MUSIC:

"ON STAGE" THEME UP, THEN PAUSE FOR:

ANNCR:

Cathy and Elliott Lewis - On Stage.

MUSIC:

"ON STAGE" THEME SWELLS, AND CONTINUES UNDER

ANNCR:

Cathy Lewis. Elliott Lewis. Two of the most distinguished names in Radio. Appearing each week, in their own theatre. Starring in a repertory of transcribed stories of their own, and your, choosing. Radio's foremost players in Radio's foremost plays.

MUSIC:

THEME OUT

ANNCR:

Ladies and gentlemen, Elliott Lewis.

ELLIOTT:

Good evening. May I present my wife, Cathy.

CATHY:

Good evening.

ELLIOTT:

To date, here "On Stage", we've done all the types of plays that George Walsh describes every week in his very flattering opening announcement.

CATHY:

But there's one type of play he always leaves out, because it's not really a play; it's a series of fragments, a series of short, short stories.

ELLIOTT:

But three short, short stories--fragments--should have something in common. A title, an idea, a manner of presentation.

CATHY:

And so, tonight, we present "Loving", by Arthur Ross. Three short plays about-- Well, listen...

MUSIC:

ESTABLISH WISTFUL "CATHY & ELLIOTT" THEME, THEN CONTINUE, UNDER

CATHY:

Perhaps there are only three kinds of people in the world: Those who are loved. Those who are unloved. And the self-loved. In miniature portraits, in small detail of the small moments of each of the three loves, we shall tell of just such a world divided into three parts.

Our first story is about the Self-Loved.

STORY 1 - THE SELF-LOVED

MUSIC:

COLD, VAGUELY MENACING, CRUEL, UNDER

ELLIOTT:

If there are one hundred great actresses in the world, Jan Martin is not one of them. But if there are one hundred beautiful women in the world, Jan can be counted among their number. That's why she has no illusions about her fame as a motion picture actress. She made sure excellent actors supported her, making it seem their talent was hers.

Bitterly and angrily, she clung to each step forward in her career. And with equal anger, she fought anything which seemed to detract from her beauty on the screen, or anyone who seemed to be attracting more attention than she in her pictures. Her life was as delicate as a Prime Minister's or a Secretary of State's. Each move had to be well-calculated for its appearance as well as its result. This had not helped the progress of her latest picture. Or her relations with the leading man who played opposite her. A man she had been sincerely in love with since the middle of January, when he had won an Academy Award.

But this was June, toward the end of the day, and the end of the picture.

SFX:

MOVIE SOUNDSTAGE AMBIENCE, UNDER

(JAN IS A PRIMA DONNA, AND TOM IS FED UP WITH HER.)

 

JAN:

Darling? Be a dear. Call my wardrobe girl?

TOM:

She's right there. Just signal her.

JAN:

You're not being very sweet.

TOM:

Jan, it's late. I'm tired; you're tired.

JAN:

Never mind. (CALLING) Edith, honey, be a darling and sew this up, will you?

TOM:

(TO DIRECTOR) Ed? How was it?

DIR:

Oh, it uh, it could have had a little more honesty to it. It seemed, uh, indifferent instead o' subdued, ya know?

JAN:

I was doing exactly the way you told me to, Eddie, exactly.

DIR:

I didn't mean for ya to do it exactly as I described it, Jan.

JAN:

Well, what do you mean, really, Eddie? What do you mean?

TOM:

Don't get excited, Jan. We're getting a coupla more takes on it.

JAN:

You're not helping me much. Not at all.

TOM:

I tried.

JAN:

This is the most important scene I've got, and you keep pulling me down in it. The best love scene, you don't-- You--you just don't--

TOM:

I've been considered a competent actor by several qualified people.

JAN:

Now, don't give me that "Broad A" routine, sweetheart. This isn't Broadway; you're not doing Ibsen, honey.

DIR:

All right, this is a take!

JAN:

Now, will you try to be a little more considerate?

TOM:

Like what?

JAN:

Like moving back toward the chair just a little.

TOM:

I'll get off the scene completely. How's that?

DIR:

This is a take! Quiet!

A.D.:

QUIET!

SFX:

ALL GOES QUIET. PAUSE

DIR:

Roll 'em.

SFX:

TWO LOUD BUZZES

A.D.:

Speed.

DIR:

(PAUSE) Action.

(JAN AND TOM PLAY THE SCENE WITH CONVINCING TENDERNESS)

 

JAN:

Can you forgive me?

TOM:

I never judged you. I have no need to forgive you.

JAN:

Because you weren't like them...as cruel as they were... you never hurt me. Why did they want to hurt me? What had I done that I-- (DRIES) I FORGOT THAT ROTTEN LINE AGAIN!

DIR:

All right. Cut it!

SFX:

SOUNDSTAGE AMBIENCE, UNDER

JAN:

I always forget that line! It's a terrible line! I just can't say it! We have to change that line, honey!

DIR:

No time to, Jan. We'll take it again.

JAN:

And, Thomas, that move that I make to you, you-- you just have to get back toward the chair. (WHEEDLING) You have to.

TOM:

It takes two people to play this scene.

JAN:

What do you mean?

TOM:

I thought it was obvious.

JAN:

You're assuming an awful lot, honey, just because of our relationship.

TOM:

Do we have one?

JAN:

We must have. I've never-- never put up with so much from a leading man.

TOM:

You seem to be the only one with a problem in this picture.

JAN:

Awww... Look, honey, let's not fight. Just be a darling. What does it hurt? Be a darling, and move back just a few feet, just for this scene.

TOM:

It's a love scene, Jan. That wouldn't make it very intimate.

JAN:

But it would play better.

TOM:

Can you play a love scene alone?

JAN:

Now, just a minute!

TOM:

I guess if anyone can, you can.

JAN:

(THREATENING) Now, you just-- (CLENCHED TEETH) Are you going to move back?

DIR:

Hold it. (TO ALL) Hold it!

A.D.:

QUIET!

SFX:

AMBIENCE OUT

DIR:

Janice, is something wrong?

JAN:

Uh-- (EXASPERATED BREATH) No. No.

DIR:

Okay. Roll 'em.

SFX:

2 LOUD BUZZES

A.D.:

Speed.

DIR:

(PAUSE) Action.

JAN:

Can you forgive me?

TOM:

I never judged you. I don't have the need to forgive you.

JAN:

Because you weren't like them...as cruel as they were... you never hurt me. Why did they want to hurt me? What had I done that made them hate me so? What had-- (DRIES, THEN RAGES) Oh, I CAN'T! I CAN'T DO THAT LINE!

DIR:

All right, cut it!

JAN:

I won't do that line!

SFX:

SOUNDSTAGE AMBIENCE, UNDER

A.D.:

(TO ALL) Save it!

DIR:

How do you want it changed?

JAN:

Well, darling, really! Do you think it's playable?

DIR:

Well, it seemed that way in rehearsal.

JAN:

Well, then maybe it isn't the line.

DIR:

How so?

JAN:

Maybe-- Maybe it's the way we're placed, honey. I-- I'm not criticizing you, but-- but-- Now, look. Just look. I-- I wind up like a lady wrestler.

DIR:

Well, whaddaya suggest?

JAN:

Well, if I moved up, just up, just a little bit...

DIR:

Nah, nah. Nah, that's too awkward. (THINKING) Uh... Tom?

TOM:

Or if I move back a bit?

DIR:

Would you mind? We're behind schedule on it.

TOM:

Okay.

JAN:

Ah, you're a darling! You're a real darling, hon.

TOM:

Save your emotion for the scene.

JAN:

What?

TOM:

Save your affection for the scene. It's a little more credible there.

JAN:

All right, be a sorehead. Be mad.

TOM:

I'm not mad at you, Jan. I've just had enough of your petulant, selfish childishness.

JAN:

All right, all right, all right. If that's the way you feel.

TOM:

And I do.

JAN:

Well, you certainly have deep feelings yourself.

TOM:

I hope so.

JAN:

You love me. But when I ask for a favour, it's too much of a sacrifice.

TOM:

You've asked for them all the way through the picture.

JAN:

I'm a woman; you're a man.

TOM:

You're supposed to be an adult too.

JAN:

As the star, I'm entitled to some extra consideration.

TOM:

(VENOMOUSLY) It's all yours.

JAN:

What?

TOM:

The picture isn't finished, but we are.

JAN:

If you think that's going to make me come begging--

TOM:

Of course not. You're self-sufficient, Jan. You don't need anyone but yourself.

JAN:

And don't you envy it!

TOM:

Let me put it another way. You're not capable of wanting anybody but yourself!

SFX:

SHE VICIOUSLY SLAPS HIS FACE

DIR:

ALL RIGHT, STOP THAT!

SFX:

AMBIENCE OUT

DIR:

STOP IT RIGHT NOW!!

TOM:

(PAUSE) All right. I want to finish this scene, if she does.

JAN:

(ALMOST IN TEARS) I-- (INSTANTLY PULLS HERSELF UP HAUGHTILY) Of course I do.

DIR:

All right. Roll 'em.

A.D.:

Quiet!

SFX:

2 LOUD BUZZES

A.D.:

Speed.

DIR:

(PAUSE) Action.

JAN:

Can you forgive me?

TOM:

I never judged you. I don't have any need to forgive you.

JAN:

(WITH NEWFOUND TENDERNESS) Because you weren't like them...as cruel as they were... you never hurt me. Why did they want to hurt me? What had I done that made them hate me so? Wh-- what did they want?

TOM:

(TENDERLY) To be loved. The way you're loved.

JAN:

Oh, yes. Yes... (PASSIONATE KISS)

DIR:

(PAUSE) Cut! Print it!

MUSIC:

TUMULTUOUS DESCENDING GLISSANDO, STING, AND TRANSITION TO GENTLE OPTIMISTIC TENDERNESS

ELLIOTT:

The first story, about the Self-Loved. The second story is about the Unloved.

STORY 2 - THE UNLOVED

MUSIC:

WISTFUL & LANGUID THEME, UP AND UNDER

CATHY:

Perhaps one of the reasons the San Joquin Valley in central California is such a great farming area is because of the intense summer sun. The crops seem to rush to full growth in a frantic effort to be free of the intense heat. And so it was, in the Army Hospital ward in which Bucko worked. Other ward boys had long since wilted, but Bucko worked on, his two hundred pound body scurrying and hurrying to help and assist.

His overlong arms, which extended two inches below the cuffs of his wrinkled jacket, offered cool drinks to the sick and the unhappy soldier patients. The extra effort, the extra service which no other ward boy offered, always obtained for Bucko a friendly grateful word from the patients. And then, his ugliness, the high, incredibly high domed forehead and small, deep-set eyes; the jowly face; the odd, almost distorted face seemed to brighten and look happy. To be wanted. To be liked so genuinely, made up in many ways for the cruel jibes of his fellow ward boys.

MUSIC:

ENDS ON A SUSTAINED WISTFUL NOTE, THEN OUT

SFX:

ECHOEY CHANGEROOM ATMOSPHERE, UNDER

(THE OTHER WARD BOYS ARE SMART-ALECKS. BUCKO IS QUIET, SLOW, AND SIMPLE.)

 

BOY 1:

Hiya, Romeo! Gettin' set for ta knock 'em dead in town tonight?

BUCKO:

I'm meetin' some friends. I got some friends in town.

BOY 1:

Modest boy. Modest boy!

BOY 2:

I hear yer linin' up one o' those daughters of a rich farmer.

BUCKO:

Don't talk like that.

BOY 2:

What's wrong? We get just greasy spoon chow in town, but you get good cookin'. Future son-in-law always gets good cookin'.

BUCKO:

I know one o' the girls, but she only thanked me. Her brother was a patient here, and she thanked me for bein' nice to him. Is that the one yer talkin' about?

BOY 1:

That one? No sir, Bucko! All of 'em! All of 'em!

BOY 2:

What's he got that we ain't got?

BOY 1:

Whatever it is, who needs it?

(THEY EXIT, LAUGHING)

 

MUSIC:

DESCENDING TUMULT, INTO DRAMATIC, UNEASY SUSTAINED NOTE, THEN OUT.

SFX:

CAR MOTOR IDLING, UNDER

SFX:

CAR DOOR OPENS

BUCKO:

Goin' to Visalia?

DRIVER:

Yeah. Get in.

SFX:

BUCKO GETS IN, AND SLAMS DOOR. CAR DRIVES OFF. MOTOR CONTINUES, UNDER

DRIVER:

What outfit you with?

BUCKO:

Medical Corps.

DRIVER:

Most guys just say, "Medic". You say the whole thing.

BUCKO:

I guess maybe it means more to me.

DRIVER:

You goin' regular Army when this is over? I mean--

BUCKO:

I'm goin' to Medical School after I get outta the service.

DRIVER:

Takes a long time.

BUCKO:

I'm not doin' it alone. My wife's gonna help me.

DRIVER:

That's the way. My wife wouldn't help me with nothin'. Naggin' all the time, askin', askin', never helpin'. How long you been married?

BUCKO:

I'm not married yet. We're gonna get married in a coupla months.

DRIVER:

It'll change then. The whole thing. No help. Nothin'.

BUCKO:

No, sir. Not Alice. Not Alice an' me. She loves me enough to work and help out and wait.

DRIVER:

You're lucky, soldier.

BUCKO:

I am. I'm lucky to have a girl like Alice in love with me.

MUSIC:

OMINOUS, TENSE, DISCHORDANT, ENDING ON SUSTAINED NOTE, THEN OUT

SFX:

CAR PULLS OVER. BUCKO OPENS DOOR, GETS OUT, SLAMS DOOR.

BUCKO:

Thanks a lot, Mister.

SFX:

CAR DRIVES OFF. BUCKO WALKS UP TO ROADHOUSE, OPENS DOOR. QUIET ROADHOUSE AMBIENCE, UNDER

MUSIC:

WISTFUL TRUMPET JAZZ ON THE JUKEBOX, UNDER

SFX:

WALKS IN, CLOSES DOOR, GOES TO A BOOTH TABLE

BUCKO:

(SHY AND GENTLE, THROUGHOUT) Hello, Alice.

ALICE:

(TOLERATING HIM) Hi.

BUCKO:

Would ya...like a drink?

ALICE:

No. No more for me.

BUCKO:

I'm-- I'm sorry I'm late.

ALICE:

It's okay.

BUCKO:

Is there any place you'd like to go?

ALICE:

No.

BUCKO:

We can go into Fresno, and have a good dinner.

ALICE:

I said No. Can't you get that? It's bad enough, my meetin' ya here all the time.

BUCKO:

It don't hurt to meet me here.

ALICE:

The other girls, they kid me. They make fun o' me meetin' ya. They think I like you.

BUCKO:

Don't you?

ALICE:

They mean, like you a lot.

BUCKO:

I'm sorry, Alice.

ALICE:

Maybe I got just enough o' this.

BUCKO:

It don't hurt ya any to be with me a while.

ALICE:

The other girls make fun o' me!

BUCKO:

Well, who are they? Nobody. Nothin'. Drunks an' all. What difference does it make whatever they think?

ALICE:

They're important ta me, cause I see 'em all the time. You don't.

BUCKO:

All ya gotta do once or twice a week is sit with me and drink beer and go to dinner and... maybe go for a walk.

ALICE:

And a listen. Listen all the time to the same talk.

BUCKO:

It don't do no hurt to you to listen.

ALICE:

I know your life story so good, I could tell ya.

BUCKO:

Don't talk like that. Don't make me sore at you.

ALICE:

You threatenin' me? You threaten me, I'll clear out so fast it'll make your head swim.

BUCKO:

No. No. I didn't mean that. I didn't mean that at all. I'd never hurt you. And don't I pay you to listen? To just listen and pretend? Does it do you any hurt or anybody?

ALICE:

(PAUSE) Okay.

BUCKO:

(PAUSE) I wanna talk about it tonight, Alice. I wanna tell ya it's been tough for me. My pa, a big tough man, who never wanted to see me when my ma died. I was scared o' him. And I loved him. Someday, when I'm a doctor, maybe I'll be a children's doctor. When I'm a doctor, I'll find out how you can love somebody and be scared of 'em too.

ALICE:

(WITH A WEARY SIGH) He... loved you, Bucko.

BUCKO:

Maybe he did. You think so? You think he did? I don't know. I been knockin' around so long, so much, picking crops an' all. Ya know, I picked crops before the Army?

ALICE:

Yeah, I know.

BUCKO:

I'm beginnin' to forget all that happened. I don't want to. Goin' up an' down the valley, pickin' lettuce and tomatoes an' grapes. Everything. The things I seen, Alice... I said, "seen" again. But my English is better than it was, isn't it? Isn't it?

ALICE:

I guess so.

BUCKO:

It takes an education to meet the right people, to be liked every place. And best of all, is bein' a doctor. Doctors are really liked. Their patients... almost love 'em, for helpin' 'em and all.

ALICE:

I don't wanna hear any more.

BUCKO:

You're sore at me.

ALICE:

I don't care if you do... pay me ten bucks to just sit and listen. I wanna have fun!

BUCKO:

I'll take ya any place you wanna go. I only use my money to take you out, Alice.

ALICE:

You're no fun! Y-- you make me feel funny. Like I'm all alone. Like both of us are out like that.

BUCKO:

You're not alone.

ALICE:

You give me the creeps. You never laugh.

BUCKO:

I only want you to say it to me, Alice.

ALICE:

I'm goin'.

SFX:

HE TAKES OUT RUMPLED MONEY, AND PUTS IT ON THE TABLE

BUCKO:

There's... the ten dollars, Alice.

ALICE:

I--

BUCKO:

(TENDERLY) Please.

ALICE:

(PAUSE. EMPTY) I... love you, Bucko.

BUCKO:

That's why you fight with me? That's why you always wanna run away?

ALICE:

(EMPTY) That's why.

BUCKO:

(TENDERLY) Say it...real, Alice.

ALICE:

(PAUSE. DEEP BREATH. QUICKLY) I love you, Bucko.

BUCKO:

(SMILING) Good night, Alice. (NO ANSWER) Good night.

ALICE:

(WITH ANGRY TEARS) Never call me again. Never.

SFX:

HE WALKS AWAY

MUSIC:

WISTFUL THEME SOARS DRAMATICALLY, THEN CHANGES TO SAD & LONELY VIOLIN, ENDING ON LONELY VIOLIN NOTE, THEN OUT

ANNCR:

You are listening to Cathy and Elliott Lewis - On Stage. Tonight's play: "Loving".

(PROMO) He's hoosier's great gift to radio: Herb Shriner! And he's about to be yours, every Saturday night, on CBS Radio's new delightful audience participation quiz, "Two For the Money". This Saturday, be sure to take in the colourful premiere of Herb Shriner's new show on CBS Radio. You'll love every minute of "Two For the Money"!

MUSIC:

ROMANTIC THEME UP, AND UNDER

CATHY:

Now, to bring our stories of loving to a logical conclusion, our last story, about the Loved Ones.

STORY 3 - THE LOVED

MUSIC:

ROMANTIC WISTFUL VIOLIN, JOINED BY REST OF ORCHESTRA, UNDER

ELLIOTT:

Are you too old? Is the memory too dim to remember the first time you said, "I love you"? Are you too young, and hasn't the rapturous, tormented, beautiful moment come to you yet? Are you just old enough for it to have just happened? To have whispered the lyrical words in front of a crackling fire, a water's edge, or tree-spired hill? Or has it all happened before? Too many times before, so the words become metallic, and the emotion only a gesture out of respect to your companion's feelings? No matter. The magic moment of the first time you said it is still there.

Bob Rose and Sally Davis', young college love had started as others' have before. There was no trumpeting to herald this as any different from those which had preceded it. And they were too sophisticated to succumb to this deepest of feelings. For he was in Law School, and she was an undergraduate. For he was soon to become a lawyer, and she a Bachelor of Arts. For they had discussed everything. Everything. Politics, religion, art, philosophy, literature; the Mechanical Age, and the Elizabethan Era. Everything had been said. Except one thing.

SFX:

BOB & SALLY WALK TO CAR. HE OPENS PASSENGER DOOR, LETS HER IN, AND CLOSES IT. HE WALKS TO DRIVER'S SIDE, OPENS DOOR, GETS IN, AND CLOSES IT.

SFX:

BOB STARTS MOTOR, AND THEY DRIVE OFF. MOTOR CONTINUES, UNDER

(BOB IS FORMAL & PRACTICAL. SALLY IS MORE OF A ROMANTIC.)

 

SALLY:

What a wonderful party!

BOB:

(TERSE) Fine party.

SALLY:

What's wrong?

BOB:

M, nothing.

SALLY:

Well, you don't have to bite my head off.

BOB:

Bite your head off? What did I say? I simply said nothing was wrong.

SALLY:

All right.

BOB:

Why are you sitting way over there?

SALLY:

Over where?

BOB:

On the opposite side.

SALLY:

I'm sitting right next to you. Right next to you.

BOB:

(ICILY) Maybe we have a different idea of what "right next to one" means. It's relative, you know.

SALLY:

Relative to what?

BOB:

To how you feel.

SALLY:

I feel... (SLIDES CLOSE TO HIM) very affectionate.

BOB:

(LITTLE LAUGH) That's better.

SALLY:

What a beautiful night!

BOB:

I'll hate to leave here.

SALLY:

So will I.

BOB:

A graduate student shouldn't have such sentimental attachments to a school.

SALLY:

I suppose undergraduate students are something strange.

BOB:

I just meant that I'm getting ready to take the Bar exam, and-- and, uh-- (LITTLE LAUGH) and it's different. The, er, "rah-rah" spirit isn't quite the same.

SALLY:

What's wrong with sentiment?

BOB:

Oh, nothing. But it isn't really honest emotion.

SALLY:

It'll do until something better comes along.

BOB:

Well, that's all it should be. A stopgap until the real thing does come along.

SALLY:

Hm. Are you going right into practice, or are you going to vacation first?

BOB:

Oh, I have to go right into practice. The spot that was offered to me, if I don't grab it right away, they'll give it to somebody else.

SALLY:

(DISAPPOINTED) Oh.

BOB:

What's wrong?

SALLY:

Nothing.

BOB:

Well, something must be wrong.

SALLY:

Why?

BOB:

Well, the way you said, "Oh." What's wrong?

SALLY:

Nothing's wrong. Nothing at all.

BOB:

(PAUSE) Okay.

SALLY:

(PAUSE) Yes, something is wrong.

BOB:

What?

SALLY:

You. You seem to be so contentious. You-- you always seem to find something to argue about.

BOB:

Me?

SALLY:

You weren't that way when we first started going out.

BOB:

I thought you were doing the same thing.

SALLY:

How do you expect me to react when you jump on every word I say?

BOB:

Well, maybe I'm just following your lead.

SALLY:

This is where I live.

BOB:

Okay, I'll stop the car. It's easy.

SFX:

CAR SLOWS DOWN, PULLS OVER, STOPS. BOB TURNS OFF MOTOR.

SALLY:

You don't have to see me in.

BOB:

(PATRONIZING) Don't be foolish.

SALLY:

I'm not being foolish. The lights are on, and you can watch from the car. You don't have to see me in.

BOB:

Sally...

SALLY:

Yes?

BOB:

(PAUSE) Uh, want a cigarette first, before you go in?

SALLY:

No thanks.

BOB:

How come?

SALLY:

I just don't want one.

BOB:

You... always had a last cigarette with me, since our first date.

SALLY:

Maybe I just don't feel like one. But, if you want one, go ahead.

SFX:

HE TAKES OUT A CIGARETTE, LIGHTS IT WITH A MATCH, INHALES, PAUSES, AND EXHALES

BOB:

(PAUSE) Would you prefer it if I didn't call you again?

SALLY:

Why-- I-- I-- (PAUSE) If that's what you want.

BOB:

I didn't say it's what I want. But it does seem to be what you want.

SALLY:

I didn't say I don't want to see you again.

BOB:

But you act like it. All night long... you've been acting strange. That's all.

SALLY:

Like what? Tell me. Go ahead and tell me. You mentioned it earlier, at the party. Just tell me what I did that-- that-- that was so strange.

BOB:

Well... (PAUSE) You didn't pay much attention to me, for one thing.

SALLY:

You sat off by yourself, kind of brooding, all evening.

BOB:

Well, I wanted to spend time with you. It seems all we've done is go out with other couples, or-- or-- or-- or to parties.

SALLY:

You like them too. They're mutual friends, not just mine.

BOB:

Okay, okay, okay.

SALLY:

Look, you don't have to see me if you don't want to. Nobody makes you call me for a date.

BOB:

(HE TAKES ANOTHER DRAG, AND EXHALES) Are you seeing somebody else?

SALLY:

Of course. You don't think I'm just going out with you. You know that.

BOB:

I meant-- Are you very serious about any of... those other guys?

SALLY:

That's pretty personal.

BOB:

Well, maybe it is. But I-- I just want to know if you want to see me. If I'm intruding, or... complicating things for you, I'd just like to know.

SALLY:

Well, I... You're not complicating things, Bob.

BOB:

(LAUGHING A BIT)For a fellow who's whole career is based on logic, I-- I'm not...very logical, at-- at-- at times.

SALLY:

(LITTLE LAUGH) Well, we've both been a little funny lately, I guess.

BOB:

(VERY SINCERELY) I'll miss you, Sally.

SALLY:

You'll be busy. Working.

BOB:

Listen, Sally... Listen...

SALLY:

I-- I think I'm going to miss seeing you too.

BOB:

I... I-- I'm... very fond of you.

MUSIC:

TENDER, WISTFUL VIOLIN UP SOFTLY, BUILDING UNDER

SALLY:

And... (A LITTLE SHYLY) I like you a lot. I do.

BOB:

I... I'll... miss you, terribly.

SALLY:

(WHISPERS) Yes.

BOB:

More... than I ever thought I could miss anyone.

SALLY:

(WHISPERS) Bob.

BOB:

I love you, Sally.

SALLY:

(LITTLE LAUGH)

BOB:

I love you.

MUSIC:

SOARS PASSIONATELY, UNDER

SALLY:

I love you, Bob! I love you!

BOB:

(OVERLAPPING) I love you.

(THEY COVER EACH OTHER WITH KISSES)

 

BOB:

I love you, Sally!

SALLY:

Oh, Bob! I love you! I love you!

MUSIC:

REACHES CRESCENDO, DROWNING THEM OUT. CONTINUES TO A BIG FINISH, THEN OUT

ANNCR:

"Loving", starring Cathy and Elliott Lewis, On Stage. In a moment, Mr. and Mrs. Lewis will tell you about next week's play.

(PROMO) CBS Radio unveils its sparkling new production "Stage Struck", this Friday night. It's an exciting colourful visit to Broadway, with the greats of show business. This Friday, your host Mike Wallace, takes you to meet Rosalind Russell, Shirley Booth, Basil Rathbone, and many others. Remember, Friday night, on most of these same stations, go "Stage Struck", with CBS Radio.

And now, once again, Cathy and Elliott Lewis.

MUSIC:

"ON STAGE" THEME UP, THEN OUT

ELLIOTT:

While Cathy was an actress who loved herself, William Conrad was the patient motion picture director.

CATHY:

And when Elliott felt himself unloved, Clayton Post and Byron Kane taunted him. And Barney Phillips drove him into town in his truck.

ELLIOTT:

A few weeks past, we did a play by E. Jack Newman, called "The Crustacean". And, as always happens with one of E. Jack Newman's scripts, your response was either loud applause or noisy catcalls. But there's no way to play it safe in show business. You can't please everyone.

CATHY:

As a matter of fact, if you take the argument out of drama, you have nothing left but unrelated words.

ELLIOTT:

And so, because this is that kind of a show, next week, another new play by E. Jack Newman. This one, about an ex-football player who was called "The Great Dane".

CATHY:

Until next week, thank you for listening. Good night.

ELLIOTT:

Good night.

MUSIC:

"ON STAGE" THEME UP, UNDER

ANNCR:

Music for tonight's story was composed and conducted by Fred Steiner. The "Cathy and Elliott" theme is by Ray Noble. And the program was transcribed and directed by Mr. Lewis. George Walsh speaking. This is the CBS Radio Network.