1st Nighter 1941-03-25 Love and Gazozza

Summary

Harold's Old Time Radio
Episode: 1st Nighter 1941-03-25 Love and Gazozza
Release Date: January 9, 2025

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Introduction

In this captivating episode of Harold's Old Time Radio, listeners are transported back to the Golden Age of Radio with the delightful comedy romance titled Love and Gazozza. Set against the vibrant backdrop of Cholula, Mexico, the play weaves a tale of love, misunderstanding, and comedic escapades involving a young American woman, her protective father, and a charismatic local suitor.

Characters

• Emily: A spirited young American woman eager to return to the United States.
• Emily's Father: A business-minded man managing oil wells, determined to keep his daughter safe.
• Esteban: A charming and somewhat overzealous Mexican gentleman with romantic intentions toward Emily.
• Pedro: Esteban's loyal companion.
• Lopez (Senor Lopez): The local police authority in Cholula.

Setting

The story unfolds in Cholula, Mexico, specifically around Emily and her father’s unexpected stop near Esteban's hacienda. The picturesque setting includes gardens, fountains, and the bustling little theater off Times Square where the play is performed.

Plot Overview

Act 1: An Unplanned Stop

Emily and her father are en route to oversee oil operations but find themselves stranded in Cholula due to running out of gas. As they search for a gas station, they encounter Esteban, who warmly welcomes them to his hacienda.

• Key Interaction:
  • Esteban (04:08): "But see, see? I grande."
  • Emily's Father (02:54): "Look, daddy, down the road some Mexican on a horse."

Esteban offers assistance, showcasing his hospitality by providing gasoline and inviting them into his home. The initial cordial exchange sets the stage for ensuing romantic tension.

Act 2: Romantic Misunderstandings

Esteban's overt romantic gestures towards Emily clash with her intent to return home, leading to comedic friction. Emily insists on leaving, while Esteban becomes increasingly persistent, misunderstanding her urgency as affection.

• Notable Quote:
  • Esteban (06:00): "My heart breaks. I come home to my hacienda. But always I think of you."

Tensions escalate when Esteban serenades Emily, interpreting her resistance as hidden affection. Their differing cultural backgrounds and emotional miscommunications add layers of humor and pathos to the narrative.

Act 3: Confrontation and Resolution

The conflict reaches its peak when Esteban attempts to prevent Emily's departure, leading to a humorous standoff involving a faux arrest orchestrated by Emily's father. Eventually, truths emerge, revealing misunderstandings and aligning intentions.

• Climactic Exchange:
  • Emily (25:31): "I love you, Esteban. I can't live without you."
  • Esteban (25:34): "Oh, little darling, put your face up to the bars."

In the resolution, Emily's father steps in to mediate, clarifying Esteban's true intentions and fostering a mutual understanding that allows all parties to reconcile their differences amicably.

Key Themes and Insights

• Cultural Clashes: The play humorously explores the misunderstandings that arise from cultural differences, especially in romantic contexts.

• Protective Parenting: Emily's father's determination to protect his daughter underscores themes of familial duty and paternal care.

• Miscommunication in Romance: Esteban and Emily's interactions highlight how miscommunication can both complicate and eventually clarify romantic intentions.

Notable Quotes

• Esteban on Unwavering Affection
  [06:00]: "My heart breaks. I come home to my hacienda. But always I think of you."

• Emily's Assertive Departure
  [16:35]: "I want to write a letter."

• Climactic Declaration of Love
  [25:30]: "I love you, Esteban. I can't live without you."

Conclusion

Love and Gazozza masterfully blends humor, romance, and cultural nuance, offering listeners an engaging narrative that resonates with timeless themes. Through its vibrant characters and witty dialogues, the play not only entertains but also provides insightful commentary on the complexities of love and the importance of understanding across cultural divides.

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Harold's Old Time Radio continues to celebrate the rich legacy of radio dramas, bringing to life classic stories that captivate both nostalgic audiences and new listeners alike.

Transcript

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[Announcer]

Campana's Italian Bomb presents the first night of program a copyrighted feature coast to coast theater time on the Great White Way. And once again, ladies and gentlemen, you're invited to attend an opening night performance in the little theater off Times Square. There'll be plenty of traffic tonight, so let's get an early start for the theater. Here's my cab, once you step in. All right, driver, up Broadway. Well, here we are.

[Esteban]

Have your tickets ready, please.

[Announcer]

Have your tickets ready, please. Good evening, Mr. First Curtain in two minutes.

[Esteban]

Thank you.

[Announcer]

We'll go right. All right. We have just a moment now before the play begins. I see that the title of this evening's dramatic offering is Love and Gaza. An original comedy romance by Virginia Safford. Co starring Barbara Luddy and Lester Maine. The story is pure fiction and does not refer to real people or to actual events. And now before burst curtain, let's listen to Eric Segaquist and his famous orchestra. There's a signal for first curtain. The house lights are out. And here's the place.

[Emily's Father]

We out again.

[Emily]

Now dad, don't get excited.

[Emily's Father]

290 in the shade and no shade. You would rent a car and drag me around to see Mexico in the raw.

[Emily]

We can probably get gas at that house.

[Emily's Father]

What house?

[Emily]

See that gate? A big ground tool like that would have gasoline.

[Emily's Father]

Look, Emily, we are supposed to be on our way to my oil wells out of the quantapec and for no good reason. We're miles and miles away in Cholula. There's something fishy about this. Where's that Mexican fellow live?

[Emily]

Why, in Mexico of what Mexican fellow?

[Emily's Father]

Why'd he leave New York in such a rush?

[Emily]

He didn't. He left very slowly.

[Emily's Father]

What happened between you and him?

[Emily]

Why, daddy, I hardly knew him. Just a mere acquaintance.

[Esteban]

I grande.

[Emily's Father]

Look, daddy, down the road some Mexican on a horse. Emily, stop digging around under the seat.

[Emily]

I've got to find my compact Saan. Imagine running into you down here. Oh, Savan. Here's Daddy.

[Announcer]

Daddy.

[Emily's Father]

Oh.

[Esteban]

That is to say, Senor Caldwell, this is wonderful to find little Emilita at the gate of my agenda.

[Emily]

This big rancho doesn't belong to you.

[Esteban]

But see, see?

[Emily]

Why, imagine that, Daddy.

[Emily's Father]

Imagine.

[Esteban]

But how did you get here?

[Emily]

Why, we ran out of gas.

[Esteban]

Gasolino. But I am mucho gasolino. Come to my hands. I will shower you with gasolino.

[Emily's Father]

Just in the tank, please.

[Esteban]

Oh, never, never have I been so excited. I leap from my horse.

[Emily]

Oh, isn't he wonderful, Daddy?

[Esteban]

I untie my last hole and bringing before the car, I tie it to the cow catcher.

[Emily]

He's going to tow us there.

[Emily's Father]

Yes, if I'm following the action.

[Esteban]

No, I leap on through my horse, that. Here we are. We are ready. No?

[Emily]

Ready.

[Esteban]

Bueno. And off we go. Come in. I bid you welcome to my house. Come in.

[Emily]

Oh, how lovely and cool.

[Emily's Father]

Hey, nice old place you have here.

[Esteban]

Gracias, senor. Estie casa.

[Emily's Father]

How's that?

[Esteban]

It is your house, senor.

[Emily's Father]

Oh, no, no. I couldn't take it. Oh. Oh, yes, yes, yes. I see what you mean. Thanks.

[Esteban]

Coming to the patio? Pedro has cool drinks waiting for us.

[Emily]

Oh, look, a fountain. And the flowers. Esteban, it's heavenly.

[Esteban]

Heavenly. Now that you are here, Emilita, senor, what will you have?

[Emily's Father]

Is that gazuza you like?

[Esteban]

Azuza, senor.

[Emily]

He's had it everywhere. We've been in Mexico.

[Emily's Father]

Thanks. You know, a fancy pop like this would be a sensation in the States. I'd like to know who makes it.

[Esteban]

Oh, Emily, so many times I have dream in my mind of you sitting here by my fountain when you sent me away from New York.

[Emily]

I didn't send you away.

[Esteban]

But you gave me what you say be French.

[Emily]

The gate. But I said we'd always be friends.

[Esteban]

My heart breaks. I come home to my hacienda. But always I think of you. Always I say to myself, even, please.

[Emily]

Not out in public.

[Emily's Father]

Don't mind me. I'm strolling around the garden.

[Esteban]

Everything is yours, Senor Peak or the flowers. Oh, Amelie.

[Emily]

Esteban.

[Esteban]

My little coffee blossom.

[Emily]

I was your what?

[Esteban]

Coffee blossom. Oh.

[Emily]

Oh, er. Stephen, we must never, never quarrel again.

[Esteban]

What is nothing to quarrel about. Now, my sweet, you have come. Each day I think, manana, she will see our mistakes. Manana she will come. So now it is mania.

[Emily]

You mean you've been expecting me?

[Esteban]

I knew you would realize how much you love me.

[Emily]

You knew you were waiting for me? You. You're the most conceited person I've Ever met in my life.

[Esteban]

Concrete. Because I knew you would call.

[Emily]

I didn't. Dad had to come to Tihuanapec to see his oil wells.

[Esteban]

Sure. Then why are you in Cholula?

[Emily]

We're just passing through.

[Esteban]

You funny little monkey. You come here because you know this is where your Esteban lives.

[Emily]

That had nothing to do with it. And you're not my Esteban.

[Esteban]

Oh, but I am. I make myself a present to you. Oh, Emelita, it does not matter. You are here, we are happy. I will show you my friendly country.

[Emily]

Well, we must be going to see my country. Back to our hotel.

[Esteban]

You talk of hotels when I'm making love to you?

[Emily]

It's the El Grande, dad. Come on, we must go.

[Esteban]

Elita, wait. I have much more to say.

[Emily]

You've already said a great deal.

[Emily's Father]

Are we leaving already?

[Esteban]

No, no, you must stay.

[Emily]

Yes, Come. Dad, where's our car?

[Emily's Father]

Oh, Esteban. How about that gasoline?

[Esteban]

It was not necessary, senor. There was plenty gasoline in the tank. Emily, don't wait. You must not go.

[Emily]

Hurry, dad.

[Esteban]

Emelita, why you act like this? You are angry. But why are you angry? Why?

[Emily]

I prefer not to discuss it, senor.

[Esteban]

You are her father. Ask her why she's angry.

[Emily's Father]

Why are you angry, Emily?

[Emily]

I'm not angry. I never felt more pleasant. Get in, dad. Goodbye. Est? Thanks for the gasoline and the gaza.

[Emily's Father]

Ah, great stuff.

[Esteban]

It has been my pleasure, senor. Hey, Manito, why you do these crazy things? You come, you are happy, you go, you are angry.

[Emily]

Why?

[Esteban]

Why?

[Emily]

Goodbye. Establish.

[Esteban]

Good on. And yours. So this is a pretty army new little spoil monkey. Okay, but maybe this time I show you how can I love you so much.

[Announcer]

And the curtain comes down on the first act of tonight's play in the little theater off Times Square.

[Esteban]

Poking in the outer lobby or down stairs. Please. Attention, please.

[Announcer]

Tomorrow morning, how would you like to get a letter with $100 in it? Could you use $100? How about $1,000? How about $5,000? Listen, you may think things like that don't happen, but they are happening. Tomorrow or the next day, five people whose names I'll give you later in this program actually will get the thrill of getting a letter containing $100. And a few weeks from now, someone will get a check for $1,000 and someone else a check for $5,000. How come? Because Tampana is giving away $10,000 in cash in order to get people everywhere acquainted with the fact that there are now two kinds of Italian bomb on the market for a good many Years there's been just one kind of Italian bomb, the famous regular Italian bomb. One of the most popular hand lotions ever developed. But now, realizing that some skins are less dry and less sensitive to weather, wind and hard water than other skins, and that millions of women want a hand lotion for mild weather in the spring, summer and fall, as well as in the winter, Campana has prepared a second kind of Italian bomb called Special Improved Italian Balm. Now, we're sincerely interested in finding out which of the two kinds you like the better. We're giving away $10,000 in cash to get your opinion. $500 every week. That is $100 to each of five people, plus a grand prize of $5,000 and a runner up prize of $1,000. Listen later and I'll tell you more about it. The mercenaries are hurrying down the aisles to their feet. The lights are dimmed. And here's the second act of love and gezuza.

[Esteban]

Coffee. Senor? Pedro, listen. Please sing us, Pedro. If you love a beautiful senorita. Very stubborn and she does not know what she want. But you know she love you, though she will not admit it. What would you do? I think beating is always good, senor. No, no, Pedro. Women and horses must never be beaten. It makes them rear up on their hind legs and show their teeth. I think beating is good. More coffee for you.

[Emily's Father]

Right, Senor.

[Esteban]

How you feel about kidnapping? Kidnapping? No, no, no. She would be a terrible captain. What do you mean?

[Emily]

Sisi?

[Esteban]

You mean.

[Emily's Father]

No, no.

[Esteban]

She, she. No, no. I might set fire to El Grande Hotel and a dash in a savor from the roaring flames. Monseigneur, you own the hotel, si? Oh, that is right. But Santa Maria, I must do something. She's my life. She's everything. I cannot lose her again. No, Pedro, no. Do not play now. I have no mood for music. But Senori's Melti cool heart. They love the romancy little senoritas.

[Emily's Father]

His song beneath the window.

[Esteban]

Oh, that is it. I will war like that. Give me the guitar. Pedro, bring my horse. I go to town. I got to be romantic.

[Emily's Father]

Have a glass of gazuza, Emily. It's delicious.

[Emily]

No, thanks.

[Emily's Father]

Want to go out in the plaza and watch the handsome dons make goo goo eyes at the senoritas?

[Emily]

Heavens, no.

[Emily's Father]

If you feel like that, why do we hang around here? Why don't we go on to the. Want to pick?

[Emily]

No, I. I don't want to go just yet. The. The climate here agrees with me.

[Emily's Father]

I give up. Of course, I never thought you'd marry a foreigner. But still, in all Estaburn's a fine chap. I can see how a girl would. In fact, if I loved him enough to come all this way to see him, I'd marry him.

[Emily]

You two would make a lovely couple, dear.

[Emily's Father]

Oh, boy. Bring me another bottle of cazuza.

[Emily]

I thought he'd be here by this time.

[Emily's Father]

By George, I wish I could find out who makes that stuff.

[Emily]

It must have been crazy to have thought so.

[Emily's Father]

Gazusa, senor.

[Emily]

Well, if he doesn't care, I don't either. I'm going to bed, Daddy.

[Emily's Father]

It's hot inside. Nice out here in this patio. Say, waiter, who makes this cazuza? Why, you wish to know, senor? Great Scott. Why do you all act so suspicious? No sabe, senor.

[Esteban]

We are stranger here.

[Emily]

Good night, Daddy. I'm going in.

[Emily's Father]

Nobody'll tell me. You think I was planning to steal the stuff. Where are you going, Emily?

[Emily]

Oh, you hadn't even tried to see. What are you doing out there?

[Esteban]

I'm singing.

[Emily]

Well, go sing somewhere else.

[Esteban]

Oh, senorita, how can you be so cold of art when you are so beautiful? Your lips like red cherries. Your cheeks like fragrant peach blossom.

[Emily]

Stop that. Go away.

[Esteban]

So gentle, so little and lovie. I cannot leave without you.

[Emily]

This isn't gonna get you anywhere.

[Esteban]

Manana, I will learn your name. Manana, I will seek permission of your papa to pay my respect.

[Emily]

Don't be silly. You know my name. You know me.

[Esteban]

But tonight I pour out my art in song beneath your window. Since the moment I saw you, senorita, my heart beats only for you.

[Emily]

Esteban, do you feel all right?

[Esteban]

Oh, now you spoil it. You will not pretend with me.

[Emily]

But what sort of talk was that?

[Esteban]

Listen, in New York, I make love the Americano way. Now I make love within my own country. I pretend I have seen you with your duenna in the plaza. I come seeing beneath the grill of your window. Cuando van amalgami Dios. It is beautiful, romantic. But no. You have no imagination.

[Emily]

Well, you needn't get mad. How was I to know you were.

[Esteban]

You're a spoiled little brat. You think you can tweeze me around your finger. But no. I am finished.

[Emily]

Steven. You're not gonna let me go away back home.

[Esteban]

Would you have me beg for love?

[Emily's Father]

No.

[Esteban]

This is the end. Forever.

[Emily]

Esteban.

[Esteban]

Adios.

[Emily's Father]

I'd feel lots better if you come along to the want place.

[Emily]

No, dad. I'm going back to the States. Soon as your train leaves, I'm going back to hotel and pack.

[Emily's Father]

And for Pete's sake, change your clothes.

[Emily]

Oh, stop fussing about these shorts. At least they're cool.

[Emily's Father]

You shouldn't wear shorts down here. These people don't understand the way they look at you.

[Emily]

Oh, get on, Daddy. Oh, wait, you're carton of gazua.

[Emily's Father]

Oh, yes, yes, yes. Thanks. I must have that. And nobody will tell me who makes it.

[Emily]

Daddy, your train's moving.

[Emily's Father]

Goodbye, Emily.

[Esteban]

Be a good girl.

[Emily]

Goodbye, dad.

[Esteban]

Senior insert.

[Emily]

Move.

[Esteban]

One minute.

[Emily's Father]

I command you to stop.

[Esteban]

What?

[Emily]

What do you mean me?

[Emily's Father]

You come with me pronto.

[Emily]

But wait a minute. Let go of my arm. Let go. Help. Police.

[Emily's Father]

You call me?

[Emily]

No, not you. You let go of me. I want a policeman.

[Esteban]

Me. I am the police. Ch, ch, ch.

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[Emily]

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[Emily]

You. What are you trying to do?

[Emily's Father]

The respectful citizens of Cholula demand I arrest you for running around in the street in your underwear.

[Emily]

Underwear? You mean these shorts? Don't. Don't be silly. Oh, let go of me. You can't do this. My father will. I said let go.

[Emily's Father]

Oh, yes. Aha.

[Esteban]

You keep me.

[Emily]

Yes. And I.

[Emily's Father]

So now I arrest you again for resisting a policeman of the law.

[Announcer]

And the curtain comes down on the second act of tonight's play in the little theater off Times Square.

[Esteban]

Poking downstairs or in the outer lobby, please.

[Announcer]

All right. Now here's some more news about the $10,000 that Campana's giving in cash. By the way, if you have this week's this Week magazine, turn to page 21 and get the Full story about this contest. But listen, it's about the easiest contest you ever heard of. You don't need any entry blank. Here's all you do. Take a piece of paper, using one side only. Write 100 words or less to complete either of the following two sentences. Sentence 1 reads, I like the new specially improved Italian Bomb, because Sentence two reads, I still prefer the famous regular Italian bomb because you finish either of these sentences, giving us your honest opinion. Then sign your name and address, attach the front panel only from any size carton of Italian bomb or facsimile. And mail your entry to Campana at the address on the cartons. Do this tonight. There's a contest every week giving away five $100 bills until April 28th. Each week's contest closes on Monday night. You can enter as often as you want to each week, provided you follow the simple rules. No entry blank is necessary, but the rules for the contest are available if you want them, at drug department and 10 cent stores. Plan now to win one of these weekly prizes. And remember, the grand prize winner and the runner up prize Winner will get $5,000 and $1,000 respectively. Will be selected from the weekly winners. Here's your chance to make your dreams come true.

[Emily's Father]

And curt.

[Announcer]

The first riders rolling their seats ready for the last act. And there goes the curtain.

[Emily]

But you can't keep me locked up. Who? Who do you think you are?

[Esteban]

Me?

[Emily's Father]

I am Lopez, the man who keep you locked up.

[Emily]

I demand to see the chief of police.

[Emily's Father]

No speak English.

[Emily]

You let me out of here.

[Emily's Father]

Maybe, man, maybe next month, you know.

[Emily]

Listen, Lopez, let's talk this over. You must know that in America everyone wears shorts for sport.

[Emily's Father]

I think America plenty local country, I think.

[Emily]

Oh, go away. No, wait. Bring me some dinner. I'm hungry.

[Emily's Father]

Oh, very sorry. Calaboso. Do not feed you against the law.

[Emily]

I just start.

[Emily's Father]

Maybe you have some friend to bring you food?

[Emily]

No, no. Too bad, but I'm hungry. Oh, all right. Give me a pencil and paper.

[Emily's Father]

You eat them.

[Emily]

I want to write a letter.

[Emily's Father]

Guess the law.

[Emily]

Oh, now listen. You've a kind, intelligent face. Heaven forgive me. A fine handsome man like you wouldn't refuse me that much. Just a little letter. Nice.

[Emily's Father]

Senor, it is still against the law. But what you say about me is true. So here the pepper and pesto.

[Emily]

Oh, gracias so much. Wait just a minute. Here. Send this at once, please. Now send it to a saving demora's at once. You hear?

[Esteban]

El senor establish why you not say so? Wake up.

[Emily's Father]

Take it to El Sander Dimore Underlying.

[Emily]

Oh, darling. I knew you'd come.

[Esteban]

Oh, I find you in the Calaboso little Evelita mansion.

[Emily]

Did you bring me something to eat?

[Announcer]

What?

[Esteban]

See in these big bars. Get my coffee potion.

[Emily]

Oh, wonderful. Poke something through the bars, quick.

[Esteban]

Not so fast. First, you. You respond me one little question for positively the last time. Will you marry me?

[Emily]

Oh, so you're taking advantage of a starving girl. Well, let me tell you this. My answer is permanently, definitely no.

[Esteban]

Then it is settled. You do not eat. I think I will rest a million here on the ground.

[Emily]

Oh, go away and let me alone for the moment.

[Esteban]

I have nothing important to do, and I am a little hungry. Tamales, tortillas, cold chicken.

[Emily]

I hope you choke.

[Esteban]

Excellent.

[Emily]

If you were a gentleman, you'd make them let me out.

[Esteban]

You do nothing for me, I do nothing for you. Wish I brought along a little pepper.

[Emily]

You think you have me at your mercy, but what's to stop me from saying I'll marry you just to get some food?

[Esteban]

No, you would not do that. Though you are a little devil, you love me too much.

[Emily]

Love you? I don't even like you.

[Esteban]

So you come all the way to Cholula to see me?

[Emily]

Oh, you. You.

[Esteban]

You can think of nothing to say? No.

[Emily]

If I said what I'm thinking, they'd arrest me again.

[Esteban]

Oh, how sad it is that every time we meet, we quarrel. What was with we we quarrel about in New York? I've forgotten.

[Emily]

Well, I remember very well. It was because. Because. Well, at least you could have come.

[Esteban]

Back when I knew you would come here.

[Emily]

I was leaving this morning when Lopez arrested me. Esteban, did you tell him to arrest me?

[Esteban]

I wonder, would I like a lot of piece of chicken?

[Emily]

Esteban, answer me.

[Esteban]

Shall it be a wing this time or a leg? I just said to my good friend Lopez that I think the Americano senorita need a little watching.

[Emily]

Oh, how can you be so mean to me?

[Esteban]

If there is anything you wish to say to me now, Emily, I am willing to listen.

[Emily]

Don't be like that. And then stop eating, can't you? I'm sorry.

[Esteban]

Oh, no, no. You are just hungry.

[Emily]

Oh, I know I acted like a housewit in New York. I'm a brat.

[Esteban]

Oh, listen, Emelita. You do love me, yes. You cannot leave without me.

[Emily]

No.

[Esteban]

Say it then.

[Emily]

I love you, Esteban. I can't live without you.

[Esteban]

Oh, little darling, put your face up to the bars.

[Emily]

You gonna fe.

[Esteban]

First I must teach you. Oh, Monte. Amelita. No. I will go around and untie the lock.

[Emily]

But how can you.

[Esteban]

It's very simple. I have the keys.

[Emily's Father]

Hey, what's going on around here?

[Emily]

Who said that?

[Esteban]

What it is, Daddy.

[Emily's Father]

Listen, I'm on the track of it. I know the man's name. Fella on the train told me.

[Emily]

Daddy, what are you doing here?

[Emily's Father]

I doubled right back. They said at the hotel you were in jail. What in thunder are you doing in jail? Emily?

[Esteban]

Oh, it is all right now, senor. We will have no more trouble with her.

[Emily's Father]

Fine. Listen, Estaban. This Cazuza man lives here in Cholula. His name's Damores, and he has this factory.

[Esteban]

What? Senor, I am the Gazuza man.

[Emily's Father]

No, no, no. His name's D'Amores.

[Esteban]

Esteban Damores @ your service, senor.

[Emily's Father]

You are the Gazuza. Well, by George.

[Esteban]

Why didn't you tell me you were looking for me?

[Emily's Father]

Why? Great Scott, man. I've talked of nothing else. Oh, yes, yes, Young man in love. I know. Listen, are you paying attention to me now, sisi?

[Esteban]

I'm listening, senor.

[Emily's Father]

I want to buy the American rice.

[Esteban]

Senor, I will make you my partner.

[Emily's Father]

Partner? Say, that's great.

[Esteban]

We'll go back.

[Emily]

Pardon me for interrupting, but can't somebody give me some of that chicken?

[Announcer]

One minute, darling.

[Emily's Father]

Back to the hotel and draw up the papers. But what about Emily? How'd she get into jail?

[Esteban]

Wait, senor. First I wish to ask you for your daughter's aunt.

[Emily's Father]

Don't wait to ask me for anything. Just go marry her before she changes her mind.

[Esteban]

Oh, Daddy, you are right. We will marry pronto. Not the Monana. Not the next week. What? Right now?

[Emily]

Oh, Estalen. And then we'll have a beautiful big wedding breakfast.

[Announcer]

And the curtain falls on another play hit in the little theater off top, Times Square. All right. Here are the names of the winners in Campana's $10,000 cash contest. Their checks are in the mail. Here they are. Ms. Nona Blair, Knoxville, Tennessee. Mrs. Owen E. McGillicuddy, Toronto, Canada. Ms. Harriet Ellis, White Plains, New York. Major W.J. o'Callaghan, Paynesville, Ohio. Mrs. Lottie B. Shipley, South Bend, Washington. Five weeks to go. Next contest closes next Monday night. Keep tuned to this station. Elma Davis will follow with highlights of the news. And now we move out of the theater and into the street.

[Emily's Father]

Here's your cab, Mr. First Manner.

[Announcer]

Thank you. Good. The first night of program is the copyrighted radio feature. This is the Columbia Broadcasting System.

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