 Remember a Hallmark card when you carry enough to send the very best. The makers of Hallmark reading cards bring you Joseph Cotton in George Bernard Shaw's Cashel Byron's profession on the Hallmark Playhouse. This week Hallmark will bring you Hollywood's greatest stars in outstanding stories chosen by one of the world's best-known authors. The distinguished novelist, Mr. James Hilton. Good evening, ladies and gentlemen. This is James Hilton. Tonight on our Hallmark Playhouse we present a very great name indeed, George Bernard Shaw. And the story of his weird dramatizing is Cashel Byron's profession. A novel which Shaw wrote when he was a young man, and that you know was a very long time ago, for he died only last year at the wonderful old age of 94. Shaw, of course, is best known for his plays and his wit. And perhaps he was just being witty when, as a successful playwright, he said, quote, I never think of Cashel Byron's profession without a shudder at the narrowness of my escape from being a successful novelist at the age of 26, unquote. Well, anyhow, Cashel Byron makes a good and gallant hero, and his profession, in case you want to know in advance, was price-fighting with boxing gloves. A fairly new profession in those days, for most people then could remember when all price-fighting had been with bare fists, and the fighters often batted each other for hours in the ring without a pause. To play Cashel Byron tonight, we are fortunate indeed to have with us that fine actor, Joseph Cotton. And now here is Frank Goss from the makers of Hallmark Cards. When you're looking for a way to say something to someone you care for, look for a Hallmark card, and you'll find the right words. Because Hallmark cards are designed to say what you want to say, the way you want to say it. And in the good taste, you demand of anything that bears your personal signature. That's why Hallmark on the back of a greeting card has come to mean, you cared enough to send the very best. And now Hallmark Playhouse presenting George Bernard Shaw's Cashel Byron's profession, starring Joseph Cotton. The young gentleman who has just entered the stars dressing room is not the star. He seems restless, out of place, as he taunts us about the strange surroundings. There's a clutter of women's clothing, open makeup jars, spilled powder. On the dressing table stands a framed photograph of a boy in an eating collar. Moodily, the young man looks at the picture. To mama, with love, cashel. And the lad with the eating collar stares up through a splintered picture frame from the bottom of a waste basket. Up there on the stage, the curtain's going down, and the applause, so crisp across the footlights, sound dead and sudden in the dressing room. How did you like it, really? I was in a dither when Reddy didn't give me the cue. See you later, darling. Cashel. Hello, mother. Why, Cashel, what a pleasant surprise. Cashel, what are you doing when you're up in the air like that? I beg your pardon? Well, you've grown so tall and so big. There's very little I can do about it, mother. Yes, of course. It's just the shock of seeing you after such a long time. Have you been, dear? Reasonably well. Mother, I have something very important to tell you. Oh, I know, I know you have so many things, but they can wait until I get this nasty grease paint off my face. Mother. Oh, do you realize, Cashel, I don't believe I've seen you since the time you ran off from Dr. Malkry's school. Oh, really, Cashel, I was so disturbed I could barely go on. The management almost had to cancel the performance. I'm truly sorry it upset you. It wasn't your running off that bothered me as much as, um... Well, was it necessary for you to knock out the two front teeth of your geometry, Professor? It was a very geometric punch. Oh, really, Cashel? You can't just go through life hitting people. You've got to settle on a profession. I've already settled on one. Oh, splendid. What is it, Cashel? Bookkeeping? Or would you like to have me set you up in a small establishment? Yard goods or something? I'm not going to tell you what my profession is because you wouldn't approve, and I've come to say goodbye, mother. I'm going to Australia. You don't mean Australia. Down there by the South Pole. Kangaroos and things. It's a growing country, mother. Why don't I understand you, Cashel? You never have. So far from home. Home? What home? Cashel. Oh, it's not your fault, mother. You've had your work to theater. I know how demanding it is. You've done your best for me. Schools, tutors, spending money. I don't want to seem ungrateful. Why, my dear boy? I'm not your dear boy. You'll find him in the wastebasket. What's left of him? I doubt very much if you will ever see me again. Cashel. Don't be dramatic, mother. You'll travel lighter without me. There's no baggage less needful to a leading lady than a grown-up son. Sweeping up the gymnasium. You talking to me? I've come I've never seen you before. I've only been here a few weeks. I just arrived in Australia. Put down that broom for a second. What's on your mind? Try punching this bag once. I'd like to put that arm of yours to more use than shoving a broom handle. That way. Want me to hit it hard? Yes. Hit it as hard as you can. All right. Hit it again. Take out and plunge. Lad, I've been looking for you for 20 years. My name's Millish. How do you do? Once I had the champion of the world. I'm a trainer and manager and builder of champions. But since old Nate passed on, I haven't found me the stuff of another champion. How'd you like to be it? Be what? Champion of the world. I want to make boxing my profession. Well, I've never heard you call it a profession before, but the way you hit, sonny, you call it anything you want to. It's too plain, good boy. You wore out another punching bag. How shall my boy? You cleaned up every fighting man east and west of the Southern Cross. Time we went home. I don't have a home. To England, man. I just want to go. That cash I've already shed, you would have matched. We have our passage in the most delightful country home in Great Britain, where we can train for it. I won't go. You've got to go. You're in the boxing business. I'll pick your pardon. Profession. And you've got to go where the bouts call you. We are off to England, cash my boy. It's not a bad place, Malish. Who owns this estate? A woman. Name of Lydia Carew. A woman with eyes in her veins, they tell me. Oh. She lives in the big house on the hill. Let's make sure we always take our runs in the other directions. That's all right with me. Well, I'll pop in and get you a warm shirt and we'll go for a run. It's getting a little cold out for you to be just in boxing shorts. Now don't you wonder or... Don't worry. Who's that? Oh. I beg your pardon. I was walking in the woods and I'm afraid I got lost. I'll leave at once. No. Please don't go. When I first saw you standing there in the sunshine, I thought you were a statue. Oh, forgive my attire or lack of it. But as you see, I'm quite alive. Yes. So you are? I must say that as you emerged from the trees, I thought you were a forest goddess. You are genuine and alive, aren't you? Quite. Oh, please, before you go. Tell me what your name is. I... Oh, permit me to introduce myself. My name is Casual Byron. Oh, yes. You are here for your help. Oh, is that what they told you? Yes. Although I can't imagine what could be wrong with your help. Some appearances. You must tell me your name. Lydia Carul. Oh. Good day to you, Mr. Casual Byron. Good day, Miss Lydia Carul. Here's your shirt, Cash. Now let's go for a run. Yes. What's the matter with you? Have you seen a ghost? No. A spirit. A forest sprite. The loveliest creature in the whole world. Mellish, don't let anyone here know that I'm a fighting man. I don't think she'd like it. She? Who's she? I've just met Miss Lydia Carul. Oh. Deliverous from evil. Mellish, you've seen a lot of the world. Is it possible for a man to fall in love quite suddenly in, say, in 15 seconds? Casual, let me tell you something. I know fighters. I've been training them for 30 years. And there are three things that can spoil any good boxer. A charlie horse. A weak-lit jab. And a beautiful woman. A woman will return to the second act of Casual Byron's profession, starring Joseph Cotton. Have you ever analyzed what it is about a picture that makes you like it? Is it the composition and line, the colors and the way the artist combines them, the subject matter? Probably each of us looks for a different thing. But in the final analysis, I think we'll all agree that those pictures we like best are the ones where the artist has expressed something that has meaning for us as individuals. And when you select a picture to represent you, as most of us do when we select our Christmas cards, it's good to have time to make a choice leisurely and with care to be sure it does represent your taste in art and your feelings about Christmas. The Hallmark Christmas Card Album has many reproductions of paintings by fine artists. This is the Hallmark Gallery Artist Collection. In it, you'll see works by Norman Rockwell, Winston Churchill, Grandma Moses, and other equally famous and outstanding artists. Each painting is magnificently reproduced in colors that are true to the originals, and each card is made in the tradition of Hallmark craftsmen, whose one purpose is to make a card you'll be proud to send and that will be received with pleasure. That's why right now, while you can make your selection leisurely, is the time to order your personalized Christmas card. Order it from the album with Hallmark on the cover. Then you'll be sure your cards will have that Hallmark on the back, which tells your friends you cared enough to send the very best. Now back to James Hilton and the second act of Cashel Byron's profession, starring Joseph Cotton. When the prize fighter meets the lady, we can expect a very interesting bout to take place, especially with Bernard Shaw as the referee. In fact, the muscular Mr. Cashel Byron seems to be losing interest in his punching bags and developing instead a keen desire to spend his professional hours on predictable Miss Lydia Caroul. Miss Lydia, forgive me for intruding on your garden, but I had to see you again. Praise you, town. I was just hiding away the time, tossing pebbles in the pool. Watch. Look at the widening rings. The brations the scientists call and they're the same they say as the twinkling stars. Well, the pulsations of chords of music. Yes. I've been inquiring about you, Mr. Cashel Byron. You have. What have you found? They tell me you're a student. Oh, student. But I haven't been able to find out of what. Science. I'm a student of science. Physical or moral science? Uh, physical science. But there's more moral science in it than people might think. Oh, I'm fascinated by science. I wish I could do experiments with my own hands. For the most of science thoroughly, I believe one must take one's gloves off. Is that your opinion? Well, I think you can become a very good scientist by working with the gloves on. I'm afraid I must go. I should be working out. Working out? What a strange expression. Do you mean working outdoors in contrast to working indoors? No, I... Look, Miss Lydia, I am always saying stupid things. I'm a blunt man, I'm afraid. I will be blunt now. Miss Lydia, are you engaged for this evening? I fear that I am, Miss Byron. I'm attending Lady Hoskins Literary, Swaray. May I see you there? I have a commandant. Mr. Lucian Webber. I see. Forgive me for being unduly forward. Good day, Miss Lydia. Come here. What do you want? Thanks. Cash, what are you doing grist up like a stuffed owl? Help me tie this blasted black tie and stop asking questions. Where are you going? I'm going to a party, Melish, to a Swaray. A what? A Swaray at Lady Hoskins. Are you invited? I'm going anyway. To see if I can stay on my two feet in their kind of ring. You can announce tonight's bout officially. The prize fighter meets the lady. All apparent when you consider this monograph in relation to Professor Abnegati's earlier works. Don't you agree? I agree too. Lydia, do you agree? Agree. Agree with what? You are not listening to me. When we are married, my dear, I shall expect you to remember that profound thoughts deserve profound attention. Of course, Lucian, I shall try to remember. My dear Lydia, what are you staring at? That's all, gentlemen. Standing in the car. Why, I've never seen him before. I'm curious that Lady Hoskins should invite a total stranger. He was not invited. Really? Would you consider him handsome? What a bizarre question, Lydia. Please answer it. Oh, well, perhaps in the sense that an ox might be considered handsome. I believe he has true. He's coming this way. Oh, dear. Good evening, Miss Carol. How do you do, Mr. Byron? This is my escort, Mr. Lucian Webber. Oh, oh, oh, how do you do? Are you ensuring the potty, Mr. Byron? Well, if you wish a polite answer, I would say, yes, indeed, I am enjoying myself very much. But, frankly... I am thoroughly bored. Then you must meet our guest of honor, Professor W. Abangassi of Vienna. Fascinating. With all due respect, Miss Carua, must beg to differ. I've been listening at the fringe of his conversation, and I believe that Professor Abangassi is the most boring person here. Ah, a present company, accepted, sir. Well, culture is like eating lobster. One must be educated to enjoy. Absurd, Mr. Webber. Education has nothing to do with culture. All lobsters, for that matter. Really? Then how is one to master culture, except as one strives after the distant light? Struggles toward the star of knowledge. You're raising your voice, Lucian. Well, I feel it is my duty to show this uninvited puppy how out of place he is in intellectual surroundings. You call yourself intellectuals? I don't think there is a cultured or educated person in this room. Nobody here wants to learn because you want everybody to think that you all know everything already. And as with all this driving and struggling, it's the worst way you could set about doing anything. Rarity, sir, you've gone far enough. I say that nothing can be done properly if it's done with an effort. Everything can't be done light and easy, steady and certain. It shouldn't be done at all. The more effort you make, the less effect you produce. A violinist once told me that when he laid a tight hole on his fiddle stick or even set his teeth hard together, he could do nothing but rash. How much more of this nonsense are we going to enjoy? Oh, you think it's nonsense, do you? Take a look at that so-called painting hanging there on the wall. See that fellow in armor? St. George in the dragon or whatever he is. He's jumped down from his horse to fight that other fellow. The lady in the gallery is half crazy with anxiety for St. George, and well, she might be. There's a posture for a man to fight in. His weight isn't resting on his legs. One touch of a child's finger would upset him. Look at his neck, craned out in front of it, and his face as flat as a full moon toward his man inviting him to shut up both eyes with one blow. He doesn't know how to fight. He's all strain and stretch. Isn't it his ease? He carries the weight of his body as foolishly as one of the ladies here who could carry a heart of bricks. He doesn't understand the universal principle that ease and strength, effort and weakness go together. I believe your theories are manifestly absurd. Then suppose you, Mr. Lucian Webber, wanted to hit me the most punishing blow you possibly could. How would you do it? Well, you'd probably make a great effort. What would happen? You'd exhaust all your strength in one blow. Whereas if you took it easy, like this... Now, there. It's like pocketing a billiard ball. Lucian! Lucian, are you all right? Get up! Mr. Barron, I consider you a brute. I think you are a horrible man. My apologies, Miss Carrow. It appears I've won my point, but lost the fight. Look for the life of me and understand why you made me bring you to this low place a boxing match rare. I just had to find out what the man's profession was like. Did you? I do believe you're infatuated with a fellow. I consider him a brute. What is that, Lucian? The enclosure with a rope and hope. That? Oh, that's the ring. Not a ring, it's a square. Oh, they call it the ring. They have succeeded in squaring the circle. Very amusing, Lucian. Oh, I see. The fight's about to begin, Lydia. Now, are you certainly want to stay? Right, surgeon. Oh! Oh, I see. Look at that! What a close! Very sorry, sir. I have orders not to admit you. But I must see, Miss Carreau. But I have strictest orders, Mr Byron. I have no intention of using violence, but you may force me... I see, Mr Byron, Dashville. I don't want you to be injured carrying out my orders. Oh, very well, Miss Carreau. Will you be safe with him, Miss? Quite. You may leave, Dashville. Very well, Miss. Thank you for seeing me. It was not my wish. Miss Lydia, I found out that you came to see me fight. I did. I had intended that you should never know my profession. And now that you do, I stand before you humbly, asking that you consider me a man, but not a monstrosity, a man who loves you. You must not speak so. I think the reason I love you, Miss Lydia, is that you're the only person who is not afraid of me. Other people are civil because they don't dare to be otherwise. It's a lonely thing to be a champion. It is also a lonely thing to be a very rich woman. People are afraid of my wealth and what if they call my learning? We have at least one experience in common. Now, do me a great favor by leaving. We have nothing further to say. May I never see you again? Never at all? World without end, amen? Never as a famous prize fighter. Miss Lydia, I have given up fighting. I will never fight again. You would do this for me? Yes, Miss Lydia, for you. And because nobody will fight with me anymore, that's another disadvantage to excelling in my particular profession. You put yourself out of business by scaring away the competition. I am retiring of necessity and love. Oh, Mr. Barron. I plan to have one more fight with you, Miss Lydia. With me? I intend to score a technical knockout and carry you to the altar. Mr. Barron, since I saw you fight, I've been studying the jargon and general vocabulary of your profession. Mr. Barron, I throw in the towel. Five years, ten years cannot completely change a man. Cashel Barron is the retired and undefeated champion of the world. His profession? Well, he's still a fighter. There are no ropes on the ring where he fights now and the floor isn't made out of canvas. But it's still possible to score a knockout blow now and then. And I ask that every member of this parliament give consideration to the grave consequences of the law, which my worthy opponents have so carelessly and fruitlessly proposed. I thank you. The splendid speech, darling. Thank you, my dear. I'm convinced that my husband is the best fighter in the entire House of Commons. After all, it's my profession, Lydia. At last, I have found an area fistic of sweater is never a shortage of challenges. The magnificent boxing ring we call Parliament. Big Ben sounds the gong for every round. And the victor's crown goes not to the man who is able to stay on his feet, but to the one who can keep his feet. The same rules apply. Break clean, never hit below the belt. Kiss me. And always do what your trainer tells you. Cotton and James Hilton will return in a moment. Part of the magic of Christmas is that the more you think of others, the deeper your own joy. That's why I mentioned a few moments ago that right now is the time to select your Christmas cards for personal imprinting, if you'd like them to reflect the thoughtfulness of the season. And if you'd like them to be a true expression of your own good taste. I suggest that you ask to see the Hallmark album of Christmas cards at the fine store where you buy all your Hallmark cards. For surely at Christmas, you want your cards to be the one your friends will receive with pleasure and display proudly all during the holidays. And you want to know that when they turn your card over, as they're sure to do, they'll see that Hallmark on the back and know immediately that you cared enough to send the very best. Here again is James Hilton. Joseph Cotton, that was a wonderful performance you gave us tonight as George Bernard George Casual Byron. We are so happy to have had you with us again. Oh, it was a particular treat for me, Jimmy. You know, some time ago, I was rehearsing for a stage version of this same story. You know what happened? During those rehearsals, I met a girl. And tonight, I find myself acting again in that very same story on our 20th wedding anniversary. Well, congratulations, Joe. It is a most fortunate occasion. And I'm more than ever happy that you could be with us. Thank you, Jimmy. You know, as a matter of fact, I'm always happy to appear on the Hallmark Playhouse because I think you and the makers of Hallmark cards are both doing a good job. You, by selecting stories for all family listening and Hallmark cards for making it easier for all of us to be more thoughtful of other people. And that's important, believe me. That's a very fine compliment, Joe. And I'm sure the makers of Hallmark cards appreciate it as much as I do. Thank you for all of us. What story have you selected next week, Jimmy? Next week, our story will be Katherine Drinko Bowens, John Adams, and the American Revolution. The inspiring story of a man who helped shape the destiny of America when it was young. And as our star, we are very happy to welcome back Van Heflin. Our Hallmark Playhouse is every Thursday. Our producer-director is Bill Gay. Our music is composed and conducted by David Rose. And our story tonight was dramatized by Lawrence and Lee. Until next Thursday, then, this is James Hilton saying, Good night. There are Hallmark cards that are sold only in stores that have been carefully selected to give you expert and friendly service. Remember a Hallmark card when you carry them to send the very best. The role of Lydia tonight was played by Lorraine Tuttle. Mrs. Byron was B. Benadera. The institution was played by Joseph Kearns and Mellace by Ben Wright. We hope you, with the Hallmark Playhouse audience who live in television cities, will consult your local paper for time and station of our new television show. Hallmark cards present Sarah Churchill. This Churchill introduces you to outstanding world personalities in the fields of art, drama, literature, politics, and sports. We think you will enjoy it. This is Frank Goss saying Good night to you all until next week at this time. When Hallmark Playhouse returns to present Van Heflin in Catherine Drinker Bowens, John Adams on the American Revolution and the week following, Joan Pontein and Henry Wadsworth Longfellow's Evangeline. And the week after that, Jules Burns 20,000 Leagues Under the Sea on the Hallmark Playhouse. NBC Kansas City, Missouri.