April 25, 2025 • 29 mins
A showcase of diverse radio plays produced and performed by a talented husband-and-wife team, highlighting their versatility.
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Episode Transcript
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Speaker 1 (00:00):
Elliot Lewis, Kathy and Elliott Lewis on stage. Katty Lewis
(00:21):
Elliott Lewis, two of the most distinguished names in radio,
appearing each week in their own theater, starring in a
repertory of transcribed stories of their own. And you're choosing
radios Foremost Players and Radios Foremost plays Ladies and Gentleman
Elliott Lewis, Good Evening, May I present my wife Kathy,
(00:47):
Good Evening. Anton Chekhov was a great playwright and short
story writer.
Speaker 2 (00:52):
He also wrote some wonderful one act plays.
Speaker 1 (00:54):
Walter Brown Newman is a tremendously gifted young author who's
written radio and motion pictures and television and about everything
else that a gifted young author can write.
Speaker 3 (01:03):
Anton Tchehov lived in Russia and is dead. Walter Brown
Newman lives in California and is.
Speaker 1 (01:09):
Alive, And tonight we're going to do his adaptation of
Anton Chekhov's wonderful one act play The Bear The Bird's Away.
Speaker 2 (01:37):
Used to sing, so for your sake.
Speaker 4 (01:42):
No, they's sad.
Speaker 2 (01:44):
It's in the dope that comes truly love.
Speaker 5 (01:52):
Excuse me, ma'am, here's holing me And shortly.
Speaker 2 (01:57):
Come in boys can't see to find my kerchief.
Speaker 5 (02:01):
Oh right there, mom, next to the late lamented mustache cub.
Speaker 2 (02:06):
Thank you, Luke.
Speaker 5 (02:09):
Didn't mean to interrupt nothing.
Speaker 2 (02:11):
I was only sitting here looking at his picture.
Speaker 5 (02:14):
Elegant, wasn't he shorty?
Speaker 1 (02:16):
He purely was.
Speaker 2 (02:18):
Thank you. You'll both now be looking yourselves this morning.
Smell good too.
Speaker 5 (02:25):
Ed penawd, Mom, I reckon, I was fellers in the
bunk house. You did gallon of ed peen odd for
stick him up. Didn't be shorty, we purely did well.
Speaker 3 (02:35):
Colonel Roosevelt and his rough riders don't have a reunion
every day all the boys started for town.
Speaker 1 (02:41):
He hasn't.
Speaker 5 (02:42):
Me and Charter were affection to leave yourselves. That won't
be a soul left on the ranch.
Speaker 2 (02:48):
That's all right. I used to being lonely.
Speaker 5 (02:51):
Now, or change your mind and come with us. No, mom, I'm.
Speaker 1 (02:58):
Gonna speak a little peace.
Speaker 5 (03:00):
I've been cooked with this outfit ever since the poor
defolk first old it and h I well, mama, what
you're doing yourself?
Speaker 1 (03:10):
You just eat right? You purely ain't.
Speaker 5 (03:12):
You're destroying yourself. Today's the day to make your heart
bust with gladness. It's that pretty here. Everybody's out for
a good time by eating the cattle on the porches
and jaring life cheese. I laying there on her back
in the sun, a switching a tail and a.
Speaker 1 (03:28):
Pearl like an organ.
Speaker 5 (03:30):
You ought to be doing the same, but instead you
squatting this parlor with the curtains down from one day
to the next. And don't pleasure yourself never. I reckon
it the whole year since you.
Speaker 1 (03:43):
Left the house.
Speaker 2 (03:44):
I'll never leave the house again. Buck lies in his grave,
and this is my grave. We're both dead.
Speaker 5 (03:53):
No, Mom, I just did. You ain't dead, and you
can't be gnashing your teeth and wailing and more than
the dear department forever if he't right, never to see
no one or never to pay any called or nobody.
Speaker 3 (04:07):
We won't discuss it any further. When Buck died, When
Buck died, my heart died. I'll mourn him the rest
of my life. Wherever he is, he'll see how much
I love him.
Speaker 5 (04:20):
Or Mom, please let me harness black if for you
and drag it to town. Oh what'd I say?
Speaker 4 (04:29):
Lack?
Speaker 2 (04:30):
Who was his favorite? What a rider he was? He
looked like part of the horse.
Speaker 3 (04:38):
Before you leave, give blackie, A lump of sugar, A
big lump.
Speaker 5 (04:43):
Yes, Mama, tell him to go away.
Speaker 2 (04:47):
I won't see anyone.
Speaker 1 (04:48):
You go tell him Jory.
Speaker 4 (04:50):
Oh see my tears.
Speaker 2 (04:54):
See how I forgive you, See how I love you.
Speaker 1 (04:58):
Please, Mom, get.
Speaker 5 (05:00):
Hold of your sale.
Speaker 2 (05:01):
You can't understand?
Speaker 5 (05:02):
Why, sure I can?
Speaker 1 (05:05):
I won't.
Speaker 5 (05:05):
My old woman took check one time. I just couldn't
bear it. Sarah, I'd say, it hurt curly and there, Sarah,
I'd say, I wish you'd get well for something. But Mom,
you've got to get the bulls on it.
Speaker 1 (05:19):
Ma'am. There's a Phellow says he's just got to see you.
Speaker 2 (05:22):
Didn't you tell him? I see noan throw.
Speaker 1 (05:24):
Him out, throw it, ma'am. He stands about eighteen hands
at the shoulder.
Speaker 2 (05:28):
You have a gun on your hip.
Speaker 1 (05:30):
He's got two on hiss and a knife in his boot. Ma'am,
allow me to present myself, Stephen Gregory, owner of the bicycle.
Why I'm hearing a matter of the greatest importance.
Speaker 2 (05:40):
What is it you want?
Speaker 1 (05:41):
Your late husband died twelve hundred dollars in debt to me.
The interest on the mortgage on my place is do tomorrow.
I'd like you to pay me the money today.
Speaker 2 (05:48):
Twelve hundred what four partly.
Speaker 1 (05:50):
For oates bought and delivered, the other eleven hundred and
fifty piled up cutting for a high card.
Speaker 4 (05:54):
If my husband died in debt to you, I have
as I owe you. If he owed you.
Speaker 2 (05:58):
Money, you'll be paid. Not today.
Speaker 3 (06:01):
I won't have a large enough sum in the bank
until the day after tomorrow, so I cannot oblige you
this morning. How if you'll excuse me, I'm in no
condition to give financial matters min and I'm.
Speaker 1 (06:10):
In the condition which if I don't pay off that
mortgage will oblige me to blow out my brains. I'll
take my ranch.
Speaker 4 (06:15):
You will get your money the day after tomorrow.
Speaker 1 (06:17):
I want it the day after tomorrow. I want it today.
Speaker 2 (06:19):
You'll have to excuse me. I cannot.
Speaker 1 (06:21):
You'll have to excuse me. I insist that you pay me.
Speaker 2 (06:23):
If I can't, I can't.
Speaker 1 (06:26):
Is that final?
Speaker 2 (06:27):
That's final?
Speaker 1 (06:28):
Absolutely? Positively, grassius, mootus grassius, and everyone wants to know
why I can't keep my temper.
Speaker 4 (06:39):
I'll thank you to leave my I need money.
Speaker 1 (06:41):
I spent all day yesterday riding from one dead beat
to another. They owe me a fortune. I can't collect
a penny.
Speaker 2 (06:46):
Will you get out of your under?
Speaker 1 (06:47):
I'm seventy miles from home. I slept in a saloon
last night with a brandy cake for a pillow. I'd
finally come here. It's my last hope. And what do
I get? I'm in no condition to give financial matters
my attention? Why shouldn't I be in an uproar?
Speaker 3 (07:00):
I distinctly told you my banker would pay you the
day after.
Speaker 1 (07:03):
I did write all this way to see your banker,
but to see you? What the devil have I got
to do with.
Speaker 4 (07:07):
Your bank You want to go after the boys? Quick?
Fetch them back now, sir? Will you leave?
Speaker 3 (07:12):
Or will you stay here bullying a woman and a
widow until my hands return?
Speaker 4 (07:17):
Give you your just disease?
Speaker 1 (07:18):
Is it my fault you're a woman? Is it my
fault you're a widow? Do I have to pay off
my mortgage or don't I? What do you expect me
to do when my creditors come strip down on my
long John's pretend I'm.
Speaker 4 (07:28):
A ghost, Luke, don't just stand there.
Speaker 1 (07:31):
Mission I go to Tim read that break his nose.
Stilly won't pay I beg Henry Dawson with a two
by four and he won't pay. And you, you are
in no condition to give financial matters your attention. Not
one of you pays up just because I'm too gentle
with you, just because I'm wax in your hand, and
misshut Up, who are you talking about? Cut your heart out.
I'll tell you this, ma'am. If you think you can
(07:52):
diddle me out of my money just because I'm a gentleman,
think again. The picture has gone to the well once,
tour Sir.
Speaker 3 (08:00):
I have never diddled anyone, and I am not accustomed
to being addressed in that tone of voice. I've been
as patient as I can, but my patience is at
an end. Good day, so it's my patience.
Speaker 1 (08:12):
At an end. Even a warm turns well. Right now,
I'll be a drip from long, beautiful manners. Your boss
has just beautiful? Does she thinks she can treat me
like this and get away with it? Gout she? I
came here to be paid, and I will be paid.
Is it warm in here? I'm so mad, I'm dying
of heat. Why are the windows closed while the curtain's drawn?
(08:33):
A lair in here? I get so worked up with people,
Shove me around, take advantage of my good nature, treat
me like I have no feeling my tender me. Never
me some whiskey or some water something front of them. Who
can make sense out of a woman? I leave it
to you. Can you make sense out of the way
a woman thinks? Well, you gotta try and understand.
Speaker 4 (08:53):
I'm going local.
Speaker 1 (08:54):
I need money so bad, and she won't pay because
she's in no condition to give financial matterage Harry attention.
That's the way a woman thinks. It makes sense. You
gotta try it on the squahere's that drink. I'd rather
try to reason with a mule and a woman. A
mule will meet you partway. A mule's a miracle of
logic compared to a woman. I can't a five women,
never could, don't now, not likely toever. I get mad
(09:15):
even when I see one from a distance.
Speaker 5 (09:17):
Where is she little stretched out? Most likely she's been poorly.
She ain't used to see in folks, bourbon all right,
in a bottle, been poorly she ever since month died.
Speaker 1 (09:30):
Well, she's not putting anything over on me.
Speaker 2 (09:32):
You hear me.
Speaker 1 (09:32):
Wherever you are, you're not putting anything over on me
with those temples, those bright eyes, those widows weeds. I
can't be deviled. I'm around. I've seen the elephant and
heard the owl. Please please, she's so low in spirits,
Oh am, I low in spirits. I'll match my spirits
against hers anytime. For lonness, fine hospitality, I must say,
(09:54):
gorgeous hospitality. In the middle of a conversation, she stalks
out like a turkey head.
Speaker 5 (09:59):
Will you can't rides a bleamer, not all together? She
used to having a gent call on her not looking like.
Speaker 1 (10:05):
You, I mean like I look, you're trying to crowd me.
Speaker 5 (10:08):
Well, there's a mirror, right there's he said, where?
Speaker 1 (10:13):
Uh? Well, maybe so a little dusty, but you can't
ride for two days without getting dusty. And my boots
but how can I trouple Billy Clay write his own
pig penalty? My boots clean, and my pants. I'd like
to see her sleep in the floor of a saloon
and rise up with pressure pants. She was put out
by my Appearance's.
Speaker 5 (10:32):
Boat well don't exactly inspire confidence.
Speaker 1 (10:36):
Well, I know I shouldn't come calling on a lady
in her parlor looking like this, But she should have
realized the circumstance. Common sense would have told her that's
what I mean. A woman's got less logic than a mule. Anyway,
I'm not here on a social call. I'm a creditor.
There's no rules for how a creditors are dressed. Judge
the sea. Shut up, sir.
Speaker 3 (10:55):
I have grown unaccustomedly to the sound of a man's
voice in this house, and I can't stand shouting.
Speaker 2 (11:02):
I must ask you to go and leave me in peace.
Speaker 1 (11:04):
Pay me my money and I'll go.
Speaker 2 (11:06):
I thought i'd made it plain.
Speaker 4 (11:08):
You will have to wait till the day after turn.
Speaker 1 (11:10):
I thought I made it plain. I don't want the
money the day after tomorrow. I want it today. If
I don't get it, I'll have to destroy myself tomorrow.
Speaker 3 (11:16):
You run those curtains who opened this window?
Speaker 1 (11:20):
I opened the window. I drew the curtains. You expect
me to sit in the talk with no air? Am
I a gopher? Answer me that I need to breathe?
Speaker 4 (11:27):
How dare you shut that window? Stand aside, sir?
Speaker 1 (11:32):
If people ask me why I get angry, get out
of my way?
Speaker 2 (11:36):
You fair?
Speaker 4 (11:39):
How dare you break that window?
Speaker 1 (11:41):
I'm trying to change the subject. I'm not here to
talk about windows. I'm here to get paid.
Speaker 4 (11:44):
I don't have the money now.
Speaker 1 (11:46):
And I'll sit here and wait until you do. Please,
I'm not neither am I? After all a popscull I
had last night. But I'm going to sit here till
I get paid. Anyway. Have I got a mortgage to
meet tomorrow? Haven't I? You can be sick for a
week if you like, all right, and I'll sit here
for a week. If you're sick for a year, I'll
sit here for a year. You're not putting anything over
(12:07):
on me with those widows, weeds, those bright eyes, those dimples.
I know those dimples. Now, maybe you'll understand that I
won't be diddled.
Speaker 4 (12:16):
You fail, You bear, You bear.
Speaker 1 (12:33):
You are listening to Kathy and Elliott Lewis on stage
to Nice play the Bear. There's outstanding dramatic listening in
the daytime too. On CBS Radio, Map Perkins and Aunt
Jenny make fiction as real as life with their gripping
day to day dramas. Young Doctor Malone and Perry Mason
keep you thoroughly engrossed in their exciting daily adventures. Doctor
(12:53):
Malone's in romance and medicine, Perry Mason's in the legal field.
He knows so well. And there are many more making
up the entire CBS Radio daytime family. They're yours for
the best in daytime listening at the stars address.
Speaker 3 (13:21):
Will you please get out of my house as soon
as I am paid.
Speaker 1 (13:27):
I'm not enjoying this. Do you think I'm doing it
for a joke?
Speaker 4 (13:29):
Stop yelling. This isn't a saloon.
Speaker 1 (13:32):
I'm not talking about saloons. I'm talking about the twelve
hundred dollars you owe me and the market I have.
Speaker 4 (13:38):
To me tomorrow. Don't raise your voice to me.
Speaker 2 (13:45):
How dare you behave like this to a woman?
Speaker 1 (13:47):
Do you call it etiquette to criticize a guest in
your own parlor? I behave very well to a woman.
Speaker 4 (13:52):
No, you don't.
Speaker 3 (13:54):
You have no manners. You're an uncouth man. Decent men
don't talk to a woman like that.
Speaker 1 (14:00):
What a business? How do you want me to talk
to you like an englishman? Ah? My, dear dear lady,
what ripping weather? What? What? And how well you look
in mourning?
Speaker 2 (14:13):
I say that's stupid and rude.
Speaker 1 (14:15):
Stupid and rude. I don't know how to behave to
a woman in my time ma'am, I've seen more women
than you've seen bustles. I've had three duels on account
of women. I've thrown over twelve of them and been
turned down by man. You don't believe me. It's the truth.
There was a time when I moved after women like
a sick calf, almost drowned myself in colney water. Shoot
(14:38):
sten send to make my voice soft and my breath sweet.
Shaved every day, sometimes twice a day, and wore pink
silk garters on my shirt sleeve.
Speaker 2 (14:47):
I'm not at all into I made.
Speaker 1 (14:49):
Love passionately, madly, softly, loudly, every which way I suffered.
I howled at the moon like a coyot. I sang
love songs, whispered sweet nothing, joined the Emancipation League and
made speeches urging boats for women. But not anymore. You
won't get around me like that.
Speaker 4 (15:06):
Now get around you who wants to.
Speaker 1 (15:09):
Get a ride out a bellyful, soft cheeks, bright eyes,
ruby lips, dimples, the moon, dainty hands. I wouldn't give
our cow chip for the lat man.
Speaker 4 (15:22):
Now you listen me.
Speaker 1 (15:24):
All women present company accepted. All women, big or small,
thin or fat, older, young, are unfaithful crooked, vicious, malicious, envious, vain, petty, trivial, greedy, shallow, merciless, ruthless, lying, unreasonable,
and where brains are concerned or horned, toad can give cards,
page a little casino to anything in petticoats and still
(15:46):
win the game. I'll speak from experience. You look at
one of these dainty creatures, all silks and laces, all
gentle smiles and soft sighs, and ngelic, positively angelic. So
when you look into her soul, what do you see?
A buzzard and the most aggravating thing of all. This buzzard,
for some reason or other, is convinced that of all
(16:08):
the creatures on earth, it and it alone, is capable
of love. Now I leave it to you, getting right
down to cases. Have you ever met a woman who
can love anything but a lapdog? When she's in love,
can she do anything but blubber and slobber? A man suffers,
a man tears his heart to pieces, a man makes sacrifices,
And how does she show her love by fluttering her
(16:30):
fan with one hand and getting a good, strong grip
on his nose with the other. Ma'am, you have the
bad luck to be a woman. You know yourself. That's
a woman's nature. Tell me the truth. Have you ever
seen a woman who is honest, faithful, steadfast? Of course
you have it. You'll find a cow who can play
the mandolin before you'll find a steadfast woman.
Speaker 2 (16:53):
You're quite finished.
Speaker 1 (16:56):
That's the gist of my remarks anyway.
Speaker 3 (16:59):
And as you see it, when it comes to love,
who is it that's honest and steadfast? The man?
Speaker 1 (17:06):
Of course it's the man.
Speaker 4 (17:08):
The man. Hah men, honest and steadfast? Did you ever
you listen to me?
Speaker 2 (17:17):
I'm going to tell you about men.
Speaker 3 (17:19):
Where did you ever get the idea that men are
faithful in love? I'll tell you about men. I'll tell
you about the best man that ever lived, my late husband.
I loved that man. I loved him with every part
of me, every bone, every drop of blood. I loved
him as no other man has been loved before. I
(17:40):
gave him everything, my youth, the best years of my life,
my joy, my property, everything, I kissed, the ground he
walked on. I worshiped him. And how did he repay me?
He deceived me.
Speaker 4 (17:54):
There wasn't a day he drew breath that he didn't
deceive me. Books there, ask Luke.
Speaker 2 (18:01):
After he died, I found a whole trunk full of
love letters.
Speaker 4 (18:05):
And when he was alive.
Speaker 2 (18:06):
It hurts to remember it even now.
Speaker 3 (18:10):
He'd leave me for weeks at a time, go gallivanting
all over the country. And in spite of all that
I loved him and was faithful to him, I'm still
faithful to him and true to his memory. I haven't
stirred from this house since the funeral, and I'll wear
mourning for the rest of my life.
Speaker 1 (18:30):
Mourning. You think that fools me? Don't you think I
know why you wear black while you stay in the house.
You want people to say, how spirit you will for
love of her husband? She buries herself alive? What sentiment
I'm under? You? Man? You renounce the flesh and the devil,
but you curd your hair and you sprinkle yourself with patulie.
I smell it.
Speaker 4 (18:48):
How dare you in self?
Speaker 1 (18:50):
Keep your voice down? I'm not one of your hired hands.
I won't be yell that.
Speaker 4 (18:54):
You're the one who's yelling yet out of here.
Speaker 1 (18:57):
Pay me and I'll go.
Speaker 3 (18:58):
You won't get a sense I'll be hanging up, not
one red penny.
Speaker 4 (19:01):
Just for Spike get.
Speaker 1 (19:02):
Out of here and not your husband, and I'm not
your intended so don't make a scene. I don't like.
Speaker 3 (19:08):
Get up from that chair and get out of this house.
That was my husband's chair. Get up from it.
Speaker 1 (19:13):
It's with this chair. I come on with him with
PRIs and I get insultd. I have no time to
waste and I'm forced to spend the day. This is
gussie chair. There, there's a chair.
Speaker 4 (19:25):
You broke it. You broke the chair.
Speaker 1 (19:29):
All I want is what's coming to me.
Speaker 4 (19:30):
I refuse to say another word to you.
Speaker 1 (19:32):
Leave this house and the cash is in my hand,
not before.
Speaker 4 (19:36):
Where's Lenny Jay? Lenny?
Speaker 1 (19:40):
They nobody?
Speaker 5 (19:41):
Am mom short is going to get out?
Speaker 4 (19:45):
Gout out, get.
Speaker 1 (19:47):
Out out fine, open handed, hospitalent.
Speaker 4 (19:50):
You're a hooligan, You're a rough neck. You're a monster,
you're a bear.
Speaker 1 (19:57):
What did you call me there?
Speaker 4 (19:59):
A monster?
Speaker 1 (20:00):
If you got to call me names, I'll.
Speaker 4 (20:01):
Call you as many names as I want to. Do
you think I'm afraid?
Speaker 1 (20:05):
Do you think you can call me names just because
you're a woman. You'll think I let people call me
names and take away my dignity without protecting myself. We'll
shoot it out. Hold on now, I'll wait six.
Speaker 4 (20:16):
Gods, you're not scaring me one little bit.
Speaker 3 (20:20):
I wouldn't care if you were twice as big as you,
ten times as well.
Speaker 1 (20:23):
We'll shoot it out. Nobody in sults. Mee gets away
with it. I don't care if you are there. Who
there's the only men have to pay for insults? Who
made up that rule? Women are always screaming about equal rights.
All right, let's have equal rights all around in everything.
We'll shoot it out good with six guys.
Speaker 3 (20:43):
And right now, right now, I'll get my husband's son.
You wait right here. I'm going to enjoy pumping bullets
into your fixed skull right between the eyes, right between
the eye.
Speaker 1 (21:00):
I'll bring her down like a chicken man. Woman's all
the same to me when I'm at something.
Speaker 5 (21:05):
Oh mister, please don't do this awful thing.
Speaker 1 (21:08):
He leave now for his two league.
Speaker 4 (21:10):
He let it go.
Speaker 1 (21:11):
Just scare in her. You don't choose she wants to fight. Well,
that's emancipation, that's equal rights. It matters like this. I
support the new woman. I'll shoot her on principle. But
did she the heller?
Speaker 4 (21:23):
Though?
Speaker 1 (21:24):
Is she? A lot of women see the way she
galloped off her a gun head up and tail over
the dashboard. I'll enjoy putting a bullet in your skull.
Did you hear her? And our eyes sparkled? She didn't
back down, an anchil, Please please go. She's a real woman.
That's a kind of like a real womanly woman, not
a drooping sack of marshmallow, but with blood in her veins.
(21:45):
All fire, all pepper, all gunpowder, shit, a Roman candle,
shame the killer. Oh no, I like her. I positively
like her dimples and all I like her. I'd be
willing to tear up those ioues. And I'm feeling sereene again.
I got a grip on my temper. A womanly woman.
Speaker 4 (22:06):
All right now. But before we start, you'll have to
show me how to use it.
Speaker 2 (22:11):
I've never held a gun in my hands.
Speaker 1 (22:13):
My mom, But hey, do that hasty. I'm gonna ride
down the.
Speaker 5 (22:17):
Road and try to find the balls.
Speaker 4 (22:18):
Please just pray for time.
Speaker 1 (22:22):
There's a fine weapon, man, good balance, nice heft to it.
It's as shiny as your eyes, nothing as pretty as
a cold forty five.
Speaker 4 (22:32):
Just show me how to hold it.
Speaker 1 (22:33):
The butt goes into your palm like this, and you
can either pull the trigger with your pretty little finger,
or flick the hammer with your tiny little thumb like that,
just like that, and in aiming it. Uh, here, stand
in front of me. In aiming it, put your head
back a little and hold your arm out like this.
(22:54):
That's it. Then when you're ready to fire, just squeeze
the trigger. Squeeze, don't pull, Squeeze like a lemon. Way here,
give me your hand. Feel how gentle I squeeze? I
just squeeze a gentle be liked it?
Speaker 4 (23:13):
I understand.
Speaker 2 (23:15):
I'm ready?
Speaker 4 (23:17):
Where do we shoot it out in the yard?
Speaker 1 (23:19):
All right, let's go. But I'm telling you in advance.
I'm going to fire in the air well.
Speaker 4 (23:25):
If that isn't the.
Speaker 1 (23:26):
Why, because because that's my business.
Speaker 4 (23:32):
You're not yellow?
Speaker 1 (23:33):
Are you?
Speaker 4 (23:34):
Are you?
Speaker 2 (23:35):
I'm not going to.
Speaker 4 (23:36):
Let you call out of this. You come with me.
Speaker 3 (23:38):
I won't rest easy till I put a bullet in
your head.
Speaker 4 (23:42):
Why aren't you coming? Are you scared?
Speaker 1 (23:45):
Yes, I'm scared.
Speaker 4 (23:46):
You're a liar.
Speaker 2 (23:48):
Why won't you fight?
Speaker 1 (23:49):
Because? Well, because I like you?
Speaker 4 (23:56):
He likes me. He has the nerve to say he
likes me. Come on into the yard.
Speaker 1 (24:02):
Wait a minute, let me load your gun. Give it me. Uh, listen,
you're still mad. I'm a little mad too, but you
know what I mean. I can't find the words. The
fact is, well, it's like this. Can I help it?
(24:23):
If I like you? Do you understand it's all I
can do to keep from telling you I love you.
Speaker 4 (24:26):
Don't come near me. I hate you.
Speaker 1 (24:28):
What a woman. I've never seen one like her. I'm
a gone goose. I'm done for. I'm a mouse in
a truck.
Speaker 4 (24:33):
Get away from me, watch and shoot.
Speaker 1 (24:36):
I'd enjoy being killed by a gun held in that
soft little hand. You're driving me crazy. Don't talk without thinking,
and make up your mind right now, because if I
once leave this house, you'll never see hiding a hear
of me again. Make up your mind. I'm a rancher.
I'm respected in the community. I have eight thousand head
of Cadillac and throw six whiskey glasses into the air
and pulverize them before they hit the ground. I own
the fastest horse in the county. Will you marry me?
Speaker 4 (24:58):
I want to shoot it out, shoot it up.
Speaker 1 (25:01):
Out of my mind. I'm in love like a boy.
I'm happy as the jaybird. I love you.
Speaker 4 (25:04):
Get out, get off your knees.
Speaker 1 (25:08):
I love you as I've never loved before. I've thrown
over twelve women have been turned down my mine, but
I never loved any of them as I love you.
I'm putty, I'm tapping, I'm wax. I offer you my hand,
my heart, my parts in in my life. Shame on me,
Shame on me. I'm mortified as I've never been. I
haven't been in love for years. I took an oath,
and suddenly I'm in love like a wolf in a trap.
(25:28):
Marry me, yes or no? You refuse? All right?
Speaker 3 (25:31):
Then, well nothing. Get out of my house. No stop,
no go away. I hate you.
Speaker 4 (25:38):
I mean no, do don't go away. My head spinning.
I'm angry. I don't know what I'm saying. Who are
you waiting for? Get out? Get out? Good bye, good bye, goodbye?
Where are you going? Stop?
Speaker 2 (25:51):
I don't get married, so.
Speaker 4 (25:53):
So stay away from me.
Speaker 1 (25:54):
I hate myself for this, falling in love on my
knees like a schoolboy. I love you. You think I
want to love you, but I love you. It's the
last thing I intended. Tomorrow. I have to pay off
my mortgage and stop my round up and hear you
go ahead, and and I'll never forgive myself for this.
Speaker 4 (26:08):
Take your hands away, get away from me. Let's shoot
it out.
Speaker 2 (26:15):
Let's let's shoe.
Speaker 4 (26:19):
Mom, mom, he read shoe boss mon.
Speaker 5 (26:25):
Well, I just don't believe it, Oh Luke, Yes, ma'am.
Speaker 3 (26:32):
Never mind feeding Blackie that lump of sugar.
Speaker 1 (26:51):
The bear starring Kathy and Elliott Lewis on stage. In
a moment, mister and missus Lewis will tell you about
next week's play. This Sunday Night, Frank Love Joy Stars
and the remarkable talent of Egbert Haw and CBS Radio's
Theater of Stars. You may find it difficult to believe
this tale of a talking race horse, but you'll find
it easy to enjoy. Also Sunday Night, here Lionel Barrymore
(27:13):
on your Hall of Fame Playhouse, spotlighting another little known
hero of American history on most of these stations This
Sunday Evening, Theater of Stars and Hall of Fame Playhouse
presented by CBS Radio and now once again Kathy and
Elliott Lewis. Oh.
Speaker 3 (27:35):
Thanks to Walter Brown Newman for a lovely adaptation.
Speaker 1 (27:39):
Can you talk dear enough to say that Horace Murphy
tried unsuccessfully to get the courage to throw me out
of your house, and that Byron Kane escaped my violence
earlier in the play.
Speaker 3 (27:50):
We've done several scripts by another Newman, e Jack Newman,
who is not related to Walterer, and his plays have
a wonderful effect on all of you. You either violently
dislike to the party and Eddie and Casey at the.
Speaker 2 (28:02):
Bat, or you were thoroughly delighted with them.
Speaker 3 (28:06):
Well, next week we give you an opportunity to once
again either violently dislike or be thoroughly delighted, as we
present e Jack Newman's new story statement of fact.
Speaker 1 (28:17):
Until then, thank you for listening, good night, good night.
Music for tonight's story was arranged and conducted by Fred Steiner.
The Kathy and Elliott theme is by Raynobol, and the
program is transcribed and directed by mister Lewis George Walls
(28:40):
speaking and remember listen while you work. Enjoy Road of
Life every Monday through Friday in the daytime on the
CBS Radio Network.
Elliot Lewis, Kathy and Elliott Lewis on stage. Katty Lewis
(00:21):
Elliott Lewis, two of the most distinguished names in radio,
appearing each week in their own theater, starring in a
repertory of transcribed stories of their own. And you're choosing
radios Foremost Players and Radios Foremost plays Ladies and Gentleman
Elliott Lewis, Good Evening, May I present my wife Kathy,
(00:47):
Good Evening. Anton Chekhov was a great playwright and short
story writer.
Speaker 2 (00:52):
He also wrote some wonderful one act plays.
Speaker 1 (00:54):
Walter Brown Newman is a tremendously gifted young author who's
written radio and motion pictures and television and about everything
else that a gifted young author can write.
Speaker 3 (01:03):
Anton Tchehov lived in Russia and is dead. Walter Brown
Newman lives in California and is.
Speaker 1 (01:09):
Alive, And tonight we're going to do his adaptation of
Anton Chekhov's wonderful one act play The Bear The Bird's Away.
Speaker 2 (01:37):
Used to sing, so for your sake.
Speaker 4 (01:42):
No, they's sad.
Speaker 2 (01:44):
It's in the dope that comes truly love.
Speaker 5 (01:52):
Excuse me, ma'am, here's holing me And shortly.
Speaker 2 (01:57):
Come in boys can't see to find my kerchief.
Speaker 5 (02:01):
Oh right there, mom, next to the late lamented mustache cub.
Speaker 2 (02:06):
Thank you, Luke.
Speaker 5 (02:09):
Didn't mean to interrupt nothing.
Speaker 2 (02:11):
I was only sitting here looking at his picture.
Speaker 5 (02:14):
Elegant, wasn't he shorty?
Speaker 1 (02:16):
He purely was.
Speaker 2 (02:18):
Thank you. You'll both now be looking yourselves this morning.
Smell good too.
Speaker 5 (02:25):
Ed penawd, Mom, I reckon, I was fellers in the
bunk house. You did gallon of ed peen odd for
stick him up. Didn't be shorty, we purely did well.
Speaker 3 (02:35):
Colonel Roosevelt and his rough riders don't have a reunion
every day all the boys started for town.
Speaker 1 (02:41):
He hasn't.
Speaker 5 (02:42):
Me and Charter were affection to leave yourselves. That won't
be a soul left on the ranch.
Speaker 2 (02:48):
That's all right. I used to being lonely.
Speaker 5 (02:51):
Now, or change your mind and come with us. No, mom, I'm.
Speaker 1 (02:58):
Gonna speak a little peace.
Speaker 5 (03:00):
I've been cooked with this outfit ever since the poor
defolk first old it and h I well, mama, what
you're doing yourself?
Speaker 1 (03:10):
You just eat right? You purely ain't.
Speaker 5 (03:12):
You're destroying yourself. Today's the day to make your heart
bust with gladness. It's that pretty here. Everybody's out for
a good time by eating the cattle on the porches
and jaring life cheese. I laying there on her back
in the sun, a switching a tail and a.
Speaker 1 (03:28):
Pearl like an organ.
Speaker 5 (03:30):
You ought to be doing the same, but instead you
squatting this parlor with the curtains down from one day
to the next. And don't pleasure yourself never. I reckon
it the whole year since you.
Speaker 1 (03:43):
Left the house.
Speaker 2 (03:44):
I'll never leave the house again. Buck lies in his grave,
and this is my grave. We're both dead.
Speaker 5 (03:53):
No, Mom, I just did. You ain't dead, and you
can't be gnashing your teeth and wailing and more than
the dear department forever if he't right, never to see
no one or never to pay any called or nobody.
Speaker 3 (04:07):
We won't discuss it any further. When Buck died, When
Buck died, my heart died. I'll mourn him the rest
of my life. Wherever he is, he'll see how much
I love him.
Speaker 5 (04:20):
Or Mom, please let me harness black if for you
and drag it to town. Oh what'd I say?
Speaker 4 (04:29):
Lack?
Speaker 2 (04:30):
Who was his favorite? What a rider he was? He
looked like part of the horse.
Speaker 3 (04:38):
Before you leave, give blackie, A lump of sugar, A
big lump.
Speaker 5 (04:43):
Yes, Mama, tell him to go away.
Speaker 2 (04:47):
I won't see anyone.
Speaker 1 (04:48):
You go tell him Jory.
Speaker 4 (04:50):
Oh see my tears.
Speaker 2 (04:54):
See how I forgive you, See how I love you.
Speaker 1 (04:58):
Please, Mom, get.
Speaker 5 (05:00):
Hold of your sale.
Speaker 2 (05:01):
You can't understand?
Speaker 5 (05:02):
Why, sure I can?
Speaker 1 (05:05):
I won't.
Speaker 5 (05:05):
My old woman took check one time. I just couldn't
bear it. Sarah, I'd say, it hurt curly and there, Sarah,
I'd say, I wish you'd get well for something. But Mom,
you've got to get the bulls on it.
Speaker 1 (05:19):
Ma'am. There's a Phellow says he's just got to see you.
Speaker 2 (05:22):
Didn't you tell him? I see noan throw.
Speaker 1 (05:24):
Him out, throw it, ma'am. He stands about eighteen hands
at the shoulder.
Speaker 2 (05:28):
You have a gun on your hip.
Speaker 1 (05:30):
He's got two on hiss and a knife in his boot. Ma'am,
allow me to present myself, Stephen Gregory, owner of the bicycle.
Why I'm hearing a matter of the greatest importance.
Speaker 2 (05:40):
What is it you want?
Speaker 1 (05:41):
Your late husband died twelve hundred dollars in debt to me.
The interest on the mortgage on my place is do tomorrow.
I'd like you to pay me the money today.
Speaker 2 (05:48):
Twelve hundred what four partly.
Speaker 1 (05:50):
For oates bought and delivered, the other eleven hundred and
fifty piled up cutting for a high card.
Speaker 4 (05:54):
If my husband died in debt to you, I have
as I owe you. If he owed you.
Speaker 2 (05:58):
Money, you'll be paid. Not today.
Speaker 3 (06:01):
I won't have a large enough sum in the bank
until the day after tomorrow, so I cannot oblige you
this morning. How if you'll excuse me, I'm in no
condition to give financial matters min and I'm.
Speaker 1 (06:10):
In the condition which if I don't pay off that
mortgage will oblige me to blow out my brains. I'll
take my ranch.
Speaker 4 (06:15):
You will get your money the day after tomorrow.
Speaker 1 (06:17):
I want it the day after tomorrow. I want it today.
Speaker 2 (06:19):
You'll have to excuse me. I cannot.
Speaker 1 (06:21):
You'll have to excuse me. I insist that you pay me.
Speaker 2 (06:23):
If I can't, I can't.
Speaker 1 (06:26):
Is that final?
Speaker 2 (06:27):
That's final?
Speaker 1 (06:28):
Absolutely? Positively, grassius, mootus grassius, and everyone wants to know
why I can't keep my temper.
Speaker 4 (06:39):
I'll thank you to leave my I need money.
Speaker 1 (06:41):
I spent all day yesterday riding from one dead beat
to another. They owe me a fortune. I can't collect
a penny.
Speaker 2 (06:46):
Will you get out of your under?
Speaker 1 (06:47):
I'm seventy miles from home. I slept in a saloon
last night with a brandy cake for a pillow. I'd
finally come here. It's my last hope. And what do
I get? I'm in no condition to give financial matters
my attention? Why shouldn't I be in an uproar?
Speaker 3 (07:00):
I distinctly told you my banker would pay you the
day after.
Speaker 1 (07:03):
I did write all this way to see your banker,
but to see you? What the devil have I got
to do with.
Speaker 4 (07:07):
Your bank You want to go after the boys? Quick?
Fetch them back now, sir? Will you leave?
Speaker 3 (07:12):
Or will you stay here bullying a woman and a
widow until my hands return?
Speaker 4 (07:17):
Give you your just disease?
Speaker 1 (07:18):
Is it my fault you're a woman? Is it my
fault you're a widow? Do I have to pay off
my mortgage or don't I? What do you expect me
to do when my creditors come strip down on my
long John's pretend I'm.
Speaker 4 (07:28):
A ghost, Luke, don't just stand there.
Speaker 1 (07:31):
Mission I go to Tim read that break his nose.
Stilly won't pay I beg Henry Dawson with a two
by four and he won't pay. And you, you are
in no condition to give financial matters your attention. Not
one of you pays up just because I'm too gentle
with you, just because I'm wax in your hand, and
misshut Up, who are you talking about? Cut your heart out.
I'll tell you this, ma'am. If you think you can
(07:52):
diddle me out of my money just because I'm a gentleman,
think again. The picture has gone to the well once,
tour Sir.
Speaker 3 (08:00):
I have never diddled anyone, and I am not accustomed
to being addressed in that tone of voice. I've been
as patient as I can, but my patience is at
an end. Good day, so it's my patience.
Speaker 1 (08:12):
At an end. Even a warm turns well. Right now,
I'll be a drip from long, beautiful manners. Your boss
has just beautiful? Does she thinks she can treat me
like this and get away with it? Gout she? I
came here to be paid, and I will be paid.
Is it warm in here? I'm so mad, I'm dying
of heat. Why are the windows closed while the curtain's drawn?
(08:33):
A lair in here? I get so worked up with people,
Shove me around, take advantage of my good nature, treat
me like I have no feeling my tender me. Never
me some whiskey or some water something front of them. Who
can make sense out of a woman? I leave it
to you. Can you make sense out of the way
a woman thinks? Well, you gotta try and understand.
Speaker 4 (08:53):
I'm going local.
Speaker 1 (08:54):
I need money so bad, and she won't pay because
she's in no condition to give financial matterage Harry attention.
That's the way a woman thinks. It makes sense. You
gotta try it on the squahere's that drink. I'd rather
try to reason with a mule and a woman. A
mule will meet you partway. A mule's a miracle of
logic compared to a woman. I can't a five women,
never could, don't now, not likely toever. I get mad
(09:15):
even when I see one from a distance.
Speaker 5 (09:17):
Where is she little stretched out? Most likely she's been poorly.
She ain't used to see in folks, bourbon all right,
in a bottle, been poorly she ever since month died.
Speaker 1 (09:30):
Well, she's not putting anything over on me.
Speaker 2 (09:32):
You hear me.
Speaker 1 (09:32):
Wherever you are, you're not putting anything over on me
with those temples, those bright eyes, those widows weeds. I
can't be deviled. I'm around. I've seen the elephant and
heard the owl. Please please, she's so low in spirits,
Oh am, I low in spirits. I'll match my spirits
against hers anytime. For lonness, fine hospitality, I must say,
(09:54):
gorgeous hospitality. In the middle of a conversation, she stalks
out like a turkey head.
Speaker 5 (09:59):
Will you can't rides a bleamer, not all together? She
used to having a gent call on her not looking like.
Speaker 1 (10:05):
You, I mean like I look, you're trying to crowd me.
Speaker 5 (10:08):
Well, there's a mirror, right there's he said, where?
Speaker 1 (10:13):
Uh? Well, maybe so a little dusty, but you can't
ride for two days without getting dusty. And my boots
but how can I trouple Billy Clay write his own
pig penalty? My boots clean, and my pants. I'd like
to see her sleep in the floor of a saloon
and rise up with pressure pants. She was put out
by my Appearance's.
Speaker 5 (10:32):
Boat well don't exactly inspire confidence.
Speaker 1 (10:36):
Well, I know I shouldn't come calling on a lady
in her parlor looking like this, But she should have
realized the circumstance. Common sense would have told her that's
what I mean. A woman's got less logic than a mule. Anyway,
I'm not here on a social call. I'm a creditor.
There's no rules for how a creditors are dressed. Judge
the sea. Shut up, sir.
Speaker 3 (10:55):
I have grown unaccustomedly to the sound of a man's
voice in this house, and I can't stand shouting.
Speaker 2 (11:02):
I must ask you to go and leave me in peace.
Speaker 1 (11:04):
Pay me my money and I'll go.
Speaker 2 (11:06):
I thought i'd made it plain.
Speaker 4 (11:08):
You will have to wait till the day after turn.
Speaker 1 (11:10):
I thought I made it plain. I don't want the
money the day after tomorrow. I want it today. If
I don't get it, I'll have to destroy myself tomorrow.
Speaker 3 (11:16):
You run those curtains who opened this window?
Speaker 1 (11:20):
I opened the window. I drew the curtains. You expect
me to sit in the talk with no air? Am
I a gopher? Answer me that I need to breathe?
Speaker 4 (11:27):
How dare you shut that window? Stand aside, sir?
Speaker 1 (11:32):
If people ask me why I get angry, get out
of my way?
Speaker 2 (11:36):
You fair?
Speaker 4 (11:39):
How dare you break that window?
Speaker 1 (11:41):
I'm trying to change the subject. I'm not here to
talk about windows. I'm here to get paid.
Speaker 4 (11:44):
I don't have the money now.
Speaker 1 (11:46):
And I'll sit here and wait until you do. Please,
I'm not neither am I? After all a popscull I
had last night. But I'm going to sit here till
I get paid. Anyway. Have I got a mortgage to
meet tomorrow? Haven't I? You can be sick for a
week if you like, all right, and I'll sit here
for a week. If you're sick for a year, I'll
sit here for a year. You're not putting anything over
(12:07):
on me with those widows, weeds, those bright eyes, those dimples.
I know those dimples. Now, maybe you'll understand that I
won't be diddled.
Speaker 4 (12:16):
You fail, You bear, You bear.
Speaker 1 (12:33):
You are listening to Kathy and Elliott Lewis on stage
to Nice play the Bear. There's outstanding dramatic listening in
the daytime too. On CBS Radio, Map Perkins and Aunt
Jenny make fiction as real as life with their gripping
day to day dramas. Young Doctor Malone and Perry Mason
keep you thoroughly engrossed in their exciting daily adventures. Doctor
(12:53):
Malone's in romance and medicine, Perry Mason's in the legal field.
He knows so well. And there are many more making
up the entire CBS Radio daytime family. They're yours for
the best in daytime listening at the stars address.
Speaker 3 (13:21):
Will you please get out of my house as soon
as I am paid.
Speaker 1 (13:27):
I'm not enjoying this. Do you think I'm doing it
for a joke?
Speaker 4 (13:29):
Stop yelling. This isn't a saloon.
Speaker 1 (13:32):
I'm not talking about saloons. I'm talking about the twelve
hundred dollars you owe me and the market I have.
Speaker 4 (13:38):
To me tomorrow. Don't raise your voice to me.
Speaker 2 (13:45):
How dare you behave like this to a woman?
Speaker 1 (13:47):
Do you call it etiquette to criticize a guest in
your own parlor? I behave very well to a woman.
Speaker 4 (13:52):
No, you don't.
Speaker 3 (13:54):
You have no manners. You're an uncouth man. Decent men
don't talk to a woman like that.
Speaker 1 (14:00):
What a business? How do you want me to talk
to you like an englishman? Ah? My, dear dear lady,
what ripping weather? What? What? And how well you look
in mourning?
Speaker 2 (14:13):
I say that's stupid and rude.
Speaker 1 (14:15):
Stupid and rude. I don't know how to behave to
a woman in my time ma'am, I've seen more women
than you've seen bustles. I've had three duels on account
of women. I've thrown over twelve of them and been
turned down by man. You don't believe me. It's the truth.
There was a time when I moved after women like
a sick calf, almost drowned myself in colney water. Shoot
(14:38):
sten send to make my voice soft and my breath sweet.
Shaved every day, sometimes twice a day, and wore pink
silk garters on my shirt sleeve.
Speaker 2 (14:47):
I'm not at all into I made.
Speaker 1 (14:49):
Love passionately, madly, softly, loudly, every which way I suffered.
I howled at the moon like a coyot. I sang
love songs, whispered sweet nothing, joined the Emancipation League and
made speeches urging boats for women. But not anymore. You
won't get around me like that.
Speaker 4 (15:06):
Now get around you who wants to.
Speaker 1 (15:09):
Get a ride out a bellyful, soft cheeks, bright eyes,
ruby lips, dimples, the moon, dainty hands. I wouldn't give
our cow chip for the lat man.
Speaker 4 (15:22):
Now you listen me.
Speaker 1 (15:24):
All women present company accepted. All women, big or small,
thin or fat, older, young, are unfaithful crooked, vicious, malicious, envious, vain, petty, trivial, greedy, shallow, merciless, ruthless, lying, unreasonable,
and where brains are concerned or horned, toad can give cards,
page a little casino to anything in petticoats and still
(15:46):
win the game. I'll speak from experience. You look at
one of these dainty creatures, all silks and laces, all
gentle smiles and soft sighs, and ngelic, positively angelic. So
when you look into her soul, what do you see?
A buzzard and the most aggravating thing of all. This buzzard,
for some reason or other, is convinced that of all
(16:08):
the creatures on earth, it and it alone, is capable
of love. Now I leave it to you, getting right
down to cases. Have you ever met a woman who
can love anything but a lapdog? When she's in love,
can she do anything but blubber and slobber? A man suffers,
a man tears his heart to pieces, a man makes sacrifices,
And how does she show her love by fluttering her
(16:30):
fan with one hand and getting a good, strong grip
on his nose with the other. Ma'am, you have the
bad luck to be a woman. You know yourself. That's
a woman's nature. Tell me the truth. Have you ever
seen a woman who is honest, faithful, steadfast? Of course
you have it. You'll find a cow who can play
the mandolin before you'll find a steadfast woman.
Speaker 2 (16:53):
You're quite finished.
Speaker 1 (16:56):
That's the gist of my remarks anyway.
Speaker 3 (16:59):
And as you see it, when it comes to love,
who is it that's honest and steadfast? The man?
Speaker 1 (17:06):
Of course it's the man.
Speaker 4 (17:08):
The man. Hah men, honest and steadfast? Did you ever
you listen to me?
Speaker 2 (17:17):
I'm going to tell you about men.
Speaker 3 (17:19):
Where did you ever get the idea that men are
faithful in love? I'll tell you about men. I'll tell
you about the best man that ever lived, my late husband.
I loved that man. I loved him with every part
of me, every bone, every drop of blood. I loved
him as no other man has been loved before. I
(17:40):
gave him everything, my youth, the best years of my life,
my joy, my property, everything, I kissed, the ground he
walked on. I worshiped him. And how did he repay me?
He deceived me.
Speaker 4 (17:54):
There wasn't a day he drew breath that he didn't
deceive me. Books there, ask Luke.
Speaker 2 (18:01):
After he died, I found a whole trunk full of
love letters.
Speaker 4 (18:05):
And when he was alive.
Speaker 2 (18:06):
It hurts to remember it even now.
Speaker 3 (18:10):
He'd leave me for weeks at a time, go gallivanting
all over the country. And in spite of all that
I loved him and was faithful to him, I'm still
faithful to him and true to his memory. I haven't
stirred from this house since the funeral, and I'll wear
mourning for the rest of my life.
Speaker 1 (18:30):
Mourning. You think that fools me? Don't you think I
know why you wear black while you stay in the house.
You want people to say, how spirit you will for
love of her husband? She buries herself alive? What sentiment
I'm under? You? Man? You renounce the flesh and the devil,
but you curd your hair and you sprinkle yourself with patulie.
I smell it.
Speaker 4 (18:48):
How dare you in self?
Speaker 1 (18:50):
Keep your voice down? I'm not one of your hired hands.
I won't be yell that.
Speaker 4 (18:54):
You're the one who's yelling yet out of here.
Speaker 1 (18:57):
Pay me and I'll go.
Speaker 3 (18:58):
You won't get a sense I'll be hanging up, not
one red penny.
Speaker 4 (19:01):
Just for Spike get.
Speaker 1 (19:02):
Out of here and not your husband, and I'm not
your intended so don't make a scene. I don't like.
Speaker 3 (19:08):
Get up from that chair and get out of this house.
That was my husband's chair. Get up from it.
Speaker 1 (19:13):
It's with this chair. I come on with him with
PRIs and I get insultd. I have no time to
waste and I'm forced to spend the day. This is
gussie chair. There, there's a chair.
Speaker 4 (19:25):
You broke it. You broke the chair.
Speaker 1 (19:29):
All I want is what's coming to me.
Speaker 4 (19:30):
I refuse to say another word to you.
Speaker 1 (19:32):
Leave this house and the cash is in my hand,
not before.
Speaker 4 (19:36):
Where's Lenny Jay? Lenny?
Speaker 1 (19:40):
They nobody?
Speaker 5 (19:41):
Am mom short is going to get out?
Speaker 4 (19:45):
Gout out, get.
Speaker 1 (19:47):
Out out fine, open handed, hospitalent.
Speaker 4 (19:50):
You're a hooligan, You're a rough neck. You're a monster,
you're a bear.
Speaker 1 (19:57):
What did you call me there?
Speaker 4 (19:59):
A monster?
Speaker 1 (20:00):
If you got to call me names, I'll.
Speaker 4 (20:01):
Call you as many names as I want to. Do
you think I'm afraid?
Speaker 1 (20:05):
Do you think you can call me names just because
you're a woman. You'll think I let people call me
names and take away my dignity without protecting myself. We'll
shoot it out. Hold on now, I'll wait six.
Speaker 4 (20:16):
Gods, you're not scaring me one little bit.
Speaker 3 (20:20):
I wouldn't care if you were twice as big as you,
ten times as well.
Speaker 1 (20:23):
We'll shoot it out. Nobody in sults. Mee gets away
with it. I don't care if you are there. Who
there's the only men have to pay for insults? Who
made up that rule? Women are always screaming about equal rights.
All right, let's have equal rights all around in everything.
We'll shoot it out good with six guys.
Speaker 3 (20:43):
And right now, right now, I'll get my husband's son.
You wait right here. I'm going to enjoy pumping bullets
into your fixed skull right between the eyes, right between
the eye.
Speaker 1 (21:00):
I'll bring her down like a chicken man. Woman's all
the same to me when I'm at something.
Speaker 5 (21:05):
Oh mister, please don't do this awful thing.
Speaker 1 (21:08):
He leave now for his two league.
Speaker 4 (21:10):
He let it go.
Speaker 1 (21:11):
Just scare in her. You don't choose she wants to fight. Well,
that's emancipation, that's equal rights. It matters like this. I
support the new woman. I'll shoot her on principle. But
did she the heller?
Speaker 4 (21:23):
Though?
Speaker 1 (21:24):
Is she? A lot of women see the way she
galloped off her a gun head up and tail over
the dashboard. I'll enjoy putting a bullet in your skull.
Did you hear her? And our eyes sparkled? She didn't
back down, an anchil, Please please go. She's a real woman.
That's a kind of like a real womanly woman, not
a drooping sack of marshmallow, but with blood in her veins.
(21:45):
All fire, all pepper, all gunpowder, shit, a Roman candle,
shame the killer. Oh no, I like her. I positively
like her dimples and all I like her. I'd be
willing to tear up those ioues. And I'm feeling sereene again.
I got a grip on my temper. A womanly woman.
Speaker 4 (22:06):
All right now. But before we start, you'll have to
show me how to use it.
Speaker 2 (22:11):
I've never held a gun in my hands.
Speaker 1 (22:13):
My mom, But hey, do that hasty. I'm gonna ride
down the.
Speaker 5 (22:17):
Road and try to find the balls.
Speaker 4 (22:18):
Please just pray for time.
Speaker 1 (22:22):
There's a fine weapon, man, good balance, nice heft to it.
It's as shiny as your eyes, nothing as pretty as
a cold forty five.
Speaker 4 (22:32):
Just show me how to hold it.
Speaker 1 (22:33):
The butt goes into your palm like this, and you
can either pull the trigger with your pretty little finger,
or flick the hammer with your tiny little thumb like that,
just like that, and in aiming it. Uh, here, stand
in front of me. In aiming it, put your head
back a little and hold your arm out like this.
(22:54):
That's it. Then when you're ready to fire, just squeeze
the trigger. Squeeze, don't pull, Squeeze like a lemon. Way here,
give me your hand. Feel how gentle I squeeze? I
just squeeze a gentle be liked it?
Speaker 4 (23:13):
I understand.
Speaker 2 (23:15):
I'm ready?
Speaker 4 (23:17):
Where do we shoot it out in the yard?
Speaker 1 (23:19):
All right, let's go. But I'm telling you in advance.
I'm going to fire in the air well.
Speaker 4 (23:25):
If that isn't the.
Speaker 1 (23:26):
Why, because because that's my business.
Speaker 4 (23:32):
You're not yellow?
Speaker 1 (23:33):
Are you?
Speaker 4 (23:34):
Are you?
Speaker 2 (23:35):
I'm not going to.
Speaker 4 (23:36):
Let you call out of this. You come with me.
Speaker 3 (23:38):
I won't rest easy till I put a bullet in
your head.
Speaker 4 (23:42):
Why aren't you coming? Are you scared?
Speaker 1 (23:45):
Yes, I'm scared.
Speaker 4 (23:46):
You're a liar.
Speaker 2 (23:48):
Why won't you fight?
Speaker 1 (23:49):
Because? Well, because I like you?
Speaker 4 (23:56):
He likes me. He has the nerve to say he
likes me. Come on into the yard.
Speaker 1 (24:02):
Wait a minute, let me load your gun. Give it me. Uh, listen,
you're still mad. I'm a little mad too, but you
know what I mean. I can't find the words. The
fact is, well, it's like this. Can I help it?
(24:23):
If I like you? Do you understand it's all I
can do to keep from telling you I love you.
Speaker 4 (24:26):
Don't come near me. I hate you.
Speaker 1 (24:28):
What a woman. I've never seen one like her. I'm
a gone goose. I'm done for. I'm a mouse in
a truck.
Speaker 4 (24:33):
Get away from me, watch and shoot.
Speaker 1 (24:36):
I'd enjoy being killed by a gun held in that
soft little hand. You're driving me crazy. Don't talk without thinking,
and make up your mind right now, because if I
once leave this house, you'll never see hiding a hear
of me again. Make up your mind. I'm a rancher.
I'm respected in the community. I have eight thousand head
of Cadillac and throw six whiskey glasses into the air
and pulverize them before they hit the ground. I own
the fastest horse in the county. Will you marry me?
Speaker 4 (24:58):
I want to shoot it out, shoot it up.
Speaker 1 (25:01):
Out of my mind. I'm in love like a boy.
I'm happy as the jaybird. I love you.
Speaker 4 (25:04):
Get out, get off your knees.
Speaker 1 (25:08):
I love you as I've never loved before. I've thrown
over twelve women have been turned down my mine, but
I never loved any of them as I love you.
I'm putty, I'm tapping, I'm wax. I offer you my hand,
my heart, my parts in in my life. Shame on me,
Shame on me. I'm mortified as I've never been. I
haven't been in love for years. I took an oath,
and suddenly I'm in love like a wolf in a trap.
(25:28):
Marry me, yes or no? You refuse? All right?
Speaker 3 (25:31):
Then, well nothing. Get out of my house. No stop,
no go away. I hate you.
Speaker 4 (25:38):
I mean no, do don't go away. My head spinning.
I'm angry. I don't know what I'm saying. Who are
you waiting for? Get out? Get out? Good bye, good bye, goodbye?
Where are you going? Stop?
Speaker 2 (25:51):
I don't get married, so.
Speaker 4 (25:53):
So stay away from me.
Speaker 1 (25:54):
I hate myself for this, falling in love on my
knees like a schoolboy. I love you. You think I
want to love you, but I love you. It's the
last thing I intended. Tomorrow. I have to pay off
my mortgage and stop my round up and hear you
go ahead, and and I'll never forgive myself for this.
Speaker 4 (26:08):
Take your hands away, get away from me. Let's shoot
it out.
Speaker 2 (26:15):
Let's let's shoe.
Speaker 4 (26:19):
Mom, mom, he read shoe boss mon.
Speaker 5 (26:25):
Well, I just don't believe it, Oh Luke, Yes, ma'am.
Speaker 3 (26:32):
Never mind feeding Blackie that lump of sugar.
Speaker 1 (26:51):
The bear starring Kathy and Elliott Lewis on stage. In
a moment, mister and missus Lewis will tell you about
next week's play. This Sunday Night, Frank Love Joy Stars
and the remarkable talent of Egbert Haw and CBS Radio's
Theater of Stars. You may find it difficult to believe
this tale of a talking race horse, but you'll find
it easy to enjoy. Also Sunday Night, here Lionel Barrymore
(27:13):
on your Hall of Fame Playhouse, spotlighting another little known
hero of American history on most of these stations This
Sunday Evening, Theater of Stars and Hall of Fame Playhouse
presented by CBS Radio and now once again Kathy and
Elliott Lewis. Oh.
Speaker 3 (27:35):
Thanks to Walter Brown Newman for a lovely adaptation.
Speaker 1 (27:39):
Can you talk dear enough to say that Horace Murphy
tried unsuccessfully to get the courage to throw me out
of your house, and that Byron Kane escaped my violence
earlier in the play.
Speaker 3 (27:50):
We've done several scripts by another Newman, e Jack Newman,
who is not related to Walterer, and his plays have
a wonderful effect on all of you. You either violently
dislike to the party and Eddie and Casey at the.
Speaker 2 (28:02):
Bat, or you were thoroughly delighted with them.
Speaker 3 (28:06):
Well, next week we give you an opportunity to once
again either violently dislike or be thoroughly delighted, as we
present e Jack Newman's new story statement of fact.
Speaker 1 (28:17):
Until then, thank you for listening, good night, good night.
Music for tonight's story was arranged and conducted by Fred Steiner.
The Kathy and Elliott theme is by Raynobol, and the
program is transcribed and directed by mister Lewis George Walls
(28:40):
speaking and remember listen while you work. Enjoy Road of
Life every Monday through Friday in the daytime on the
CBS Radio Network.
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