MUSIC:

TYMPANI ROLL

ANNOUNCER:

Now, from Hollywood -- ROMANCE.

MUSIC:

THEME ... THEN OUT BEHIND--

PAUL:

Remember the equilateral triangle? If all sides are equal, all angles are equal, too? That's geometry. Now, take the triangle with three equal sides and you may be sure each side has an angle. That's not geometry; that's an eternal triangle.

ANNOUNCER:

So now we bring you, transcribed, Kathleen Hite's charming story "Such a Wonderful Team."

MUSIC:

FOR A BRISK, URBANE, COSMOPOLITAN INTRODUCTION ... THEN BEHIND NARRATOR--

NARRATOR:

There wasn't any doubt that the evening had been a success. Milt Cronin was signed, sealed, and delivered before he finished his second cocktail -- and it was largely Karen's doing; Paul would be the first to admit it. Even after five years of close association, she was still full of surprises -- even to him.

SOUND:

NEW YORK CITY TRAFFIC BACKGROUND AS HEARD FROM APARTMENT TERRACE ... MILT GRABS AND ZIPS UP HIS LEATHER BRIEFCASE

MILT:

Well, I hate to leave. Believe me, I rarely say that after I've parted with a couple o' hundred thousand dollars.

PAUL:

(CHUCKLES)

KAREN:

No hurry, Milt. I can't believe you're anxious to get back to your hotel.

MILT:

I'm not.

PAUL:

Milt, why don't you drive out to the country with me? It's a lot more comfortable out there.

MILT:

Oh, no. No, thanks. I've got a breakfast date at eight and then the plane to catch at ten. (LIGHTLY) Uh, any chance of renting space on your terrace for the night, Karen? That's the coolest spot I've found all week.

KAREN:

(BEAT) Here's your key.

SOUND:

KAREN HANDS KEY RING TO MILT

MILT:

(TAKEN ABACK) What?

KAREN:

It's even cooler than mine -- three floors up.

MILT:

(PUZZLED) Now, wait a minute. What kind of miracle woman have you got here, Paul?

PAUL:

Oh, it's just part of the Kerr Company's service to important clients.

KAREN:

(CHUCKLES)

PAUL:

Only this time the company president has no idea what his executive assistant is up to.

KAREN:

Well, give me some credit. I know better than to advertise something I can't deliver. It's Mike Hanna's apartment, Paul. He's in Europe -- and I'm the keeper of the key.

PAUL:

Oh, then by all means, Milt: be Mike's guest -- and ours.

MILT:

(CHUCKLES) Are you sure it's all right?

PAUL:

If Karen says it is, it is.

MILT:

I don't know. It's a little amazing to me. (REALIZES) Oh, but all my luggage is at the hotel.

KAREN:

All your luggage was at the hotel. The fourth time you admired my apartment this evening, I got the message.

MILT:

(AMAZED) You mean I'm moved in?

KAREN:

(LIGHTLY) Your bed is turned down.

MILT:

(LAUGHS)

KAREN:

Come along and I'll show you.

MILT:

Does anyone ever beat this gal to the punch, Paul?

PAUL:

If they ever do, I'll fire her.

KAREN:

Coming, Paul?

PAUL:

I think I'll wait here, if you don't mind. Well, goodnight, Milt, and thanks for the business. You won't be sorry.

MILT:

I'm sure of that already. Oh, er, give my best to Peg, will ya?

PAUL:

I will. She'll miss seeing ya.

MILT:

Well, next time for sure. (POINTEDLY) Oh, Paul? You got a great gal in this Karen. You make a wonderful team.

PAUL:

(QUIETLY PLEASED) I know. I know.

MUSIC:

TRANSITION ... THEN BEHIND NARRATOR--

NARRATOR:

It had been a long day -- longer, because of the muggy heat that steamed up from the streets of Manhattan. Standing now on Karen's terrace looking down at those same streets, Paul Kerr began to relax for the first time that day. And for almost the first time that day he thought of Peg and the children, and Long Island seemed very far away.

SOUND:

NEW YORK CITY TRAFFIC BACKGROUND AS HEARD FROM APARTMENT TERRACE

KAREN:

(WITH DELIGHT) And when he saw the basket of fruit by the bed, I thought he'd weep.

PAUL:

(CHUCKLES) Oh, you called every shot perfectly all day. I don't know how you do it, but don't lose the touch.

KAREN:

(LIGHTLY) I'm a genius.

PAUL:

(CHUCKLES) You know, this is just the beginning with Milt, don't you? That two hundred thousand is bus fare for his company, but if he likes the ride--

KAREN:

He will. Well, there isn't a reason in the world why we can't give them better service than Nichols. And better service is going to show up in sales. And Milt understands volume increase better than anyone.

PAUL:

It's a big day for us, Karen.

KAREN:

Mm, it's one of the biggest. You were sensational with that research you threw at him. It was a wonderful job.

PAUL:

Somehow my research always sounds more effective when you supply the settings.

KAREN:

(MODEST) Oh--

PAUL:

I don't think he'd have signed the deal in our boardroom, for instance.

KAREN:

Mm, it's too impersonal. And too hot. Well, actually I doubt if it was any cooler here today, but the effect was cooler.

PAUL:

The effect was great.

KAREN:

Are you really driving out to Long Island tonight?

PAUL:

(YES) Mm hmm. Want to come along?

KAREN:

No, heavens, no.

PAUL:

A weekend in the country isn't that bad, and we've got a lot of room.

KAREN:

Oh, I know, and I'm grateful, but I'm not the country weekend type. I disintegrate instead of relaxing.

PAUL:

(LAUGHS)

KAREN:

Take me all next week to pull the pieces together.

PAUL:

(LIGHTLY) Oh, well, then don't come. I'll need you next week.

KAREN:

(LAUGHS)

PAUL:

Only do something diverting between now and Monday, Karen. You've worked too hard, too long.

KAREN:

Well, I'll sleep till noon tomorrow. That's all the diversion I'll need. Give Peg my best.

PAUL:

I'll do that. You know, you turned out to be pretty great. I don't know what I'd do without you.

KAREN:

Oh, it's fun. It's great fun working with you. We make a wonderful team! Good night, boss.

PAUL:

'Night, Karen.

MUSIC:

TRANSITION ... THEN BEHIND NARRATOR--

NARRATOR:

The habit was ten years old. Peg Kerr could not go to sleep until Paul came home. But she wasn't a worrier or a window watcher. There was no anxiety in her waiting. She was simply there -- to be kissed, to be talked to, to be whatever Paul needed her to be. It was always Paul for Peg. Paul alone. His home, his children. This was her life, this was what she wanted.

SOUND:

FRONT DOOR OPENS ... NOCTURNAL BACKGROUND (CHIRPING CRICKETS, ET CETERA) ... PAUL'S STEPS IN

PEG:

Hello, darling.

PAUL:

Hi, honey. (THEY KISS) Mmm, you smell good.

PEG:

(CHUCKLES) That's the way I played it.

PAUL:

(CHUCKLES)

SOUND: FRONT DOOR CLOSES, SHUTTING OUT CRICKETS, ET CETERA ... THEIR STEPS IN

PEG:

You don't look as tired as I expected you to be.

PAUL:

Not too bad. Long day, but a good one.

PEG:

Oh, that's good. Well, what'll it be? Drink? Soft, hard, in-between?

PAUL:

What's in-between?

PEG:

(CHUCKLES) Milk.

PAUL:

Okay. In-between. I'm really not thirsty; I'd just like to unwind a little.

SOUND:

THEIR STEPS TO DRINK

PAUL:

Ahh, you knew before I got here it was gonna be an in-between drink, huh?

PEG:

(YES) Mm hm. I suspected.

SOUND:

PAUL PICKS UP GLASS

PAUL:

(DRINKS, EXHALES) You make the cookies?

PEG:

(NO) Mm, Mary Ann. And I wouldn't risk them if I were you.

PAUL:

Oh?

PEG:

I'm afraid our daughter's a dreadful cook.

PAUL:

(CHUCKLES)

PEG:

Eager, but dreadful. I promised her you'd try one.

PAUL:

Well, I don't know. They look so good on the plate, I hate to spoil the arrangement.

SOUND:

PAUL PICKS UP COOKIE

PAUL:

Well-- (MOUTHFUL OF COOKIE) Mmm. Oh, by the way. Milt Cronin sends ya his best.

PEG:

Milt's in town?

PAUL:

(YES) Mm hmm. He's been here all week.

PEG:

(UNHAPPY) Paul, why didn't you tell me?

PAUL:

It was just business, Peg. Ruth wasn't with him; nothing social about it.

PEG:

Oh, I know, but I always have Milt out for dinner at least once, whether Ruth's with him or not. Will he be here long?

PAUL:

(NO) Mm-mm. He's leaving in the morning.

PEG:

Oh, that's a shame. I bet you kept him cooped up in the boardroom all week having meals sent in, if you bothered with food at all.

PAUL:

Now that is where you are wrong. Peg, you know, that Karen gets more amazing every-- Oh, she sends her best, too.

PEG:

Oh, how is Karen? It's been months since I've seen her.

PAUL:

Fine, great. And as I said, more amazing every day. Now, you take this deal with Milt. As you say, I would probably have kept him cooped up in the boardroom or my office or his hotel.

PEG:

(AGREES) Mm.

PAUL:

But not Karen. You know where we've held the meetings this week?

PEG:

Apparently I don't.

PAUL:

In Karen's apartment. Oh, it was inspired, really. It was cool there; we were relaxed, informal; we didn't wear ties ever.

PEG:

What a nice idea. Like - like having Milt in your home.

PAUL:

Only better. (QUICKLY) Oh, what I mean is that Karen saw to it that we worked just so long without a break of some kind. She'd sense an impasse coming ten minutes off and by the time it came, she'd have the right drink in hand or the right food, and first thing you know there was no impasse at all.

PEG:

(A LITTLE HURT) Hm. She is amazing, isn't she? (BEAT, MORE UPBEAT) Well, then you must have had a successful meeting with Milt.

PAUL:

(IMPRESSIVELY) Two hundred thousand dollars worth.

PEG:

(WHISPERS, IMPRESSED) Wow.

PAUL:

And that's just the beginning. Peg, if we can deliver on this first deal -- and Karen's dead sure that we can -- that means that next time around, Milt will throw more business our way, and more and more until-- Well, who knows? The possibilities are endless. We'll have old Nichols mumbling to himself.

PEG:

Old Nichols?

PAUL:

You know -- Willis Nichols, the biggest public relations outfit there is.

PEG:

(DID NOT KNOW) Oh, oh.

PAUL:

We've been nicking away at some of his biggest accounts-- (SUDDENLY DISMISSIVE) I'm sorry, darling. I don't know why I bring his stuff home to you.

PEG:

(UNEASY) Well, I'm - I'm interested, if that's reason enough.

PAUL:

You sure you're interested in--? (REALIZES) You don't understand a thing about it, do you, sweetie?

PEG:

(BEAT, HURT, QUIETLY) I could. I'd like to, Paul.

PAUL:

(STRETCHES, YAWNS) No need for that. (EXHALES) Besides, one woman in my business is enough.

PEG:

(EXHALES) I do feel sorry about Milt, though. I hope he'll understand that I just didn't know he was in town.

PAUL:

(YAWNS) He'll understand. To tell you the truth, he probably preferred it just the way it was.

PEG:

(TAKEN ABACK) Why, Paul, what--?

PAUL:

Oh, no offense, Peg. This was just business. There wasn't any room for small social talk, you know? (YAWNS) Yeah, Karen, she handled everything perfectly. Just perfectly. I'm going to bed.

PEG:

Yes, you'd better. Mary Ann and Tom have big plans for you in the morning.

PAUL:

(LIGHTLY) Not for me, they don't. I am sleeping till noon. And that's an order. (WARMLY) 'Night, darling.

MUSIC:

MELANCHOLY TRANSITION ... THEN BEHIND NARRATOR--

NARRATOR:

Mary Ann and Tom Kerr raced their Star boat next morning without their father. The gardener went along to keep an eye on them. And the east wing of the house was kept as quiet as possible so Paul could sleep in undisturbed. Before she went shopping, Peg left orders that no call should be sent to the wing, and none were. But promptly at nine-thirty the private line at Paul's bedside rang sharply.

SOUND:

PHONE RINGS TWICE

PAUL:

(WAKES, GROANS)

SOUND:

PHONE RINGS AGAIN ... RECEIVER UP ON FOURTH RING ... KAREN'S VOICE ON FILTER

PAUL:

(GROGGY, INTO PHONE) Hmmm?

KAREN:

Wake up, boss. It's important.

PAUL:

(YAWNS) I thought you were gonna sleep till noon.

KAREN:

I couldn't. And you shouldn't have.

PAUL:

What?

KAREN:

I'd have called you sooner, but I just finished making the arrangements. If you're coming with me, you'll have to pack and be at LaGuardia at eleven.

PAUL:

Oh, wait a minute now. What are you talking about?

KAREN:

Do you know why Milt Cronin's leaving today? I'll tell you. He's due back in Chicago tonight for the opening of the dealers' convention.

PAUL:

(BEAT) So?

KAREN:

Everyone'll be there! Keifer & Johnson from the coast, Adelman from Canada, Gunther and Henshaw from Colorado, Stebbins and Easton from Texas-- Are you beginning to read me?

PAUL:

We've got holes in our heads if we don't show up out there. That research'll mean more to the dealers than it does to Milt.

KAREN:

And Milt will be there to help us sell it. Sooner or later, he's got to get the money from them anyway. This is our first big "in" with the whole industry.

PAUL:

That's good, Karen. Uh, you know what we need. Stop by the office--

KAREN:

I'm calling from the office. And I've talked Milt into waiting an hour and flying out with us.

PAUL:

We can work on the plane and then--

KAREN:

Gate Seven at LaGuardia. We'll meet you there. Hurry, Paul.

PAUL:

Yeah, as soon as I can. Bye.

SOUND:

LINE DISCONNECTS ... RECEIVER DOWN

PAUL:

(YAWNS)

SOUND:

PAUL GETS OUT OF BED, OPENS DRAWER ... STARTS RUMMAGING, WHICH CONTINUES IN BG ... BEDROOM DOOR OPENS ... PEG'S STEPS IN

PEG:

Darling, I'm so sorry about the call-- Paul, what is it? What are you doing?

PAUL:

Chicago, Peg. I need clothes for a week at least. Help me, huh?

PEG:

Well, sure, but - but--

PAUL:

I'll tell you all about it in the car, honey. It was Karen on the phone. She's got a big plan for us to do business out there. Did you ever know anyone who works so hard?

PEG:

(BEAT, TROUBLED) No. No, I don't think I ever did.

MUSIC:

BRIEF EQUIVOCAL FIRST ACT CURTAIN

ANNOUNCER:

We'll return to ROMANCE and our story, "Such a Wonderful Team," in just a moment.

You know what the whisperers say: "How can she expect romance at her age? Why, she's certainly over thirty-five." Every weekday, through THE ROMANCE OF HELEN TRENT, CBS Radio tells the story of one woman past the mid-thirties who claims the right to romance, and reaches out for it. Listen every weekday on most of these stations for THE ROMANCE OF HELEN TRENT.

And now for the second act of ROMANCE.

MUSIC:

SECOND ACT INTRODUCTION ... BRISK, URBANE, COSMOPOLITAN ... THEN BEHIND NARRATOR--

NARRATOR:

Their Chicago success was tremendous -- to be matched only by later successes in Houston and San Francisco. Paul and Karen were an electric combination, a devastating one-two punch. It was the talk of the industry how well they complemented each other: Paul the expert in statistical research; Karen his imaginative interpreter.

MUSIC:

OUT

SOUND:

MAGAZINE PAGES FLIPPED

NARRATOR:

The magazine article told the story in its title: "Such a Wonderful Team."

PAUL:

This is the first real chance I've had to read it. How many copies did you buy, Peg?

PEG:

I didn't have a chance to buy any. Karen sent some advance copies and--

PAUL:

Well, good for her.

PEG:

(YES) Mm hm. And as soon as the magazine hit the stands, my friends started dropping in with copies to be sure I'd read it.

PAUL:

Do you like it?

PEG:

(CAREFULLY) I think it tells - part of a story very well.

PAUL:

Part?! Oh, honey, this writer practically lived with Karen and me for a month. He didn't leave anything out.

PEG:

He wouldn't know this part of the story. No one could tell it to him except me, and I wouldn't.

PAUL:

Well, you mean about us? The kids and our home? Well, it isn't that kind of an article, Peg.

PEG:

No, it isn't. And don't misunderstand me, I wouldn't want that kind of an article.

PAUL:

(BEAT, MYSTIFIED) I guess I am misunderstanding you then.

PEG:

I want to talk, Paul.

PAUL:

You're upset about the article?

PEG:

Not about the article. And I'm not just upset, I'm - deeply concerned. The article crystallized a few things in my mind, that's all.

PAUL:

I don't want you concerned, Peg -- ever.

PEG:

I believe that. (SLOWLY) That's why I think we should talk --- look at things together --- see what we think. I'm terribly proud of you, Paul.

PAUL:

I want you to be.

PEG:

And I'm terribly in love with you.

PAUL:

(WARMLY) Mmm, Peg honey--

PEG:

That's the kind of woman I am: the kind who's married to the man she wants --- loves him --- has his children -- runs his home--

PAUL:

And does it all so well.

PEG:

Because she wants to. It's not unselfish. I suppose it's quite selfish, really, because it fulfills me. It makes me happy. I need to be loved, Paul.

PAUL:

(BEAT) You know I love you.

PEG:

Yes, I think I do know that. (BEAT) I need to be married, too.

PAUL:

Well, aren't you?

PEG:

(BEAT) This isn't much of a marriage any more, Paul.

PAUL:

(SURPRISED, GENTLY) Peg!

PEG:

(SHARPLY) Don't just react, darling. Think about it. Look at it closely. Because I have. I've done nothing else for the last six or eight months.

PAUL:

(BEAT, CONCEDES) Well, I've been away a lot, I know, but I've had to be, Peg. The business is like that. It takes time and thought and planning, and more time--

PEG:

--and more and more, and pretty soon it takes all the time.

PAUL:

No, no, Peg. You don't understand--

PEG:

(AGREES) I don't, I really don't. Can you make me understand, Paul? (NO ANSWER) I don't think you realize what's happened already. How much of your life you've - transplanted. How much of our marriage you've replaced.

PAUL:

(BEAT) Are you talking about Karen?

PEG:

I guess I am. I can't talk to you about you without talking about Karen.

PAUL:

Peg, I don't know what you think, but if you have any idea there's anything between Karen and me besides the business, you're wrong.

PEG:

I always said I'd know if you were being unfaithful to me. I think I would know. No, Paul. I'm not talking about that kind of infidelity.

PAUL:

Are there kinds?

PEG:

I'm being replaced, or perhaps "relieved" is a better word. When she began doing your entertaining for you, I began to lose some ground that was all mine before.

PAUL:

Peg-- Peg, it's just that it was easier -- and truthfully more effective -- for us, and a lot less trouble for you.

PEG:

Yes, that's what I told myself -- at first. But it's grown, Paul, so gradually, so effortlessly -- and I believe this, so unintentionally -- until now I have to ask you: what is our marriage for? What need does it fill for you?

PAUL:

Well, it-- You know all that, honey. You and I will-- (BEAT) I - I don't have any quick answers.

PEG:

Oh, darling, I don't want a quick answer. I want what I said before: for us to look at it, think about it. I don't want to demand or accuse. I don't want to end up hating Karen and you. I just-- (BEAT, EXHALES HELPLESSLY)

PAUL:

I don't know. I guess I thought we were immune to this sort of thing. (BEAT) I don't know what I thought.

PEG:

Paul, just - just look at it as thoughtfully as you can. Take time with it. I have. I don't like my alternatives.

PAUL:

Do you know what they are?

PEG:

What they seem to be anyway. My friends have met the problem in different ways. Lisa Chapman's an alcoholic. Ann Warner's taken up younger men. Nora Church travels--

PAUL:

(INTERRUPTS, UPSET) Oh, now, Peg--

PEG:

(A QUIET PLEA) Will you think about it, Paul? Look at it all -- carefully?

MUSIC:

SOBER TRANSITION ... THEN BEHIND NARRATOR--

NARRATOR:

There wasn't any hysteria in what Peg had said. There were no threats. There was simply her deep concern. Paul knew that. And he thought about it as Peg suggested. But he couldn't just think about it and he couldn't do it alone. There was Karen. She was important to him, too. He had to know how important.

SOUND:

NEW YORK CITY TRAFFIC BACKGROUND AS HEARD FROM APARTMENT TERRACE

KAREN:

(SLIGHTLY TAKEN ABACK) Why, boss -- what a question.

PAUL:

I want to know, Karen. Are you in love with me?

KAREN:

I'd have to think about it. Are you sure you want me to think about it?

PAUL:

Very sure.

SOUND:

CHAIR SCRAPE AS KAREN RISES ... TAKES A FEW STEPS OFF

KAREN:

(OFF) Do you want a drink?

PAUL:

No.

SOUND:

KAREN'S STEPS RETURN BEHIND--

KAREN:

(THOUGHTFUL) Well, I said it once. It's fun. It's great fun working with you. It's exciting to be so closely attuned to someone. We think alike -- and yet we don't.

PAUL:

I wonder. Are we always working?

KAREN:

Paul, you know we are. I don't have to tell you that. Nothing's happened. Why, nothing's even come close to happening.

PAUL:

But it could. Couldn't it, Karen? I mean if we keep on seeing as much of each other as we do.

KAREN:

I suppose it could. I suppose there's enough between us now -- in hours shared, in interest, and attraction. I suppose it could happen.

PAUL:

But it hasn't. (PAUSE) I think I love you.

KAREN:

Paul--?

PAUL:

Now, in a way, it must be a kind of love -- great appreciation, great warmth. We are very close, Karen.

KAREN:

But not in love.

PAUL:

No. Not in love.

KAREN:

I don't think I've ever thought of you that way. And yet I'm with you more than I've ever been with anyone - that's entirely painless. I love being with you.

PAUL:

I don't ever remember being tired of you. There's something about this combination of you and me. It's exhilarating enough and stimulating enough. The time together's passed too easily, Karen.

KAREN:

You know, Peg was right. You should look at it -- closely. So should I. (REALIZES) And I am -- for the very first time.

PAUL:

(PAUSE) All the time away from her and the children, I haven't missed them. Not really missed them. But if they weren't there -- if there was no Peg, no kids -- there'd be less of me, Karen. Much, much less. And I wouldn't like that.

KAREN:

Funny, I - I was just thinking about me. Time with you-- Well, "wasted" is the very worst word for it. But even without meaning to, you've come close to filling a void. I've let you take time that wasn't yours.

PAUL:

It's not good. It's not right. I don't know why I couldn't see it before.

KAREN:

Well, you never really looked, Paul -- any more than I did. (INHALES) What are you going to do?

PAUL:

Try like the devil to find the right answer.

KAREN:

(QUIETLY SAD, BUT SUPPORTIVE) Research is your end of the business, boss. When you've found the answer, I'll take it from there.

MUSIC:

THOUGHTFUL TRANSITION ... THEN OUT BEHIND NARRATOR--

NARRATOR:

The first answer was easiest and most obvious. Paul and Peg and the children went abroad for three months. No business, no interruptions, no Karen. And they were good months. They were full of family pleasures and rediscoveries. But Paul knew that it wasn't the complete answer. That was still to be "searched out" back home.

MUSIC:

CURTAIN

ANNOUNCER:

ROMANCE is produced and directed by Norman Macdonnell, with editorial supervision by Het Manheim. You have heard "Such a Wonderful Team," specially written for ROMANCE by Kathleen Hite, starring Harry Bartell as Paul, with Virginia Gregg as Karen, Lillian Buyeff as Peg, and Jack Edwards as Milt. The narrator was Lawrence Dobkin. This is Joe Walters inviting you to hear ROMANCE transcribed next week at this same time.

MUSIC:

THEME ... THEN IN BG, UNTIL END

ANNOUNCER:

Tonight THE 21st PRECINCT reopens its doors on CBS Radio; a fine dramatic program spotlighting the work of big-city police in and out of the station house. THE 21st PRECINCT stars Everett Sloane as Captain Kennelly. Tonight hear the story of "The Pair," a terrific twosome who caused police no little trouble before their peculiar problems were brought to bay. You'll enjoy "The Pair," and you'll enjoy every thrilling moment of THE 21st PRECINCT, returning to most of these stations tonight. Stay tuned now for GUNSMOKE, which follows immediately over most of these same stations.