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00:00The Makers of Campbell's Soup presents the Campbell Playhouse, Orson Welles producers.
00:27Good evening. This is Orson Welles. Tonight we have the honor to bring to you once again
00:41the foremost actress in the American theater, Miss Helen Hayes, and to bring her to you
00:46in a part of her own choosing as a famous actress of another generation, as Donna Broom
00:54in Clements Dane's Broom Stages. But before our curtain rises on Broom Stages, Ernest
01:00Chappell has a guest with him this evening, and I understand he wants to put her under
01:05a spell, so to speak. Am I right, Ernest Chappell? Well, for a spell, you might say, Mr. Welles.
01:10The fact is, ladies and gentlemen, the other day I met a young woman who's taken part in
01:14a number of spelling bees. I tried her out on some real sticklers and she was so good
01:19I, well, I invited her to be with us tonight. Will the class come to order, please? I'm
01:23quite in order, Mr. Chappell. Now, we'd like to test you on that spelling ability of yours.
01:27Very well. I'm ready. Good. Now, the first word, get this now. The first word is Lilliputian.
01:34Lilliputian. Let's see. L-I-L-L-I-P-U-T-I-A-N. Lilliputian. Right as Webster. Three L's.
01:43All right. Now, the next word is newsstand. N-E-W-S-S-T-A-N-D. Newsstand. I didn't forget
01:50that second S, I see. That's fine. Now, here's an easy one. Suppose you spell tomato soup.
01:57Tomato soup. There's only one way I spell that, Mr. Chappell. Well, how do you spell tomato soup?
02:02C-A-M-P-B-E-L-L apostrophe S. You're right there. One hundred percent correct. That's the way most
02:08people spell tomato soup. C-A-M-P-B-E-L-L apostrophe S. In millions of homes all over this country,
02:17Campbell's is practically another name for tomato soup. Today, you almost never hear of a woman
02:22making her own. Home cooks have come to agree with the famous hotel chefs who say that Campbell's
02:28tomato soup has a flavor that cannot be equaled. So may I remind every one of you listening tonight
02:35to enjoy Campbell's tomato soup again soon. And now, Broom Stages with our exclusive Campbell
02:42Playhouse star, Miss Helen Hayes and Orson Welles. Ladies and gentlemen, there isn't one of you,
02:49I suppose, who doesn't know the name of Broom. To those of you who are young, it means simply the
02:55name of one of your favorite movie stars. And to those of you who are older, it means I know the
03:02memory of many great evenings in the theater. Well-beloved stars of their own companies in town
03:08and on the road. Stephen Broom in England and Russell Broom in America and Donna Broom. You
03:17remember them well with gratitude and affection. And if you are very old, then you remember the
03:24time when the Brooms owned and ran half the theaters in London. There was a Gloriana near
03:30Covent Garden and the Ginista on Oxford Street, and then later the Syracuse on the south side of the river.
03:38I've been to the Gloriana, still one of the great London playhouses,
03:43for Harry Broom and Maud, his Irish wife, built strongly and built well. It's been remodeled,
03:52but the famous roof survives, and rehearsals are still held there in fine weather,
03:57and the fancy pillars at the entrance still stand, and the great curtain made of looking glasses,
04:04and in the lobby facing the ticket buyers, there still hangs the sergeant portrait of Maud herself.
04:10It's like her too, I understand, though Donna, her daughter, always felt there was something wrong
04:14with the eyes, but then Maud didn't sit for that portrait of hers, never knew that they'd hung her
04:20up in the entrance hall of the theater. But two years after its opening, she died of a fever caught
04:26at an all-night rehearsal, and with his wife dying, Harry Broom's happiness ended like a candle blown out.
04:33That was 50 years ago. He went on acting, of course, and the theaters went on.
04:39There were plenty of brooms left in the world besides Harry, so of course there always will be
04:47plenty of brooms. Bring me no more reports, let them fly all,
04:53till Burnham Wood removed to Dunsinane. Fear not thick death, no man that's born of woman
05:00shall e'er have power upon thee, then fly false things, and mingle with the English epicures.
05:08The devil Dandy Black, thou cream-faced loon, where got thou that goose? There is ten thousand
05:14each soldier, sir. Go prick thy face, and overread thy fear, thou lily-livered boy.
05:21What, soldiers? Patch! Death of thy soul! Those linen cheeks of thine are counselors to fear.
05:29What, soldiers? Way-face! The English force shall plead you. Take thy face, hence! Satan!
05:38Oh, I am sick at heart when I behold. Satan, I say!
05:44This push will cheer me ever, deceit me now. I have lived long enough. My way of life has fallen
05:54into the seer. The yellow leaf and that which should accompany old age as honor, love, obedience,
06:03troops of friends, I must not look to have, but in their stead curses, not loud but deep.
06:14Mouth, honor, breath, which the poor heart would fain deny, and dare not. Satan! What is your
06:23gracious pleasure? What news more? All is confirmed, my lord, which was reported. Hang
06:28out our banners on the outward walls. The cry is still, they come. Our castle-strength will
06:33have a siege to scorn. Here, let them lie till famine and the age you eat them up. Were they
06:38not forced with those that should be ours, we might have met them, dareful, beer to beer, and
06:44beat them backward home. What is that noise? It is the cry of women, my good lord. I have almost
06:49forgot the taste of fears. The time has been. My senses would have cooled to hear a knight shriek,
06:58and my cell of hair would at a dismal treatise rouse and stir as life were int.
07:05I have supped full with horrors. Direness familiar to my slaughterous thoughts cannot one stop me.
07:14Wherefore was that cry? The queen, my lord, is dead. She should have died hereafter.
07:23There would have been a time for such a word. Tomorrow and tomorrow and tomorrow
07:37creeps in this petty pace from day to day to the last syllable of recorded time.
07:45And all our yesterdays have lighted fools their way to dusty death. Out, out brief candle,
08:01life's but a walking shadow. A poor player that struts and frets his hour upon the stage
08:10and then is heard no more. It is a tale told by an idiot full of sound and fury,
08:22signifying nothing. How now, fellow, thou cam'st to use thy tongue, thy story quickly.
08:28Gracious, my lord, I say that which I say. All wait in the gallery seat for tonight's
08:32performance. Try to stay in line. You don't have to push that line. Single line, please,
08:37single line and get clear of the stage door. Greatest Macbeth of his generation, Harry Broom,
08:42that's what the paper says. Here, give us a little room. Ah, quiet back there. Stand here at the
08:49stage door, please. You can't believe you can hear from where we stand, so quiet. We are contained
08:55alive. Till famine cling thee, if thy speech be soothed, I care not if thou dost for me as much.
09:02I pour in resolution and begin to doubt the equiversion of a being that lies like truth.
09:08Fear not, till Burnham Wood come to nothing. Good afternoon, Miss Donner. Good afternoon.
09:12You going out front, Miss Donner? No. You don't mean you're leaving, Miss Donner,
09:16in the middle of a performance? Yes. If my grandmother asks where I am, tell her I've
09:20gone home. Very good, Miss Donner. You know who that is? No. Oh, that's Harry Broom's daughter.
09:27Yes, her and the boy Gillings, they're twins. Fifteen or sixteen they must be now. Funny
09:32looking kid, ain't she? With that white face and them big black eyes. Gawky looking, I call them.
09:37Quiet, will you? I want to hear. Hark! Hark! There is no lying head,
09:47nor tearing ears. I came to be a weary of the sun, and wish the estate of the world were now undone.
09:56Ring the alarm bell. Blow in, comrade. At least we'll die with harness on our back.
10:05I will not, sir. I will not. You heard them cheering just now, and what was the name they
10:25were calling, sir? Broom, Broom, Broom. They've been calling that name, sir, for over a hundred
10:30years. In every theatre, in every town in England, sir, and in America, too. That name's
10:37been heard wherever there have been actors and plays. Broom, Richard Broom, he was the first.
10:45Strolling player he was, playing from the back of a cart. Didn't come to London till he was forty.
10:51Robert, his son, was the greatest of fellow that ever lived. He built this theatre, the Gloriana,
10:57our theatre, the Broom's theatre. Built it with the money he earned in forty years of playing,
11:03and left it to his son William Broom, my father, and the greatest actor in the world.
11:08It was his for thirty years, his and my mother's. When it burned down, they went on the road,
11:12and for ten years they played, till they had the money to build it up again.
11:19And now it's mine, sir, and when I go, it will be my son's, and his son after him.
11:25Can't you come to me, sir? You have the effrontery to come to me in my own theatre,
11:29and offer me money, some money, to tear my theatre down and put up an office building,
11:34an office building. I tell you, sir, as long as plays are played in theatres and there are actors
11:41to play in them, this theatre, the Gloriana, will stand, and there'll be Broom's playing in it.
11:46And now, sir, get out. Get out before I have you thrown out. Very well, Mr. Broom. Go on, get out.
11:53That was quite a speech, Harry. Well, really, Mother. It could even occur to anyone that I'd
11:59sell the Gloriana. People aren't blind, Harry. They can see it's getting old. It's not a cheap
12:05theatre to operate anymore. Oh, Mother, be quiet. How was I today, Mother? You were out in front,
12:10weren't you? I've never seen the heath scene better played in my life. Oh, really? Towards the end,
12:15you were getting tired. Yes, I was. Did the audience know it? No, no, they didn't know.
12:19Where's Donna? When did she come in? She left. She what? She left word with the doorman during Act
12:25Two. She went home. She went home during Act Two? You mean that the child comes up from the country
12:31for a week, she comes to the theatre, our theatre, to see me play Macbeth, and she can't even stay to
12:38the end of the performance? I told you before, Harry, Donna doesn't like the theatre. Doesn't
12:42like the theatre. Who cares what she likes? She does what she's told. And I tell you, Mother,
12:46I have a good mind to put that girl into a pot. Yes, what is it? Sorry to trouble you, Governor,
12:50it's the scene painter here. He wants to talk to you about the garden set and so forth. All right,
12:54I can wait. Yes, sir. I wouldn't force Donna on the stage, Harry, if that's what you were going
13:00to say. Mother, will you please let me look after my own children? Theatre's not what it used to be
13:03for a girl, Harry. In your grandmother's time, yes. Then there were compensations, but now there's no
13:10glamour left. It's either respectable and dull or impossible from every point of view. Mother,
13:15there's got to be a broom on the stage. That's Gilly. That's your nephew, Stephen. Yes, Stephen.
13:20Very pleased with Stephen, but Mother, he's not my own flesh and blood. We built up a great
13:25heritage, Maude and I. We built it for our children. I won't have it frittered away. And
13:29Gilly... You want your son on the stage, don't you? Not yet. Gilly's only 16. He's just a child.
13:34And Donna? Look, girl, it's different. With 16, Donna's as tall as I am. I've seen the way the
13:39girl sits on a horse. There's nothing childish about that. She likes to ride. The things Donna
13:43likes, she does very well. There's times she's made to do things she doesn't like. Think you can
13:48put that girl on the stage? She wants to stay in the country, in London, where she's happy. Happy?
13:53A broom. A broom is happy in the theater, on the stage, in the dressing room. Father had no business
13:58buying a place in the country. Mother, we're actors, not country people. My daughter doesn't
14:05know that yet, and it's time she was taught. Anyway, I never had been able to understand that girl.
14:09Perhaps if you tried a little harder... Tried? What are you talking about, Mother? Do you think I had the time?
14:13You always had time for Gilly. Gilly's my son. Besides, Gilly's different. Can't help liking
14:20Gilly, but I tell you, Mother, that girl's odd. She's not like one of us. She's got no...
14:24Charm? Is that what you mean? She hasn't got the broom charm. I don't know what I mean, Mother,
14:29except that she wants breaking in. She wants using. There's something in Donna that's going to waste.
14:36I hate you.
14:40Donna. Yes, Father? Where's Gilly? I don't know, Father. You should know, shouldn't you?
14:46It's that week of your brother's holidays. He goes away Monday. Yes, Father. Aren't you sorry he's going?
14:51Have you no affection for your brother? No, but if you want me to find him, I think he's upstairs
14:55with Stephen and some of his friends. You never go about with them? No, I don't. They don't want me
14:58and I don't want them. I'd rather read. What do you read? Books. What sort of books? Whatever I can get.
15:04You ever read plays? Yes. Shakespeare? Yes. You ever learn Shakespeare by heart? You learn by heart at all?
15:09Yes. Why, Father? Donna, I propose training you for the stage. Why? What's that? I asked why.
15:20You're not interested in me, Father. It's Gilly you care about. He's the one with the talent.
15:24He's the one that will carry on your name in the theatre. I said, Donna, that I have decided to
15:29train you for the stage. Would you like to learn? Donna, answer me. Why, if you've decided, Father,
15:36that I'm to go on the stage, I suppose I'll go, Shanta. It doesn't much matter what I think. Get
15:41your Shakespeare. Turn to the Merchant of Venice. Which scene? I know them all. The Quality of Mercy
15:45is Not Strained, I suppose that's the speech you want? Yes, I'll cue you. On what compulsion must I
15:52tell me that? The Quality of Mercy is Not Strained. My dear child.
16:03The Quality of Mercy is Not Strained. You're commencing one of the most notable passages
16:07in the entire literature of the theatre. Now, take a deep breath, child.
16:14The Quality of Mercy is Not Strained. It prophesies the gentle rain from heaven upon
16:20the place beneath. My child, are you entirely serious? What do you mean, Father? Do you imagine
16:25that an audience of 2,000 people who have paid their money to hear Shakespeare are to be hailed
16:30or even satisfied by these chirpings of a little sparrow? Sorry, Father. Go ahead, upon the place
16:34beneath. It is twice blessed. It blesses him that gives and him that takes. Tis mightiest in the
16:44mightiest. It becomes the throned monarch better than his crown. His scepter shows the force of
16:51temporal power, the attribute to awe and majesty wherein doth fit the dread and fear of kings.
16:58But mercy is above this scepter's sway. It is enthroned in the hearts of kings. It is an
17:04attribute to God himself. Oh, stop! This is unbelievable! What's unbelievable? You're a
17:08broom, aren't you? Yes, I am a broom. Well, for the love of heaven, girl, you have a voice. You're
17:13blessed by God and seven generations of experience with the instrument of poetry. Use it, girl!
17:18She isn't speaking poetry. She's reasoning with Shylock. Why should she rant at him?
17:22Ranting isn't the worst. Oh, yes, it is. I know the kind of thing you want and I won't give it to
17:25you. Donna, my child, you'll read The Quality of Mercy to me as it should be read, as I wish it
17:30read. Or you won't play it at all. Then I won't play it at all.
17:48Two, please. Two for tonight. Two, that'll be one and six.
17:51I didn't think they had a shooting box. Sixpence change. There you are. Next, please. Next. Single
17:56line there. I want my money back. What's that? Yes, I want my money back. I don't want to see
18:02no understudy in Hamlet. What do you mean, understudy? I've seen it in papers. Airy Broom
18:07lost his son, Gilly Broom. Died this morning of pneumonia, didn't he? Yes, he did. Poor young
18:12boy, he did. I'm sorry, but I don't go to the theatre but once a month and I don't want to
18:16see no understudy. I want to see Airy Broom. You'll see him. The governor don't let no understudy
18:22go on for him at the glory honour. You can be sure of that. He's going to play anyway,
18:26with his son dead this morning. Yes, he is. Next, please. All waiting for seats in the
18:32gallery for tonight's performance. Stand in line. Single line and stand by there.
18:47Why have you come, Stephen? Your father, Uncle Harry, sent me. Why did he send you, Stephen?
18:56He couldn't get away. He could write. Donna, I've come to take you home to London. You've come to
19:02take me home? This is my home, Stephen. Here at Blandon. This is my life. Donna, your father wrote
19:10you weeks ago after your brother's death. You knew what he wanted then. And I refused. I told him I
19:16never would, never could come back. So why can't he leave me alone? Donna, he still wants you to
19:20come. You mean, Stephen, and to live at London and go down to the theatre every night with father and
19:26throw myself into my acting and be one of the brooms? I couldn't do it. You could stay with us
19:30with Madeleine and Bea. Stephen, I won't go to London. Donna, did you know that in a few weeks since
19:36Gilly died, your father's hair has gone quite grey? Oh? You know how he feels about the theatre,
19:42the Gloriana, and about the succession? While there was Gilly, you could do as you pleased.
19:46But now that Gilly's gone, can't you see where your place is? Come, Donna, be human. I won't come.
19:53Donna. I won't. You'll have to come. I won't. This is my home. Here at Blandon, in the country
19:59where I belong. The only place in which I've ever been happy. And now he wants to take that away
20:03from me. Well, he won't. How are you going to live, Donna? I have my allowance. He wouldn't take my
20:10allowance away. Stephen, he wouldn't take my... He'll use every weapon he has. And I always thought
20:17at least he was generous. Your father is generous in his own way. But you're fighting a battle with
20:22him and you won't own your beaten. When you own it, then he'll be generous. Very generous.
20:28Gallery seats, all gallery seats stand in line. In line, please. Doors open at seven. In line, please.
20:43Now, what's playing tonight? Tonight, she stoops to conquer with Stephen and Donna Broom. In line, please.
20:49Oh, come on, Elliot. I ain't standing in no line to see no Donna Broom. What's the matter with her?
20:55She's a Broom, ain't she? Well, if she is, she don't play like one. I've seen her last week,
20:59regular stuck-up. She is a nighty-toy. Well, I never... That's like she was doing you a blooming
21:04favour all the time she's up there. Come on, Elliot. Let's go to the A-market and see the set.
21:08Gallery seats, gallery seats, stand in line, please.
21:12Oh, Mr. Broom, you said you'd see me today, didn't you? I'm sorry, ladies and gentlemen. No casting, sorry.
21:23Could I come back in a few weeks, Mr. Broom? Certainly, I'd be glad to see you.
21:28Goodbye, Mr. Broom. Thank you. Stephen, you said you wanted to see me. You've made me wait an hour.
21:33Donna, why can't you be civil when you come through these people? What people?
21:37These actors' afterparts. Old Cloris, Edna Barrier. Oh, Stephen, really, after all I...
21:42Just because you're a Broom and the Governor's daughter and you know this place will belong to you when my uncle dies...
21:47I think you must be out of your mind, Stephen. I never thought of any such thing.
21:50Well, they think of it, poor devils, when they see you sailing past like the...
21:53What do you want to speak to me about, Stephen? Be as quick as you can. I should be late for lunch.
21:58I'm sure Madeline's waiting for you. Madeline's away. Oh? And the boy's been sick.
22:03Well, Donna, it's a rather difficult matter to begin. Yes, come in.
22:07Oh, the Sage Carpenter wants to speak to you for a moment, sir. Yes. Oh, yes. Come in, Herman.
22:11It's about frames of them doors. I can't get them done by Monday. Not yet. I have help.
22:17What's, um, Tolman doing? He's busy on Skye. He doesn't take him off before it'll be dry on Skye.
22:24All right. Cut across the bridge to the St. James and ask the carpenter there. He'll lend you a couple of men.
22:30Well, Donna, as I was saying... Yes, Stephen? It would be civil of you to listen, Donna.
22:36I'm listening, Stephen. I can't talk to your back. What? Oh, I'm sorry. Well, go on.
22:41Well, it's... Yes, yes.
22:44Master, Mr. Marmot's to see you, sir. Oh, send him away. I'm seeing nobody this morning.
22:48Well, Mr. Plum, he says... I don't care what he says. Put him off somehow, old boy.
22:52All right, all right. Come on, Donna, this way. Where? Let's go up to the roof.
22:58What? It's the only place they don't bother you. But I've never been on the roof.
23:01Well, you're coming now.
23:07Stephen, it's wonderful up here. Why don't we rehearse here in the summer?
23:12We used to in your mother's time. She loved it. But nowadays the governor never comes here.
23:16Look at those people far down there in the street. They look like flies.
23:19Oh, I like it here, Stephen. I should come up often. If I let you.
23:22You know, I think... If you let me.
23:26I said if I let you, Donna. Let me? Is there any reason why you shouldn't?
23:31None at all. None at all if you stay on here at the Gloriana.
23:35Oh, Stephen, you know well enough that I've got to stay here day in, day out, night in, night out,
23:42the rest of my natural life. Father's made that plain enough.
23:45That's why he thought of you as an asset. He was hoping you could play Cordelia with him in the spring
23:50when Uncle Russell came over from America. But now he's beginning to wonder whether you are an asset.
23:56That's what I was going to talk to you about. Your father's a businessman.
24:00He may reckon you as one of his losses and decide to cut his loss.
24:04Then, I dare say, he'll send you back to Blandon where you so much want to be.
24:08I expect you'll be pleased at that. That's why I tell you, I'm always willing to give you pleasure.
24:14I don't know what you're talking about, Stephen.
24:16You know what I think, Donna? I think you're a cheat.
24:19Stephen, I don't know what you mean.
24:21Oh, don't say stupid, Donna, when you've been so exceedingly clever.
24:24You're a cheat. But what have I done, Stephen? You don't tell me what I've done.
24:28You make it impossible for people to play with you. You shut yourself up.
24:32You play for your own hand. It reacts in the company. They feel you despise them.
24:36But I don't. I don't even... I never think of them.
24:39Do you find the company friendly? I don't know. I've never thought.
24:42Well, it's time you did. Do you know what your audiences think of you?
24:45I may as well hear the worst of myself. What do they think of me?
24:48They think you're a piece of handsome machinery in good order.
24:51It's not true. Perfectly true. What else are you?
24:54You're not a woman. You're bloodless and inhuman.
24:57You can neither give nor get love.
24:59Shall I tell you, Donna, what a critic said to me the other day?
25:02No, I don't want to hear it.
25:04You can say things about me, Stephen, and I'll let you.
25:06But I won't let anyone else.
25:08I don't know why I let you.
25:10Why do you, Donna?
25:12Why? Does it matter?
25:15I choose to.
25:17But I won't endure it from other people.
25:19Even from you, it's hard enough to bear.
25:21You make me out hard and cold.
25:24If you think that, then I'd rather you'd say it, of course.
25:27But I'm not hard and I'm not cold. Donna, I didn't think...
25:30Oh, I don't care. I don't care what you think.
25:34The sun's unbearable on this lead roof. I'm dizzy with it.
25:37Donna, come back here.
25:39Haven't we finished, Stephen?
25:41There's really no more to say, is there? I can't be lectured forever.
25:44Can I?
25:47Donna, what's the matter?
25:53Can't you see?
25:55I love you, Stephen.
25:57Donna.
26:01That day when he came to Blandon to fetch me,
26:04you were so... so...
26:07Oh, I was so lonely, Stephen. So terribly lonely.
26:10And all these months we've been working together.
26:13Stephen, hold me.
26:15Hold my arm.
26:17Stephen.
26:33I will have such revenges on you both that all the world shall...
26:38I will do such things, what they are yet I know not,
26:42they shall be the terrors of the earth.
26:45You think I'll weep?
26:47No, I'll not weep.
26:49Oh, Donna.
26:51I've been rehearsing all day.
26:53I know.
26:54Uncle's warned me out. He said no mercy.
26:56No, of course not.
26:58Are they finished with you now?
27:00Not for another hour.
27:01He wants to run through the Gloucester scene again.
27:03You know what that means.
27:05This is the fifth week of it. I've never seen him this way before.
27:08When I'm finished, my scene, Stephen, I'll go.
27:11Yes, Donna. I think you'd better go home.
27:13How tired you look, Stephen.
27:15Look, dear. Come to me afterwards, however late it is.
27:19I'll make you rest so well.
27:21Donna.
27:22I'm not a bit tired, really.
27:24I'll have supper ready for you and it should be very peaceful.
27:27We won't even talk.
27:28It'll be too late.
27:29Will it?
27:31Perhaps you're right.
27:33You shall do as you think.
27:35I'll understand.
27:36But look, Stephen.
27:38If it's not too late, come.
27:40Do come.
27:41On stage for the Gloucester scene.
27:43Please, everybody, on stage for the Gloucester scene.
27:45Is that your call?
27:46Act one, on stage.
27:48Please, act one, scene two.
27:50Good night, Stephen.
27:51Unless you come, please come, Stephen.
27:54I ought to go home, Donna.
27:56Yes, but come.
27:57I can't, Donna. I've got to go home.
28:00Why?
28:01Madeleine comes home tomorrow.
28:04This is tonight.
28:07Your wife's coming home tomorrow.
28:09You knew she was?
28:10No, I didn't know.
28:11You never told me.
28:13What are we to do?
28:14Do?
28:15It's come at last, Stephen.
28:17Oh, I'm so sorry for her.
28:19What do you mean, Donna?
28:20Are you talking of Madeleine?
28:21She'll never forgive us, Stephen.
28:23How will you tell her?
28:24Or shall I?
28:25I want to share my part of the burden.
28:28Oh, Stephen, if we didn't love each other, this wouldn't be bearable.
28:31Donna!
28:33What is it, Stephen?
28:35You look so strange suddenly.
28:38What's the matter?
28:39Yes, what is the matter, Donna?
28:41What have you got into your head?
28:43What have I...
28:44I'm not going to tell my wife anything.
28:47You're not?
28:49Am I to tell her then?
28:50No, nobody is to tell her anything.
28:53But aren't we in love, Stephen?
28:55Won't she divorce you?
28:56Shan't we get married?
28:57Oh, my poor darling.
28:59You don't look at me.
29:01You don't answer me.
29:03Stephen, why don't you answer me?
29:06What's frightening you?
29:07Shan't we get married?
29:08Shan't we?
29:09Oh, don't spoil everything.
29:10We've had a wonderful time, haven't we?
29:12Well, it's over.
29:14It's over?
29:15It must be.
29:16Can't you see?
29:17Oh, don't be such a child, Donna.
29:19I'm married.
29:20We're people of the world, not children.
29:23Don't you see?
29:25Yes.
29:27I see.
29:28Yes, but why do you make me seem so...
29:30Why do you pretend?
29:31Oh, I don't have to explain things, do I, at this time of day?
29:35You're explaining very well, Stephen.
29:39One thing I want to know, though.
29:42In all these weeks, through all that's happened,
29:46haven't you loved me at all?
29:48Stephen, even a moment ago, weren't you loving me at all?
29:50I've loved you precisely as you've loved me, Donna.
29:53We've always understood each other.
29:54At least I thought so.
29:56Oh, Donna, there's my call.
29:58Stephen!
29:59What's the use of talking?
30:00This thing's got to stop sometime.
30:02It had better stop now, don't you think?
30:04If Madeleine were dead, would you want it to stop?
30:06Say it.
30:07Give me a yes or no.
30:08Look, Donna.
30:09If I said no, it wouldn't be true.
30:11And if I said yes, it wouldn't be true.
30:14Darling, if you go to a ball all night long and enjoy yourself,
30:17that's the end of it.
30:18You want it to go on forever?
30:20Of course not.
30:21The end of it is you want to go home.
30:24Oh, Donna, don't look like that.
30:27What?
30:28What do I look like?
30:30Do I look sad?
30:32Do I look angry, hurt?
30:36Then my looks belie me, Stephen.
30:38Truly, they do.
30:40You're right, of course, it's got to stop.
30:43It's been wonderful, hasn't it?
30:46I'll never forget it, will you?
30:49And I'll never forget you, Stephen, and all you've taught me in these few months.
30:52Donna.
30:53Don't look so agonized, dear.
30:56You make me laugh, Stephen.
30:58You look exactly as if...
31:01as if I were the one who would break things off.
31:04Mr. Broom, on stage, please.
31:06The blaster scene.
31:08You must go down, Stephen.
31:10But kiss me first.
31:12We shan't be alone again, darling.
31:15Ever.
31:16Mr. Broom, please.
31:18Coming.
31:19I wish you'd stand by for your cue.
31:21Donna.
31:22Is Donna back there?
31:23Are you there still, Donna?
31:25Yes, father.
31:26Don't go yet, Donna.
31:27When you finish this scene, I'd like a run-through with you.
31:29Are you too tired?
31:30Not at all.
31:31I'll wait.
31:32I like watching.
31:33All right, gentlemen.
31:34Get out then.
31:35Now, Stephen.
31:36Thou nature art my goddess.
31:38To thy law my services are bound.
31:40Oh, no, no.
31:41You're putting nothing into it, boys.
31:43Smile, boy.
31:44Be gay.
31:45If you can't give me gay, then the pot goes to pieces.
31:47Now, come on.
31:48Try it again.
31:49Thou nature art my goddess.
31:50To thy law my services are bound.
31:52Wherefore should I stand in the plague of custom?
31:54That's it, boys.
31:55Smile.
31:56It is the curiosity of nations to deprive me.
31:58For that I am so swell for a woman.
32:16You are listening to the Campbell Playhouse presentation of Broom Stages.
32:19Starring Helen Hayes in the role of Donna Broom.
32:22And Orson Welles playing Harry Broom and his grandson Edmund Broom.
32:26The part of Stephen Broom is being played by John Huysrup.
32:29This is the Columbia Broadcasting System.
32:46This is Ernest Chappell, ladies and gentlemen, welcoming you back to the Campbell Playhouse.
32:50In a moment, we shall resume our presentation of Broom Stages.
32:53Starring Helen Hayes and Orson Welles.
32:56But for that moment, I'd like to say a few words on behalf of the children.
33:00I don't believe there's a machine of any kind that uses up energy faster
33:04or that needs more of the right kind of fuel to keep going than the average boy or girl.
33:09Growing children need nourishing food to replace the energy they burn up
33:13and to build strong, sturdy bodies and keen, alert minds.
33:17Most doctors say that every boy or girl should have at least a quart of milk a day.
33:21But how to get the children to take that milk may be a problem.
33:25And so I want to tell you mothers about one way to do this that I'm sure they'll welcome.
33:30Simply add milk instead of water to any of these four Campbell soups.
33:35Pea soup, celery soup, asparagus, or tomato.
33:39In this way, you give your children good vegetable nourishment
33:43combined with the important health benefits of milk.
33:46Why not make a point to serve these four soups often?
33:49Remember their names, Campbell's tomato soup, Campbell's pea soup,
33:53Campbell's celery soup, and Campbell's asparagus soup.
33:57And don't forget that they'll be keenly enjoyed by the older members of the family too
34:01when served as cream soups.
34:04And now we resume our Campbell Playhouse presentation of Broon Stages
34:08starring Helen Hayes and Orson Welles.
34:11Orson Welles.
34:17Gathering seats, gathering seats for the evening performance.
34:20Stephen Broome in Romeo and Juliet.
34:23Stand in line please.
34:25Clear the stage door there.
34:27Excuse me, I'd like to get through.
34:29Yes. Here there, make room, make room there.
34:31Clear the stage door please.
34:33Thank you, thank you.
34:34Who's that?
34:35Who's that went in the stage door?
34:37I don't know.
34:38A woman in black.
34:39That's funny, in the middle of a performance.
34:41It ain't funny.
34:43No, that is.
34:44No, who is it?
34:45It's Donna Broome, Harry Broome's daughter.
34:48Harry Broome?
34:49Did he have a daughter?
34:50Been away, she was in America for ten years.
34:52America?
34:53Yes, she married an American actor from Russell Broome's company
34:57that came over for King Lear.
34:59Hardly knew him two weeks when she married him.
35:01Married him and away they went.
35:03What's she doing over here?
35:04Oh, come to see the will I expect.
35:06Old Harry Broome's will.
35:08Now shut up, we aren't trying to hear.
35:10My love, all through Apothecary thy drugs are quick.
35:16Thus with a kiss I die.
35:19Broome!
35:31But Donna, don't you understand?
35:33For years your father and I managed these theatres.
35:36Now that he's dead...
35:37Yes, Stephen, you and my father worked well.
35:39I should step into his place.
35:40But Donna, you're a woman.
35:42Well, for twelve years you haven't even lived in this country.
35:44Oh, don't talk rubbish, Stephen.
35:46I've been managing my own companies in America for eight years.
35:48But Donna, you can't be in two places at once.
35:51When you go back to America...
35:52I'm not going back to America, Stephen.
35:54You may as well know.
35:55My husband and I are separating.
35:57Probably a divorce.
35:58We have nothing in common and my work is here.
36:00Your work?
36:01I'm guardian for Edmund, my son.
36:03The business is Edmund's inheritance.
36:04And youth, this is.
36:05Oh, certainly.
36:06You shall look after your son's inheritance, Stephen.
36:08And I shall look after Edmund's.
36:10I'm very anxious to work with you, Stephen.
36:12But Donna, I've tried to explain to you.
36:14It's not possible for you and me to...
36:16Why not?
36:17You see, I don't intend to leave you with sole control, Stephen.
36:20I don't see how you can help it, Donna.
36:22Before he died, your father made me managing director.
36:24Oh, yes. Oh, yes.
36:25But he's dead now and the property is half mine.
36:27As half owner, I wish to make this arrangement.
36:29Well, as half owner, I object.
36:31So it's deadlocked, Donna.
36:32Of course, if you want to make a dispute of it, Stephen,
36:34you can always call in my lawyer.
36:35Donna, what do you mean?
36:37I've saved a fair fortune, Stephen.
36:39But I'm prepared to spend every penny of it
36:41fighting for my right and Edmund's.
36:43Either you and I work together as my father wished,
36:46or the property must be sold.
36:48Donna, after all that's happened between us,
36:50do you really believe that we could work together?
36:52I don't see why we shouldn't.
36:54We're arranging a partnership, Stephen, not a love affair.
36:57Well, Stephen, do you want to talk it over with your wife?
37:00You know perfectly well what she'll say.
37:02She'll be extremely puzzled that you should dislike working with me.
37:05No, she... she wouldn't.
37:09So you did tell her.
37:11You added even that.
37:13You couldn't even hold your tongue.
37:15She guessed.
37:17Did she punish you?
37:18My wife's an angel.
37:20Always was and always is.
37:21And I don't want to talk about her.
37:22If I've got to work with you, Donna, at least keep her out of it.
37:25And anyway, it's all years ago.
37:27You needn't be afraid, Stephen.
37:29You won't have to work with me after all.
37:31I'm afraid it's I who won't work with you now.
37:34No, you've talked a little too much, Stephen.
37:37We'll sell the theater and be done with it.
37:39What?
37:40I said we'll sell the Gloriana and be done with it.
37:42Donna, you don't mean that.
37:43My lawyer says I'm within my rights.
37:45Donna, you can't do that.
37:46Why not?
37:47The Gloriana's our theater.
37:49It's been our theater for 80 years.
37:51It was your father's.
37:52It was his father's before that.
37:53Now if a stranger gets in there...
37:55I'm not afraid of that, Stephen.
37:56Can't you see what you're smashing?
37:57The Broome tradition, the tradition of two centuries.
38:00Not smashing, Stephen.
38:01Transferring.
38:03You think the Broome tradition lives in you and Eustace.
38:05I think myself strong enough to transfer it all through myself to Edmund.
38:09Our sons will not be of age for another 10 years.
38:13And that gives you and me plenty of time, Stephen, to fight this out.
38:17Let's see 10 years from today which branch will represent the Broome tradition.
38:22Don't look so frightened, Stephen.
38:24You used to like a fight.
38:25Donna, I beg of you not to do this mad thing.
38:28Yes, you always thought me mad.
38:30Donna, you don't realize the brutality of what you're doing.
38:33This starting again from the beginning with the children and my wife always ill.
38:37It's more than I can face.
38:39We all say that when we're in trouble.
38:41But you know one does face things and after a time one masters them or is mastered by them.
38:46It's all a question of one's nature, Stephen.
38:49One must learn to be hard and learn to be cold.
38:52And learn not to feel too much.
38:55And then one wins.
38:56Donna, are you still holding against me that craziness when we were both so young?
39:00I wish you wouldn't be so emotional when I want to talk business.
39:04However, I can talk to my lawyer and he can see yours.
39:08And you do understand, Stephen, don't you?
39:11That I'm going to sell the Gloriana.
39:22Half an hour, please. Half an hour.
39:24Half an hour. Half an hour, Miss Bloom.
39:27Is Mr. Edmund in there, mother?
39:28Yes, Jo, I'm here. Thanks.
39:29Half an hour, please, sir. Half an hour.
39:31You'd better go and dress, Edmund.
39:32Oh, not yet, mother. It doesn't take me five minutes.
39:34It should, Edmund. Even on the road, you know.
39:36Well, it does as a rule, mother.
39:38Let me stay here and talk with you a little longer.
39:39Have you missed me?
39:40How'd the show go last night?
39:41Fairly. Not a good house.
39:43And Henry and your part wasn't very good.
39:46Have you arranged anything, Edmund, with the theater in Manchester?
39:48No, it's as I thought it would be.
39:50Cousin Stephen has been in Manchester before us.
39:52This week, the school for scandal and the cigarette makers' romance.
39:55So they don't want another broom company for quite a while, is that it?
39:58That's it. That's it.
40:00You do get in each other's way, don't you, you and cousin Stephen?
40:02It's astonishing how he draws, too, in spite of his third-rate company.
40:05You watched their show, then?
40:06Yes.
40:07How did he play?
40:08Is he aging? Does it show?
40:10Well, he's not so much aging, mother. He's looking badly.
40:12You know, his wife Madeline died last week, I suppose.
40:15I told you that myself.
40:17I suppose, mother, this feud between you and Stephen has got to go on.
40:20Feud?
40:21Hand me that eye black there, will you?
40:22Sure, here you are.
40:23Thanks.
40:24What do you mean by feud?
40:26Your cousin and I are necessarily business rivals,
40:28and as you know, there have been interminable money disputes.
40:32Business is business, even in the theater.
40:35But feud...
40:36Oh, mother, don't bluff.
40:37Of course it's a feud.
40:38You've both had your knives at each other for years.
40:40Hang if I can see what you've got out of it.
40:41What do you get out of it, mother?
40:42You must get something.
40:44A thing to be eaten.
40:45I've my living to earn, and yours...
40:47Good mother, you're not earning it, are you?
40:48We're much worse off than we were five years ago,
40:50dragging ourselves around the country this way.
40:51We've been out of London for three years now.
40:53You know, a thing at the Gloriana now,
40:55and what used to be our theater, third-rate musical comedy.
40:58That's because of the lawsuit.
40:59I can't see why you ever started these lawsuits.
41:01No, Edmund, it's not necessary for you to see,
41:04but if you'd been in my position at that time,
41:06I think you would have done just as I did.
41:08Anyway, your cousin started the lawsuit, not I.
41:11He says you forced him.
41:12He says?
41:14What do you mean, he says?
41:16What's this about, Edmund?
41:18Do you mean you've been in touch with Stephen
41:20without telling me?
41:21No, mother, I went around to see him after the show, of course.
41:23You went around?
41:24But, mother, why shouldn't I?
41:25You were just saying there was no feud.
41:26I like Stephen's acting very much,
41:28and I hadn't seen him for years.
41:29I just thought I'd go around, so I went around.
41:32Of course he saw me, and got on very well.
41:34He asked after you, too, as a matter of fact.
41:36After me?
41:37Isn't it all bitter?
41:38He's pretty hard up, I think.
41:39Did he speak of his wife?
41:41Of Madeline?
41:42Oh, yes, poor devil.
41:43He's got some sister-in-law there to look after the children.
41:45And Eustace?
41:46Eustace is at Oxford still, of course.
41:48I see.
41:49Stephen's son is at Oxford,
41:50but my son is earning his living.
41:52Well, suppose you'd sent me to Oxford,
41:53and I consented to go, mother.
41:54Anyway, Cousin Stephen's half killing himself to do it.
41:57He seems to have told you a good deal in one interview.
41:59Quarter of an hour, please.
42:00All right.
42:01Quarter of an hour.
42:02Better go and rest now, you'll be late.
42:03You know, I just like a hurried maker.
42:04We'll talk about it afterwards.
42:06About what?
42:07Oh, about Cousin Stephen.
42:09There's nothing to talk about that I can see, Edmund.
42:11All right.
42:12Quarter of an hour, please.
42:13Quarter of an hour, please.
42:14Quarter of an hour.
42:17Don't be so stubborn, mother.
42:19Of course I'm right.
42:20We're losing money all the time.
42:21Cousin Stephen is forever cutting us out.
42:23My dear Edmund,
42:24we more than cut our Cousin Stephen in return.
42:27For every penny we lose, he loses a shilling.
42:29Yes, mother, but why lose a penny or a shilling?
42:31Why did Grandfather and Uncle Russell succeed as they did?
42:33Because they knew how to combine that's all.
42:34Combine?
42:35Don't care, mother.
42:36I have a scheme.
42:37I've been working at it for weeks.
42:38I don't want to hear it, Edmund.
42:39Mother.
42:40It seems to me very impertinent of you.
42:41At your age.
42:42You brought me up to look at this company as my inheritance.
42:45Yes, Edmund.
42:46And when you put on your first play
42:48as an independent London manager,
42:49independent even of me,
42:51then I shall have done my work in the world, Edmund.
42:54And then I shall be ready to go home.
42:56But until then...
42:57You always said, mother,
42:58that when I was 21, you'd hand over the company to me.
42:59Is that right?
43:00Yes, I did.
43:01Well, that's a year off.
43:02But I swear to you, the day I'm 21,
43:03this is what I'll do.
43:04I'll go straight across to Cousin Stephen
43:05and we shall combine our companies.
43:06Then we'll soon be back in London at the Gloriana.
43:08That's just a dream, Edmund.
43:09Of course we will.
43:10With Stephen and you and me together,
43:11and the Brooms together again,
43:12there's no limit to what we could do.
43:13So why not let me go to Stephen
43:14instead of frittering away another year?
43:16Another year would be too late.
43:17Cousin Stephen would be smashed.
43:19Mother.
43:21I'd like to see that ending.
43:23I'd like to see your Cousin Stephen smashed,
43:26crashed, wiped off the stage,
43:29wiped out of the history of the theatre.
43:32Yes, mother, I know all about that.
43:34A vindictive lot.
43:35We Brooms aren't proud of it.
43:36But mother, this isn't 20 years ago.
43:38This is today.
43:39I wish you could see what an opportunity this is.
43:41You can hate Cousin Stephen as much as you like,
43:43and he can hate you.
43:44Does he?
43:45Well, he won't disgust you, naturally,
43:46but he's not exactly warm and cheerful
43:48when you're mentioned, but...
43:50Mother, what I'm trying to say is
43:51you can hate each other as much as you like
43:52as long as you don't mix me up in it.
43:54It hasn't anything to do with me.
43:56But what does concern me
43:57is my chance of going into management
43:58as the broom of acting in my own theatre once more.
44:01You don't know what you're asking, Edmund.
44:02Yes, I do.
44:03I'm asking you not to be sentimental.
44:04How dare you, Edmund.
44:05Sentimental, mother.
44:07Mother, I've set my heart on this.
44:09So I fear...
44:10Well, what about it?
44:11You see the sense of it, don't you?
44:13Oh, yes, I see the sense of it.
44:14Well, mother, will you meet Cousin Stephen?
44:16He won't meet me.
44:17That's what he said.
44:19Oh, so you've talked to him already.
44:21Of course, mother.
44:22I cracked the soft nuts first.
44:24Oh, Edmund, Edmund.
44:26You see, mother,
44:27this is in some sort of a test of me,
44:30of my power to get my own way.
44:31If I can make you and Cousin Stephen do what I want,
44:33I should be, it seems to me,
44:34pretty sure that I'm on the right lines.
44:35For what, Edmund?
44:36For making everyone else do what I want, of course.
44:39Mother, I do want my life to be a success.
44:42Mastery, that's the greatest thing in life for me.
44:45Mastery, I want to master everybody.
44:47And if you meet someone you can't master, Edmund,
44:50sooner or later?
44:51I'd beat him somehow.
44:52Supposing you couldn't?
44:53Oh, how I'd hate him.
44:55I don't hate you, Edmund,
44:56though you generally get me to give in to you.
44:58Well, if you didn't, I should hate you, mother.
45:00Oh, my son.
45:01I should.
45:02Edmund, if one day your son said the same thing to you...
45:05My own son?
45:06I should see that he kept his place.
45:08Pooh.
45:09You'll be proud of him as I am of you.
45:10I'd like to see a son of mine try it on, that's all.
45:12I'd break him, then I'd build him up again.
45:14First I'd break him.
45:15I don't want to break you, Edmund,
45:17though you are too much for me.
45:18Yes, but that's because we agree, mother.
45:20We agree so well.
45:21Right now you're only making objections, you know,
45:22to amuse yourself.
45:24Very well, Edmund.
45:26Make the appointment.
45:28I'll see him.
45:37Well, you've read the agreement,
45:39and I take it that you approve.
45:41So if you'll sign here, Miss Donner.
45:43Yes, I'll sign it.
45:48Now you, Edmund.
45:55Now you, please, Stephen.
45:58I can't do it.
46:00I won't do it.
46:01It's signing away Eustace's birthright.
46:03My son's birthright.
46:05My dear cousin Stephen.
46:06I've tried to blind my eyes to it,
46:07but here it's written down clear enough.
46:09And I won't do it, Donner.
46:11If your boy here is my partner, that's well enough.
46:13But what about Eustace?
46:15I've got to look after my own son.
46:17Well, don't ask me to step out of management
46:19in order to make room for Eustace.
46:20I won't do it.
46:23It's all right, mother.
46:24Nobody's asking you to do it.
46:25He is. He is.
46:26Don't humor me, Edmund.
46:28I know your cousin Stephen.
46:30He's always been out for what he can get.
46:31Oh, mother, please.
46:32You of all people, Donner,
46:33I have no right to make me that reproach.
46:35You were always a good bargainer yourself.
46:37If I was a good bargainer,
46:38at least I stuck to my bargains.
46:40Can you say the same?
46:41Mother.
46:42No, Edmund, no.
46:43Don't stop me.
46:44Let him answer.
46:45Well, Stephen.
46:46Mother, stop torturing us.
46:47Come on and sit down.
46:48I'm sorry to be obstructed, my boy.
46:50You mustn't blame me.
46:51When you're my age,
46:52you'll feel differently about things.
46:54After 40, you don't work for yourself anymore.
46:57You shift on your ambitions to the other generation.
47:00Ask your mother.
47:01She'll tell you the same.
47:02Yes, that's true.
47:03The center of interest shifts.
47:05Donner, you're so determined to work with your son.
47:08Can't you see?
47:09Can't you understand?
47:11I want to work with mine.
47:12That isn't the point, cousin Stephen.
47:13The point is that if we join up now,
47:14we may recover.
47:15If we go on separate, it's just ruin for us both.
47:17No, I want to work with my son.
47:18With my son.
47:19You want to work with your son, Stephen.
47:23There's your son.
47:24Hmm?
47:25Stephen.
47:26Hmm?
47:27There's your son.
47:28What do you mean?
47:29Mother.
47:30Edmund's your son, Stephen.
47:32You're his father.
47:33Are you mad?
47:34Father.
47:35Son.
47:36Mother.
47:37Son.
47:38Father.
47:39Cousin Stephen.
47:40Cousin Stephen.
47:41Father.
47:42Son.
47:43Cousin Stephen.
47:44Is this true?
47:45Son.
47:46Edmund, give me that deed of partnership.
47:48I'll sign it.
47:49I'll sign it.
48:01The stage door drums are kicking.
48:03Oh, shut up, will you?
48:05If we can't see, we want to hear.
48:07Go, it's ruined.
48:09After all these years.
48:11Back at the old Gloriana.
48:16Mother.
48:17Mother, we're doing it.
48:18We're doing it.
48:19Yes, dear.
48:20Mother, what are you doing back here?
48:21Why aren't you out in front to see the show?
48:23No, my dear.
48:24I was a little bit tired.
48:25I thought I'd sit here in your dressing room.
48:27I can hear everything.
48:28How am I?
48:29So far, you're good, Edmund.
48:30Oh, Mother, we've done it.
48:31The brooms are back at the Gloriana.
48:33What is it?
48:34Five minutes to the last act, Mr. Paul.
48:36Oh, thanks.
48:37Edmund.
48:38Yes, Mother.
48:40Mother.
48:41Anything wrong?
48:42No, dear.
48:43Nothing's wrong.
48:44Well, then.
48:46You remember, dear, when I...
48:48When I told you two years ago...
48:51That...
48:52When you put on your first play as a London manager here at the Gloriana...
48:56Then I should have done my work in the world.
48:59And I should be ready to go home.
49:01Mother, what are you saying?
49:03Edmund.
49:04I'm going away.
49:05Mother, you don't mean that.
49:07Yes, I do.
49:08You see, I've worked very hard all my life, Edmund.
49:12And I'm beginning to want to rest.
49:14But, Mother...
49:15You don't need me anymore, not very much.
49:17The brooms are back at the Gloriana.
49:20You're grown up.
49:21So I think I might go back now, Edmund.
49:24Back to the country.
49:26Back to our place at Blandon.
49:28I was always so happy there.
49:31Mother, that's all nonsense.
49:33Go to Blandon, bury yourself in the depths of the country?
49:36I never heard such nonsense.
49:38You know perfectly well you don't mean it.
49:40I do mean it, Edmund.
49:41I've been thinking about it for a long time.
49:43Oh, Mother dear, if you want a holiday...
49:45I do.
49:46And I'm going to have it.
49:48But then you'll come back.
49:50If you were in trouble and wanted me, of course.
49:52Not otherwise.
49:53Never otherwise.
49:54Ready for exercise, Mr. Blom?
49:55Curtain going up in one minute.
49:57Take it off.
49:58I'm ready.
49:59Look here, Mother.
50:00I can't do without you.
50:02That's flat.
50:04You just can't go, don't you see?
50:05I must have someone to talk to, Mother.
50:08Your father, Edmund.
50:09Oh, Mother, that's not the same.
50:11Stephen's all right, but he's not like you.
50:14You know how I think about things.
50:15You know how I work.
50:17I'm awfully sorry, Mother, but I can't spare you.
50:19I really can't.
50:20Curtain going up now.
50:21All right, I'm coming.
50:22Mother.
50:23Yes, dear?
50:24Well, Mother, it's understood then, isn't it,
50:26that you put out of your mind all this nonsense about going to Blandon?
50:29Oh, no, Edmund, I'm going.
50:30But, Mother, why?
50:32I felt just last year as if I were running a race with you, Edmund.
50:37Only you're running on dry land
50:39and I'm running through mud or water.
50:41It slows me.
50:43You'll feel the same when you're 40
50:45and have to keep up with your children.
50:47Mother, this is leaving me in the lurch.
50:49Unlike you, imagine me all alone, coming home tired
50:53and, darling, no one to speak to.
50:55Oh, you'll get accustomed to being alone, Edmund.
50:57You'll like it, really.
50:58No, I won't.
50:59You know.
51:00You know, my dear boy, there are times when my authority irks you.
51:04And I'm too old to learn how to lay down authority.
51:06Oh, Mother, you and I...
51:07There's your entrance, sir.
51:08Right.
51:10Mother, for the last time, you can't do this.
51:14Mr. Brews.
51:15Right.
51:16Right.
51:17You must be out of your mind.
51:19The theatre's your life.
51:20It's all that you love.
51:21You're wrong, dear.
51:23I've always hated the theatre.
51:26Mr. Brews.
51:27Right.
51:31Good evening, Miss Donna.
51:33Good evening.
51:34You going out front, Miss Donna?
51:36No.
51:37You don't mean you're leaving, Miss Donna, in the middle of the show?
51:40Yes.
51:41If my son asks for me, tell him I've gone home.
51:44Very good, Miss Donna.
51:47Now then, now then, come on.
51:49Clear the stage door, please.
51:51Good night, Miss Donna.
51:54Good night.
51:55You know who that was?
51:57That old woman who just went out?
51:58No.
51:59Who is it?
52:00That Donna Broom.
52:01Edmund Broom's mother.
52:02That's who it is.
52:03Oh, lady.
52:04I never...
52:05You know, I always thought...
52:06Oh, shut up, will you?
52:07I want to hear!
52:09She's dead.
52:10She should have died hereafter.
52:13There would have been a time for such a word.
52:17Tomorrow and tomorrow and tomorrow
52:24creeps in this petty pace from day to day
52:29a syllable of recorded time.
52:33And all our yesterdays have lighted fools their way
52:39to dusty death.
52:42Out, out, brief candle,
52:47life but a walking shadow,
52:51a poor player that struts and preps his hour upon the stage
52:58and then is heard no more.
53:03It is a tale told by an idiot
53:07full of sound and fury
53:11signifying nothing.
53:28You have been listening to Helen Hayes and Orson Welles
53:41in the Campbell Playhouse presentation of Clement Dane's Broom Stages.
53:45In just a moment, Miss Hayes and Mr. Welles will return to the microphone.
53:49In the meantime, may I remind you again
53:51how a bright, glowing plateful of Campbell's tomato soup
53:55just makes you sit up and take notice?
53:57Its aroma invites you and as you sip spoonful after spoonful
54:01there's a real thrill in its flavor,
54:03a flavor that only superb tomatoes and an exclusive recipe can create.
54:08These tomatoes are specially grown for Campbell's.
54:11They have glorious deep color and are extra luscious.
54:14And this season's crop of tomatoes was exceptionally fine
54:17and you'll enjoy the full flavor of those tomatoes now
54:20in Campbell's tomato soup.
54:23And so I specially urge you to have Campbell's tomato soup again soon.
54:27And now Orson Welles with his guest, Miss Helen Hayes.
54:30Just a moment, Mr. Chappell.
54:32Yes, Miss Hayes?
54:33I want to tell you, Mr. Chappell,
54:34the way you describe Campbell's tomato soup always makes me hungry.
54:37Well, thank you very much.
54:38But you know, long before I first heard you talk about it,
54:42we were having it often at our house.
54:44You see, we like it.
54:46Well, Miss Hayes, I think you've given us the real reason
54:49why Campbell's tomato soup is bought and served more often
54:52than any other soup in all the world.
54:54People like it.
54:56And now, ladies and gentlemen, Mr. Orson Welles.
54:58I told you, ladies and gentlemen,
54:59that tonight's broadcast was Helen Hayes' own choice.
55:03Broom Stages, she tells me, has long been her favorite story of the theater.
55:07And when Miss Hayes says the word theater, believe me,
55:10she's talking about something she knows.
55:13She's been in it since childhood and I doubt if there's anyone in this generation
55:16who's worked so successfully, so unselfishly and tirelessly
55:21to keep this theater of ours alive and burning thing
55:24in the hearts of audiences the country over.
55:27At this moment, with her most recent New York success,
55:30ladies and gentlemen, Miss Hayes is once more on the road.
55:34Last night, within a few minutes of the curtain going down,
55:36she was on her way to New York to be with us today.
55:39Now she plays in Boston and after Boston, I believe,
55:44what is your next stop after Boston, Ellen?
55:47I'm off to Buffalo.
55:49Well, we were speaking of the road and of the theater.
55:53Yes, and quite a few things have changed since Donna Broom went touring
55:56with her American company, of course.
55:59There were no planes or radios in those days
56:01and most of the theaters where she appeared have long been torn down.
56:06Yet in the audiences to which we play,
56:08there must be sitting every night grandchildren of those who saw Donna Broom.
56:13If I may interpret you, you mean if there really had been a Donna Broom?
56:16If there really had been a Donna Broom.
56:18But there was, Orson, there was.
56:20Though that may not have been her name, she existed.
56:23I know she did.
56:24And she'll always exist as long as there are theaters standing
56:27and shows produced and audiences to enjoy them.
56:30As a matter of fact, I know she existed because at this moment,
56:33there's one thing about which I share her feelings completely.
56:37What's that, Ellen?
56:39About wanting to go home, Orson.
56:41I don't blame you.
56:42Only unlike Donna, I don't have to go as far as Bland and Justin Nyack.
56:46The car's waiting for me downstairs
56:48and the family's waiting for me at home.
56:50Ellen, you certainly deserved all of those things and good night.
56:53Good night, Orson.
56:54Good night, ladies and gentlemen.
56:56And once more, thank you.
56:57Thank you, every one of you.
56:59And ladies and gentlemen, as to next week,
57:01next Sunday night,
57:03we bring our version of one of the most outstanding motion pictures
57:06of that master of the human touch in the cinema,
57:09Mr. Frank Capra.
57:11And next Sunday, Mr. Deeds goes to town
57:13and our guest star will be that delightful and merry actress
57:15who has, in a few years, won herself an enviable position
57:18in a type of part that no one else plays quite so well,
57:20Miss Joan Blondell.
57:22And so until then, until next Sunday,
57:24and Mr. Deeds goes to town,
57:26my sponsors, the makers of Campbell Soups
57:28and all of us in the Campbell Playhouse
57:31remain, as always, obediently yours.
57:35The makers of Campbell Soups join Orson Welles
57:40in inviting you to be with us in the Campbell Playhouse again
57:42next Sunday evening
57:44when we present, by arrangement with the Columbia Pictures Corporation,
57:48Mr. Deeds goes to town with Miss Joan Blondell as our guest.
57:52Meanwhile, if you've enjoyed tonight's Playhouse presentation,
57:55won't you tell your grocery store tomorrow
57:57when you order Campbell's tomato soup?
57:59This is Ernest Chappell saying thank you and good night.
58:03This is the Columbia Broadcasting System.