.   It's what he said.   It's father and grandfathering way back beyond there, he said. And she didn't remember much about the ride back to town at dinner or anything   up till showtime except Gaze smiling at her and her   smiling back at him.  



[00:33:58] Unknown:

Hawkes,   that murderer goes or I know that's final. Oh, Parsee.   You can tell him tonight.  

[00:34:06] Unknown:

He's the best juvenile lead ever played the Rivers. Now that scene's beginning.  

[00:34:09] Unknown:

Willing to sacrifice your own daughter, are you, for the sake of a few dollars? Sacrifice? Just letting it speak civil to his handsome young fella?   There. Watch now. Just see him out there looking at her. He's a darn fool if he didn't. You mean to tell me you'd see your own daughter married I'm not quite looking, miss woman. Can't a man look at a girl without a time to marry her? Haven't to marry her? Haven't even If I was a girl like Maggie, I'd run off with him. That's the truth. She had any spirit left after you deviling her for eighteen years. She do it. That's right. Put IDs into her head. Not putting IDs into her head. Know who he is? He's a Ravenroll. He says he is. Oh, didn't he show her the church? Oh, Hawks. You're a zany. I could show you gravestones.   I could say my name was Bonaparte and show you Napoleon's tomb, but that wouldn't make him a grandfather, would it? Hey, folks. Folks. You go when it's so loud, people out front can't hear the show. And now, Pathy, Pathy. Hush up and listen to the show.  



[00:35:07] Unknown:

What? Have all your friends deserted you?   Mama's gonna make Andy send you away. No.  

[00:35:13] Unknown:

But friendship is too cold a passion to stir my heart now.  

[00:35:18] Unknown:

Would you come with me? Oh, give me a friend in preference to a sweetheart. How can I? My dear miss Brown.  

[00:35:25] Unknown:

Miss Lucy,  

[00:35:26] Unknown:

Marry me. Oh, please don't call me miss Brown. When?  

[00:35:30] Unknown:

Lucy.   Where do we play tomorrow? Marry me there. The thunder of the fatherless.   Natchez, I'm so frightened. Will you be a poor man's bride?   Darling.   Oh, yes, Henry. Yes. Loose in my own.   Magnolia, for heaven's sake, take your time.   The minister will wait.   Okay.   Where did you think you were going?  

[00:36:03] Unknown:

To a fire? I don't know. I guess I was afraid mom would light out after me. Did you see you lived the boat? I don't think so.   There. I've got my breath. Come on. Let's go ahead and get married. Oh, no. Hold on a minute. We've gotta be engaged first. Engaged?  

[00:36:18] Unknown:

Of course. Hey. Give me a hand.  

[00:36:20] Unknown:

The other one, silly. Well, I've never been married. I'm engaged to anything.   I'm so excited.   Okay.   Gay a diamond.  

[00:36:30] Unknown:

You like it?  

[00:36:31] Unknown:

Oh, it's so beautiful.   I've never seen one before.   Just look what the sun does to it. It's nothing to what the sun does to you. Oh, crazy.  

[00:36:41] Unknown:

Don't I get a kiss?  

[00:36:43] Unknown:

You mean in  

[00:36:45] Unknown:

broad daylight?   Right here in the minister's front yard? Why not?   Well, of course, we are getting married.  

[00:36:58] Unknown:

Well, hawks, now I hope you're satisfied.  

[00:37:02] Unknown:

Those were the first words she said when she heard they were married. Just the first word. She didn't stop talking for ten whole days, and she finally did let up a little because it   well, because she   she was tired. She just worn herself out. And when the baby came, they called her Kim. It was the captain's idea because she was born on the river while the cotton blossom was riding a storm near the borderlines of Kentucky, Illinois, and Missouri,   k I m.   And then when Kim was two, the captain bought a new boat, had a built in Saint Louis with some new fangled arrangement instead of the kerosene lamps for footlights, and she was called Cotton Blossom two.   It was April before she was ready, late in the year to start downriver, but the captain didn't care. He wanted to try the new boat. No sooner had they started than the rains began. They got as far as Natchez and turned, started upstream again. Then   early one morning before dawn, only a few miles out of Cairo, a squall caught them and it was all over. The whole course of Magnolia's life had been changed.  

Hey.  

[00:38:00] Unknown:

Robert.  

[00:38:01] Unknown:

What was that? Who am I? Wake up. Something happened. Hey. Get up. Get up. Get up. What is it? Yes? Sounds like we lost our moron. I think we lost our moron. You better get some clothes on, Gabe. Come along. Yes, sir. Hey, doc. Get up. Know you. You better get up. Stay up. Get up. Know you. You better get up. Stay up. Know you. You better get back. Fair robbery. Perhaps the baby wore home. Stay stay till this happen. Man. I'll be back. Yay.  

[00:38:35] Unknown:

Mama, is that you? Magnolia.   Quiet, mama. Kim's asleep.   How do, Maggie? Wendy, is everything alright?   So quiet suddenly.  

[00:38:44] Unknown:

Yeah.   Soon as daylight came, the squall  

[00:38:48] Unknown:

quieted right down. Is everything alright?  

[00:38:51] Unknown:

Got off the snag, if that's what you mean.  

[00:38:53] Unknown:

There's something wrong. What is it?   Where's papa?  

[00:38:59] Unknown:

Well, he was bobbing around the deck, and, of course, he had no business giving orders. That was my job as a pilot.  

[00:39:06] Unknown:

But he always did that, ma'am. I never minded it. What's happened to papa? Where is he? Had to be the pastor's channel on the river too.  

[00:39:13] Unknown:

He was leaning over,   trying to snatch her.   It was dark, and   the rain and all Wendy,   what's happening? He was gone before we could get to him, Maggie.   With the rain and the dark and the current,   we did all we could.   Ain't no use,   not in this part of the river.  

[00:39:35] Unknown:

He's dead, Maggie.   He's dead.   Oh.  

[00:39:44] Unknown:

With Andy gone, things were different.   It   might have worked out for a while if Parthenia Hawkes hadn't been what she was.   The first to go was the pilot, old Wendy MacLean, about a month after Andy died.  

[00:39:58] Unknown:

Here now.   What do you mean?   Yep. I'm speaking to you, Wendy MacLean.  

[00:40:05] Unknown:

What is it it you want, miss Holmes?  

[00:40:07] Unknown:

If I've had those steps to the pilot house scrubbed what? I've had them scrubbed 10 times this week. Well, what's the matter with them? What's the look at them. All muddied up. What's that side ladder fir, I'd like to know. I've told you before. Miss Hawkes, ma'am, I'm no hired hand.   I worked with Andy Hawkes twenty five years. I pay you, don't I? And good payer is too. Well, the thing is you can't run a boat like you would a kitchen. Well, I'm not going to have it. You traipsing all over picking your filthy tobacco and leaving muddy tracks. Ma'am? Well?  

[00:40:41] Unknown:

You're Hawk's widow. No need to remind me. That's why I said I'd go on working the same as if Andy was alive. If you'd no mind to stay on, there was nobody begging you. I figured Maggie's husband be the boss after Well, I'm running this boat. Fact is, ma'am, I ain't no petticoat pilot.   Fact is, I guess I lost my taste for River since Cap went.   Lost my nerve too, I guess.   I'm through.  

[00:41:09] Unknown:

Your money will be at the office for you. Thanks, babe.  

[00:41:18] Unknown:

Look, Magnolia.   I can't stand this. I'm sick of the scar and everything that goes with it. I know, darling. Part is just driving us all crazy.   Anyway, Magnolia, I am no actor. I don't belong here.   If I hadn't happened to see you the day your father offered me a job, I   I wouldn't be here now.  

[00:41:36] Unknown:

Are you sorry, Gay? Oh, darling.  

[00:41:39] Unknown:

It's the only luck I've ever had that lasted.   Magnolia,   what we ought to do is to clear out of here. You've got something coming to you from your father. We could very What are you two getting so hard and fast about? Mama, listen.  

[00:41:53] Unknown:

Yes?   We were just wondering,   now that papa's gone,   well, odds maybe it wasn't crazy trying to go  

[00:42:02] Unknown:

on. What do you want? Have us leave the river? Why not, mama? And what's to become the cotton blossom? Oh, I don't know. We'll have to talk about it. We are talking about   it. Now listen here, Magnolia.   Fox left no will,   just like him.   I've got as much say as you. Mama, there's my share in this boat.   I want it.   You mean money? Yes.   What would you have me do? Sell the boat right out from under me? Captain Andy left insurance,  

[00:42:31] Unknown:

and he had money in the bank.   It's enough for you to buy Magnolia's share in the showboat if you want it. What'll you do with the money? Okay. We'll probably invest in some business. Yes.   Monkey business. I'm leaving here. I've had enough.   What about Magnolia and her child? They can come or stay. That's for her to decide. I'll be back in Magnolia. Okay.  

[00:42:51] Unknown:

Well, now you see,   walking right off and leaving you.   Come back here, child.   I'll give you the money.   But mind,   don't you come sniveling back to me when it's gone and you and your child haven't a penny to bless yourselves with, for that's what it'll come to in the end. My my work wouldn't come to you for help. Not if I was starving to death and came to. Well, there's worse things than starving to. I wouldn't come to you no matter what.   You will   just the same.   I'll take my oath on that.   And remember this, when he's run through every penny of your money and even looked to me for more,   You can come back to the boat,   you and the child.  

I'll look for you, but him   never.  

[00:43:50] Unknown:

Nothing was too good, Gaylord Ravenel. That first winter, they lived in Chicago. They had a suite at the Sherman House, a nursemaid for Kim, a pair of English hackneys to drive them to the races in the afternoon and to the theater in the evening.   When that winter for the first time, Magnolia tasted   sables, sat in a box at Hooli's, and saw the hoochie coochie dance at the world's fair. It was all very pleasant and luxurious and strange,   almost like a dream.   And through it all, Gaye was beside her,  

[00:44:17] Unknown:

handsome and elegant and thoughtful, laughing at her wide eyed enjoyment, and then  

[00:44:19] Unknown:

and thoughtful, laughing at her wide eyed enjoyment. And then one day, suddenly,   their money was gone.   Simply gone.  

[00:44:28] Unknown:

I'm sorry, Magnolia.  

[00:44:30] Unknown:

I I haven't got it. Hey, darling. How do you mean you haven't got a hundred dollars? You know, it's that green velvet dress you like so much. You told me to get it. Now this is the third time they sent the bill so will you give me the money or write a check if you'd rather? I tell you, I haven't got it, Magnolia.   Well, tomorrow will do but please be sure tomorrow that you can't be any surer tomorrow than I am today.  

[00:44:49] Unknown:

We haven't got $100   in the world,   and that's a fact.  

[00:44:53] Unknown:

But, darling,   we had 30,000.  

[00:44:56] Unknown:

I know.   Afraid it's gone. Been running bad luck for weeks. Bad luck?  

[00:45:02] Unknown:

At what day?   What do you mean?  

[00:45:05] Unknown:

Pharaoh.  

[00:45:07] Unknown:

What day do we have? $30,000.  

[00:45:09] Unknown:

Thousands don't last forever, my dear.   Besides,   last week, I took a flyer.  

[00:45:14] Unknown:

A flyer? Yes.  

[00:45:16] Unknown:

A tip on the market.   The stock market, dear. Stocks.  

[00:45:20] Unknown:

Oh, you wouldn't understand, Magnolia. But all of it gay?   You didn't lose all of it on the market. Well, no.  

[00:45:29] Unknown:

Some of it on the market   and some of it at Faroe.  

[00:45:32] Unknown:

How much gay?   How much? Oh, what does it matter? It's gone. But gay, how much at Faroe?  

[00:45:39] Unknown:

Few thousand.  

[00:45:41] Unknown:

How many?   Five?  

[00:45:44] Unknown:

Yes.  

[00:45:45] Unknown:

Five. More than five, Gaye?  

[00:45:48] Unknown:

Well,   near a 10 probably. I don't remember Magnolia.   What does it matter how it's gone? It's gone.  

[00:45:59] Unknown:

Once a month came a letter from Parthian, no more, no less. It came addressed in a firm small hand to the Sherman house.  

[00:46:06] Unknown:

Crops are pretty good, so business is accordion. I put up grape gel last week, a terrible job,   but I can't buy this store, Tuff. No real grapes in it.   Well, I suppose you're too stylish for the cotton blossom by now, and Kim never hears of it. I got the pictures you sent. I think she looks kinda picky ed. Up all hours a night, I suppose, and no proper food.   Never heard of such a thing.   Well, I will close as goodness knows. I have enough to do without writing letters where they're probably not wanted. Still,   I'd like to know how you and the child are doing and all.  

Your mother, Parthenia   Anne Hawkes.  

[00:46:46] Unknown:

Dear mother,   Gay is more than good to me.   I have only to wish for a thing, and it is mine.   Everyone says Kim is unusually tall and bright for her age.   Gay speaks of a trip to Europe next year.   I have a new fur coat.   He's very good to me.   Never an unkind word.   Feel very, very happy.   Love,   Magnolia.  

[00:47:13] Unknown:

Magnolia and Ravenor moved.   The first of those endless changes that marked their life in Chicago for the next twelve years, they left the plush and ice water and fresh linen and rich food and luxurious   service of the Sherman House.   They moved to a shabby family hotel, sort of actors boarding house on the North Side just across the Clark Street Bridge in Ontario.   It was within walking distance of the places, Gaye said,   and by places,   she knew that he meant Jeff Hankins and Mike McDonald's and Prince Varnell's and other establishments on Gambler's Row   where he spent his days   every day for twelve years.  

And always it was famine or plenty. No middle ground. Sometimes a bad streak would last for weeks.   First, the Malacca Caine would go.   Gaye had a reputation for paying his debts, and Raven North Caine was always worth a few hundred dollars as a pledge at one of the pawn shops near Clark Street. And then next, some of the fine English clothes would vanish.   And last, always last, a diamond engagement ring.   There were times when even the Ontario Street Hotel became an impossible luxury. That meant rock bottom.   Then it was that they took a room at $3 a week in a frowsy rooming house on Ohio Street,   the three of them in one room, and boil coffee and eggs and cooking over the gas jet.  

And every day around noon, Gaylord went down to the street,   elegant as ever, freshly shaved,   his gloves on his hands and headed south towards Clark.   It was night when he returned,   sometimes long after midnight.  

[00:48:44] Unknown:

Magnolia?   Hey, Magnolia. What is he getting? Come on, Magnolia. We're leaving this rat's nest. Hurry. But tell him that now. You don't mean tonight. Now? It'll only take a minute. I'll wake up the landlady. She'll help. Oh, no. No. I'd rather do it myself. Okay. Kim's asleep. Can't we wait until morning? No. We're going tonight, this minute. Come on. Hurry. I need a killing magnolia 6,000.   And here, here's your ring. Where are we going? Sherman House. Or would you like to try the auditorium for a change? Room overlooking the lake. How would you like that? Okay. Next week, we'll run down to West Baton. Do us good. During the day, we can walk and drive or ride. You ought to learn to ride Magnolia. In the evening, we can take a whirl at my Sam Maddock's place. Oh, darling. Don't play there. Not much I'm eating.  

[00:49:24] Unknown:

Let's try to keep what we have for a while. What nonsense.  

[00:49:27] Unknown:

May as well give Sam a chance to pay our expenses. Remember the last time we were down? I won a thousand dollars at roulette alone, and roulette's not my game. Gay. Yes, Nola?  

[00:49:37] Unknown:

Gay, I want to talk to you. What does it have to be now? Yes, Gay. Listen.   Do we have to go on like this? Darling, haven't you been listening? I mean, the money, we're moving out of here. What more do you want? Oh, Day. That's just it. Everything one day and nothing the next.   We ought to be living in a house, a little house, where it's quiet and peaceful, and Kim can play like other children. Now don't get dramatic, Magnolia, for heaven's sake. Besides, we've had that all out before. But why can't we do it? Why can't we live like other people in between? Enough.  

[00:50:06] Unknown:

None of this horrible worrying about tomorrow. I can't bear it. You should have married a plumber. Come on, Magnolia. Get your things back and let's go. I've got a carriage waiting downstairs.  

[00:50:16] Unknown:

Then came a bad streak that lasted longer than the others.   The cane was gone, the English suits, Magnolia's diamond ring.   They'd been in the rooming house on Ohio Street now for three months.  

[00:50:28] Unknown:

Gay, you owe it. Emma,  

[00:50:31] Unknown:

I stopped in at the Sherman House.   This letter was there for you. Ode  

[00:50:36] Unknown:

for mama. Yes.   Dave?  

[00:50:41] Unknown:

Mhmm.  

[00:50:42] Unknown:

Mama's coming. Coming here? Yes. Listen. I've never been to Chicago. I want to see the stockyards, the Grand Opera House, the Masonic Temple Marshall Field, Lincoln Park, and the Chicago River.   I put up at the Sherman House where you are, providing it's not too expensive. And I want you both to understand I mean to pay my own way. I'll not be beholden to any living soul.   Well, we'll have to move back, Gaye. Where? To the Sherman House. That's where she thinks we live. Well, that's out, Nova. But gay, we haven't any choice. And I haven't any money. And you've got to borrow it. On what security? I don't mean business borrowing. They're your friends, all those men. What men? The men at those places. The men you've known for so many years, those gamblers. They've all been trying to borrow from me. But Mike, McDonald, Hankins, Varnell, they've all had thousands of dollars from us. All the money we brought to Chicago,   won't they give some of it back? Mhmm. Mhmm. Mhmm. Mhmm. Mhmm. Mhmm. Mhmm. Mhmm.  



[00:51:33] Unknown:

Mhmm.   Mhmm.  

[00:51:35] Unknown:

Mhmm. Mhmm. Mhmm.  

[00:51:38] Unknown:

I'm not going to have mama come here and see us living like this. I'm not going to do it. Do you think for a minute I would? Flynn, what are you going to do about it?  

[00:51:45] Unknown:

I don't know.   I don't know, darling.   But I'll do something.   I've been in holes as deep as this and managed to call out.   Onto something.  

[00:51:55] Unknown:

That was the last time she heard his voice.   Next morning, when she left the house, he was still sleeping.   It was the day she went to school to see Kim. It was winter, and it was dark in the streets by the time she got home. The door of their room was locked, and when she opened it, before she'd lighted the gas,   she felt the room was empty,   deserted.   On the dresser was an envelope,   her name on it in Ravenna with neat delicate hands. I know you, darling.  

[00:52:21] Unknown:

I'm going away for a few weeks.   I'll return when your mother is gone. I'll stand for you.   You'll find   $300   for you on the shelf under the clock.   It should be enough for a few weeks anyway.   I love always.  

[00:52:45] Unknown:

Okay?  

[00:52:54] Unknown:

So you see, Kim,   it's a long story.   Oh, and all no. Don't say that, Kim. I'm not sorry.   I'm not sorry for anything I ever did in my whole life.   I've been a lot of places. I've seen a lot of things.   In the end,   this is where I belong.   I love it. The rivers, the people,   the showboat,   and the life here.   I don't know why it's dead in me, I suppose.   Yes, Kim. I do know why.   Your grandfather died when you were too little to really know him.   You knew him well, Kim.   You'd know why.  

[00:53:49] Unknown:

This concludes the Campbell Playhouse presentation of Edna Ferber's Showboat   starring Margaret Sullivan, Orson Welles, Helen Morgan, and the authoress herself.   Miss Ferber has something special to say to us tonight, and in just a moment, Orson Welles will bring her back to the microphone.   In the meantime, here is Ernest Chappell.  

[00:54:09] Unknown:

When you taste Campbell's vegetable soup, I'm sure your verdict will be the same as that of millions of others who agree it is so good   that it's a waste of time and energy to go to all the trouble of making vegetable soup at home.   You can prove it by serving this great family favorite tomorrow.   And if there are children at the table, I know they'll show you by their busy spoons what a big hit it makes with them too.   And while they're enjoying it, they'll be getting the nourishing benefits of 15 fine garden vegetables.   If you have thought there never could be another vegetable soup as good as the homemade kind, then this is important.  

Campbell's vegetable soup is made the good home way. From the simmering of its invigorating beef stock to the careful blending and cooking of its vegetables.   It's so good and so substantial   that it's almost a meal in itself. The kind of vegetable soup you'd expect from the finest home soup kettle.   Why not try it tomorrow?   Remember to ask your grocer for Campbell's vegetable soup.   And now Orson Welles brings you his guests of this evening.  

[00:55:12] Unknown:

Ladies and gentlemen, I think you know everybody here. Margaret Sullivan, who was Magnolia, whom you have seen so many times in movie houses and in theaters giving so many fine performances,   is our guest on the Campbell Playhouse for the fifth time.   In fact, the last thing she did before she was Bridgette Haywood,   Haywood's mother,   which she is, was the, if you remember, the nameless heroine of our radio version of Rebecca.   Miss Sullivan,  

[00:55:37] Unknown:

it's very nice to have you back. Oh, it's nice to be back, mister Wells. It always is.  

[00:55:42] Unknown:

I know you know miss Morgan, and I know you love her just as much as I do. Ladies and gentlemen, Helen Morgan.  

[00:55:48] Unknown:

Mister Wells,   thank you for another chance to play Julie.   I suppose   I know showboat about as well as   as anybody.   May I tell you,   it has never seemed more real to me than tonight.  

[00:56:03] Unknown:

Miss Morgan, you are very kind.   And now, ladies and gentlemen, because miss Edna Ferber made her debut tonight as an actress and as you will agree, a very good actress actress   at   that in the role of Parthi Hawks. And because she wrote Showboat and should have something interesting to tell us about it, I've banished all banter and bandonage from our customary afterpiece   and asked her to take the floor and say what she will.   Miss Edna Ferber.  

[00:56:27] Unknown:

Today in 1939,   I never could have written showboat.   I'm too agonized   at what I see and hear in the world about   me. Showboat   carries no message.   It is just a romantic novel about a rather glamorous   phase of American life.   Since it was written in 1926   and this is 1939,   there must be in it a quality   that strikes a sympathetic chord.   It never could have been written   in a war torn world.   A writer should feel free to write as he pleases   and in these times   he's deprived of that feeling.   Those millions of you here in America   who have chuckled over Huckleberry   Finn and Tom Sawyer,   those of you who have thrilled to that majestic piece of prose of the Gettysburg Address,   who have read and heeded the wise sayings of Benjamin Franklin,   whose pulses have quickened to the beat and march of Walt Whitman's poems.  

If   you love these things   and believe in their beauty   and worth   save them   for long long after the rulers of people are dead the literature of a country   lives on.   You who are listening to the Orson Welles program tonight   make up your minds   what kind of world you want   for your children.   Walt Whitman   told you   Listen to what he said.   Long   too long America   traveling roads all even and peaceful   you learn from joys and prosperity   only   but now,   now to learn from crises of anguish   advancing   grappling with direst fate and recoiling   not.  

Now   to conceive and show to the world   what your children,   en masse,   really   are.   Traveling roads all even and peaceful.   You learn from joys and prosperity only,   but now,   now to learn from crises of anguish,   advancing,   grappling with direst fate, and recoiling   not.   Now   to conceive and show to the world   what your children,   I must,   really   are.  

[00:59:04] Unknown:

Thank you, miss Fledger.   And thanks to you, miss Sullivan and miss Morgan.   Please come back to us again on the Campbell Playhouse whenever you will.  

[00:59:15] Unknown:

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[00:59:41] Unknown:

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