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. Drama, comedy, adventure, mystery, melodrama. Ladies and gentlemen, Mr. Elliott Lewis.

MUSIC:

THEME CRESCENDOES, THEN OUT

ELLIOTT:

Good evening. May I present my wife, Cathy.

CATHY:

Good evening. Tonight, we're going to do a story about two lonely and lost people, who discovered in each other, the meaning of existence.

ELLIOTT:

It's sad and, in a wonderful way, we think, one of the most beautiful stories we've done.

CATHY:

And so, tonight, we present a new play by Morton Fine and David Friedkin, called "A Corner of Autumn".

ELLIOTT:

My name in the play is "Harry Miller".

CATHY:

And I'm "Joyce DaSilva".

SCENE 1:

A SEEDY BAR, NIGHT

MUSIC:

PIANO, QUIET, WISTFUL, UNDER

ELLIOTT:

And we're two people in a very large city. In a small part of a very large city. Opening scene: a bar.

SFX:

SEEDY BAR AMBIENCE, UNDER

ELLIOTT:

...a very cheap bar. And very tired laughter from tired jokes and old observations.

WOMAN:

(LAUGHS DRUNKENLY)

ELLIOTT:

A bartender and customer. Customer's not so much, but neither is the wine. And the entertainer is not so much either. Listen.

(CROWD TALKS THROUGHOUT, IGNORING THE SONG)

 

JOYCE:

(SINGS BILLIE HOLIDAY'S "BACK IN YOUR OWN BACKYARD" A CAPELLA, A LITTLE SHAKY, SLIGHTLY OFF MIKE, FADING UP, UNDER) The birds with feathers of blue are waiting for you...

ELLIOTT:

And that's the setting. And here's the action. A man, Harry Miller, walking through the door.

JOYCE:

(SINGS, UNDER)...back in your own backyard. You'll see those castles in Spain, through your window pane, Back in your own backyard. Now, you can go to the east, go to the west, but someday you'll come weary at heart...

SFX:

HARRY WALKS TO BAR

STAN:

What are ya drinking, friend?

HARRY:

Nothing.

STAN:

Ya need it, huh?

HARRY:

Mostly a job.

STAN:

Out.

HARRY:

You got a piano. I looked first.

STAN:

Show me. Where? Point it to me.

HARRY:

Right there.

STAN:

(LAUGHS) Hey, ya pointed good. I'd say you've been off the booze for how long? Coupla days? A week?

HARRY:

Job'd make it easier. I'm down to ten bucks.

STAN:

You guys kill me. You know what I always say? I always say, "Once a rumpot, always a r--"

HARRY:

Don't do that, mister!

STAN:

Go ahead. Play. Play for her. She could use it.

SFX:

HARRY WALKS TO PIANO

JOYCE:

(STILL SINGING) back where you started (NOTICES HIM) safe from harm...

SFX:

SITS DOWN

HARRY:

(GENTLY) Just keep going, miss.

MUSIC:

PLAYS A COUPLE OF NOTES, FEELING OUT THE TUNE

JOYCE:

(FEELING OUT THE TUNE) You'll-- You'll find your happiness...

MUSIC:

HE PLAYS A LUSH CHORD, AND FEELS OUT MORE CHORDS, UNDER

JOYCE:

...lies right under your eyes, back in your own backyard.

MUSIC:

THEY FINISH TOGETHER, WITH BEAUTIFUL CHORDS

WOMAN:

(DRUNKENLY APPLAUDING) Bravo! Bravo! Do it again! Do it again!

MAN:

(DRUNKENLY) Ah, siddown! Siddown!

WOMAN:

(DRUNKENLY) Aw, shuddup!

SFX:

A FEW COINS SCATTER ON THE FLOOR

HARRY:

Maybe next time, we'll rehearse, huh, miss?

JOYCE:

(WEAKLY) Yeah. Move your foot, please, I think there's a coin right in--

HARRY:

Here, I'll get it. (PAUSE, SMILING) It's a quarter.

JOYCE:

Thank you very much, mister uh...?

HARRY:

Uh, Harry. Harry Miller.

JOYCE:

Thank you. Do you see anything more?

HARRY:

No, miss. I think I got them all.

SFX:

A FEW COINS BEING COUNTED

JOYCE:

A dollar twenty-eight. By all rights, half of it's yours, Mister Miller.

HARRY:

(SMILING) Wait here.

JOYCE:

I shall be glad to.

SFX:

HE WALKS TO BAR

HARRY:

Well, what about it, mister? Do I work?

STAN:

Fifteen bucks and food when we close. Back on the booze, and ya choose your door out. Back or front, it don't make any difference, right?

HARRY:

My name's Harry Miller. Yeah.

STAN:

Tonight was practice. The week starts tomorrow. Remember what I told you about the booze.

HARRY:

All right.

SFX:

HARRY WALKS BACK TO JOYCE, UNDER

MAN:

(DRUNKENLY) Yeah, yeah, but look. Gimme some change, willya, Stan? I wanna play the jukebox and clear the air!

HARRY:

(TO JOYCE) He gave me a job.

JOYCE:

Then we'll be working together. That's very nice. I've been looking for an accompanist.

HARRY:

When do you sing again?

JOYCE:

Oh, that-- that was my last number for the night. (PAUSE) I'm very hungry. I was just going across the street.

HARRY:

May I join you?

JOYCE:

That's a lovely idea. Please do.

HARRY:

(NARRATING) She handed me her coat, and I held it for her while she put it on. Then she put her hand on my arm, and we walked out of there. But the restaurant was closed, and that was a shame, she said, because it was such a nice place.

SCENE 2:

THE PARK, NIGHT

MUSIC:

QUIET, WISTFUL PIANO, UNDER

JOYCE:

It has an "intime" feel. You would have enjoyed it, Mister Miller. May I suggest something? Chestnuts in the park? Look!

HARRY:

(NARRATING) There just happened to be a chestnut vendor at the end of the block. We bought two bags, put them in our pockets. From there, we walked to the park. It was chilly, and no moon, and all the benches were empty. But she knew a special one.

JOYCE:

That one. Right under the eucalyptus.

MUSIC:

OUT

SFX:

TRICKLING FOUNTAIN, SLIGHTLY DISTANT, UNDER

JOYCE:

Here. Can you hear it, the fountain? It's over there behind the shrubs. Does it remind you of music? That's what it reminds me of.

SFX:

RUSTLE OF SMALL PAPER BAG

JOYCE:

Now, we can have our chestnuts.

HARRY:

You haven't even told me your name.

JOYCE:

My name is Joyce DaSilva. That's my stage name, of course.

HARRY:

What?

JOYCE:

For the entertainment crowd. My real name is Joyce Shakroski. An acquaintance of mine in the profession advised me to change it. You're a professional too, aren't you?

HARRY:

Been in for twenty years.

JOYCE:

I should have known that...how well you played. Of course--

HARRY:

Of course what?

JOYCE:

Of course, you know why I was singing in that place?

HARRY:

For experience, huh?

JOYCE:

That too. But mostly it's because I feel that a performer must get to know every type of audience. (PAUSE) Do you agree?

HARRY:

Sure.

JOYCE:

Are you cold?

HARRY:

No. No, I'm all right.

JOYCE:

I am, a little. (PAUSE) Now.

HARRY:

Now, what?

JOYCE:

Tell me about yourself.

HARRY:

Piano-player. For a long time. That's about all.

JOYCE:

Oh, surely now--

HARRY:

I mean it. I play the piano. That's all.

JOYCE:

You're very good. Very, very good.

HARRY:

Miss DaSilva...

JOYCE:

Yes, Mister Miller.

HARRY:

Is this all you do? Sing?

JOYCE:

Mister Miller...

HARRY:

Yes?

JOYCE:

I'd like to tell you about that. Before I gave everything up to embark on a singing career, I must confess that I worked as an executive secretary, in order to save money. When I had enough, I merely quit. In spite of the president of the company's protests.

HARRY:

Sure, you...had your career.

JOYCE:

I feel that, in another month or so, I shall be ready for a booking agent.

MUSIC:

QUIET, WISTFUL PIANO, UNDER

JOYCE:

Would you mind if I told you something?

HARRY:

Not at all.

JOYCE:

You're the first man I let bring me to this bench. You may put your arm around me, if you like.

MUSIC:

LUSH PIANO, UP, THEN FADES TO WISTFUL, UNDER

HARRY:

(NARRATING) We sat there for maybe an hour, my arm around her. And that kind of talk. Then, I walked her home. She lived in a small frame house that had a Vacancy sign in the window. And an iron gate out front.

SCENE 3:

JOYCE'S FRONT YARD, NIGHT

SFX:

CRICKETS CHIRPING, UNDER.

SFX:

THEY WALK TO THE GATE, OPEN IT

JOYCE:

It's been a wonderful evening. Truly. I wonder if you enjoyed it as much as I did.

HARRY:

Sure I did, Miss DaSilva.

JOYCE:

You may call me Joyce.

HARRY:

Sure.

JOYCE:

And you're Harry.

HARRY:

That's right.

JOYCE:

(PAUSE) You may kiss me good night, if you like, Harry. (PAUSE. HE KISSES HER GENTLY.) You're very sweet.

SFX:

HE CLOSES GATE, THEN WALKS AWAY

JOYCE:

(PAUSE. OFF MIKE) Auf wiedersehen, Harry.

SFX:

OPENS FRONT DOOR, GOES IN, CLOSES IT

SFX:

HE WHISTLES, AS HE WALKS ALONG, UNDER

HARRY:

(NARRATING) It wasn't far from Skid Row where she lived. Coupla blocks down, three blocks over. And the sign was there: Fifty cents a night. And that's where I slept.

SFX:

OUT

MUSIC:

SINGLE PIANO NOTES, LIKE A CHIMING BELL, UNDER

HARRY:

(NARRATING) In the morning, I looked for a room. In the morning, I wanted a drink, bad, but I looked for a room, and I got lucky.

MUSIC:

WISTFUL, LONELY PIANO MELODY, UNDER

HARRY:

(NARRATING) A room in a cheap hotel that they used to store a piano in; they put a cot in it. They took half the ten dollars I still had left from the job in the town before this one. And it was my room. And my home. As much as it could be during the day. But I didn't kid myself. The bottle was my great and true friend, so I bought a quart. Set it on the piano, corked, so I'd learn to hate him. I didn't go out during the day. And when I did, when it was night, I ran. To the bar, and work. Three nights. And after each one o' them, chestnuts in the park.

SCENE 4:

THE PARK, NIGHT

MUSIC:

PIANO QUIET, WISTFUL, SLIGHTLY HOPEFUL, UNDER

SFX:

TRICKLING FOUNTAIN, UNDER

HARRY:

(NARRATING) On the bench. Under the tree by the fountain.

JOYCE:

Harry...

HARRY:

What?

JOYCE:

It's almost like... Well, it is.

MUSIC:

PIANO MINOR CHORD, AS TUNE TURNS DARK, UNDER

HARRY:

Is what?

JOYCE:

A romance. Isn't it, Harry? (NO ANSWER) Isn't it?

HARRY:

Sure, honey.

MUSIC:

OUT

JOYCE:

Of course.

HARRY:

(NARRATING, GRIMLY) Joyce and Harry, their romance. With a twist on Monday night. No park bench, no chestnuts. Monday night, bar closed, so no work. So, have a romance. (BITTERLY) Sharing your table with two strangers to eat your blue plate specials in the cafeteria. A dusty doll won at a dusty carnival that cost you a week's room rent, because she's always loved dolls since she was a little girl. And the dancehall where everything is played too fast. Then the late movie. A double feature and a travelogue about Africa. A romance we had.

SCENE 5:

JOYCE'S FRONT YARD, NIGHT

MUSIC:

PIANO SINGLE NOTES, LIKE A TOLLING BELL, UNDER

SFX:

CRICKETS CHIRPING, UNDER

SFX:

THEY WALK TO HER GATE, OPEN IT

JOYCE:

(SIGHS CONTENTEDLY) Ah, such a gay evening, Harry. (PAUSE) Wasn't it?

HARRY:

(GRIMLY) Yeah.

MUSIC:

PIANO DISCHORDANT, MENACING

JOYCE:

Such a beautiful doll, Harry. I'll always love it.

HARRY:

Yeah.

JOYCE:

Tired?

HARRY:

Real tired.

JOYCE:

I'm not. I'm so happy! Happy! I could go on and on... Oh, Harry! Harry. You won't laugh, will you?

MUSIC:

PIANO, COMPETING MENACE AND ROMANCE

HARRY:

At what?

JOYCE:

Listen. You're my love.

SFX:

RUSHES TO FRONT DOOR, OPENS IT, ENTERS, CLOSES IT

MUSIC:

PIANO ROMANTIC UP, THEN OUT

SCENE 6:

HARRY'S ROOM, AFTERNOON

SFX:

HE PACES, THEN WALKS TO PIANO

MUSIC:

PIANO, SINGLE NOTES PLUNKED OUT, TRYING TO FIND A TUNE

SFX:

LOUD KNOCKING ON INTERIOR DOOR

MUSIC:

OUT

HARRY:

(SLIGHT GROAN)

SFX:

WALKS TO DOOR. OPENS IT.

JOYCE:

(A BIT NERVOUS) Hello, Harry.

SFX:

SHE WALKS IN. DOOR CLOSES. SHE WALKS AROUND.

JOYCE:

(TRYING TO BE OPTIMISTIC) My, what a charming place, dear.

HARRY:

(BITTER) It stinks.

JOYCE:

What did you say, dear?

HARRY:

(BITTER) I said, this is a fleabag, and it stinks. What are you doing here, Joy?

JOYCE:

It's Thursday afternoon.

HARRY:

So?

JOYCE:

What happened to Tuesday and Wednesday night, dear? As soon as you finished at the club--

HARRY:

At the crumb joint.

JOYCE:

You ran off. You didn't wait for me. Is something wrong, dear?

HARRY:

Look. Joyce...

JOYCE:

What, dear?

HARRY:

Who're we kidding?

SFX:

SHE WALKS QUICKLY ACROSS THE ROOM

JOYCE:

(SLIGHTLY OFF MIKE) Why is this bottle of whisky on your piano?

HARRY:

It's not whisky; it's scotch.

JOYCE:

Are you a drunkard?

HARRY:

I asked you something, Joyce. Who're we kidding?

SFX:

WALKS TO HIM

JOYCE:

Why, whatever do you mean?

HARRY:

We're a coupla middle-aged slobs.

JOYCE:

Whatever do you--

HARRY:

And liars. I'm gonna tell you something else. Mostly you. Joyce, you're the biggest liar I ever met.

JOYCE:

Have you been drinking?

HARRY:

If I'd been drinking, I'd think you were the most beautiful woman in the world. I think all women are beautiful when I'm loaded. I'm sober. So, you're skinny. You're skinny, and you're plain.

JOYCE:

(QUIETLY) No woman with an ounce of respect would listen to language like that. I'm going.

SFX:

STARTS WALKING QUICKLY TO DOOR. HE STOPS HER.

HARRY:

You stay here and listen. What are you trying for? A career? I know a cat in an animal act that sings better than you. You're trying for a romance? Who do you think I am, Joyce? A prince out of a fairytale? Something on a white horse? I'm a forty-year-old rumpot. And I'm tired. And it kills me to look at you, and know a woman like you is all I've got.

JOYCE:

That's right, Harry.

HARRY:

I look at you, and I say to myself, "This is what my life has amounted to."

JOYCE:

(SADLY RESIGNED) That's right, Harry. I'm all you've got, and you're all I've got. What are you going to do about it?

SFX:

HE QUICKLY GOES TO THE BOTTLE, UNCORKS IT, POURS A GLASS

HARRY:

(SARCASTIC) Here's to our romance, Joyce! Here's to our--

SFX:

SHE KNOCKS GLASS FROM HIS HAND. IT SHATTERS ON FLOOR.

HARRY:

Hey!

JOYCE:

(SEETHING) No man's going to drink like that in my presence.

HARRY:

Hey, put down that bottle!

JOYCE:

And no man's going to insult me like that.

SFX:

SHE THROWS BOTTLE THROUGH WINDOW. BOTTLE SHATTERS ON SIDEWALK BELOW

JOYCE:

If a policeman comes and wants to know who threw that bottle through the window, you may give him my name and address. I'm ashamed. I'm ashamed I know you. I'm ashamed I love you.

SFX:

SHE STORMS TO DOOR, OPENS IT, AND LEAVES, SLAMMING IT

SFX:

PAUSE. HE SLOWLY WALKS TO PIANO, AND SLAMS HIMSELF DOWN OVER THE KEYBOARD, LANDING ON ALL THE KEYS

MUSIC:

PIANO CRASHING DISCHORD, REVERBERATES, THEN OUT

ANNCR:

You are listening to Cathy and Elliott Lewis - On Stage. Tonight's play: "A Corner of Autumn".

Later tonight, Marlene Dietrich has a really gripping adventure for us, on "Time For Love". In tonight's story, we follow her to Monte Carlo, where she takes part in a strange goings-on indeed. Hear how a gambler loses, and then regains three million dollars in diamonds at the gambling tables. Don't forget to listen tonight, when it's "Time For Love", with Marlene Dietrich, presented by CBS Radio, on most of these same stations.

MUSIC:

DRAMATIC VERSION OF "ON STAGE" THEME, TURNS WISTFUL, UNDER

SCENE 7:

HARRY'S ROOM, AFTERNOON

HARRY:

(NARRATING) She left, and it was the room again. The piano and the room and me. And that was all there was to the world, the world I knew real good. Me and a piano.

MUSIC:

PIANO, PLUNKING OUT A SINGLE NOTE, OVER AND OVER, UNDER

HARRY:

(NARRATING) Nothing. The time to stand up and go through a door, and out into the street. Give the man a coupla dollars, and take the bottle. And find a place that nobody knew; uncork the bottle.

MUSIC:

SINGLE PIANO NOTES, TRYING TO PLUNK OUT A TUNE, UNDER

HARRY:

(NARRATING) And the great and true friend, the Genie who lived inside, let him take over and warm you! And explode the world for you, and make you king! And I had the coupla dollars for it, and the wanting for it, the hunger! The scream inside for it! A skinny woman walked outta my room, and suddenly, that was the reason for it!

MUSIC:

OUT

SFX:

STANDS UP QUICKLY, WALKS TO DOOR, OPENS IT

HARRY:

(ANGRILY SHOUTING DOWN TO DESK CLERK) You! You! Come up here!

CLERK:

(CALLS, OFF MIKE) Whaddayou want?

HARRY:

(DEMANDING) Come on up here!

CLERK:

(OFF MIKE, APPROACHING) Let's not have any trouble here, eh.

HARRY:

Ya heard me! Get up here!

SFX:

CLERK CLIMBS STAIRS, UNDER

CLERK:

(APPROACHING) Easy does it, Ace. Ya got the meanies, Ace?

HARRY:

Here!

CLERK:

What?

HARRY:

Take the key!

CLERK:

Okay. Now what?

HARRY:

Come on!

SFX:

THEY WALK TO HARRY'S ROOM

HARRY:

Lock me in!

CLERK:

Sure, sure. Easy does it, Ace. It's a funny meanie ya got, Ace, but surely--

HARRY:

Don't open this door til tomorrow, ya hear?

CLERK:

Sure, Ace.

HARRY:

Even if I try to break it down!

CLERK:

You do, Ace, and coparinis, this joint'll crawl with them. You know that, huh, Ace? Quiet's the word if I lock ya in, huh, Ace?

HARRY:

Just don't let me out, that's all! Lock it!

SFX:

DOOR CLOSES. KEY TURNS IN LOCK.

MUSIC:

LOUD, POUNDING PIANO NOTES TURN INTO DRAMATIC, OMINOUS PIECE, THEN OUT

SCENE 8:

HARRY'S ROOM, THE NEXT MORNING

SFX:

FOOTSTEPS APPROACHING IN HALL. DOOR UNLOCKED, AND OPENED

CLERK:

Welcome to tomorrow, Ace! Howya feelin'?

HARRY:

Rotten.

CLERK:

It's a day for it, eh?

HARRY:

Go away.

CLERK:

Ya did real good.

HARRY:

Go away.

CLERK:

I brought ya somethin'. Coffee, sandwich.

SFX:

PUTS DOWN CUP AND PAPER-WRAPPED SANDWICH

CLERK:

On me, Ace. Because ya did real good.

HARRY:

Thanks.

CLERK:

Tearin' your bed apart, I don't mind at all. You did so nice. Get up and look out the window, Ace. It's a day. Try it.

MUSIC:

PIANO, POUNDING, DISCHORDANT, THEN REVERBS OUT

SCENE 9:

JOYCE'S FRONT YARD

SFX:

BIRDS CHIRPING, UNDER

SFX:

HE OPENS HER GATE, WALKS IN, CLOSES IT, WALKS TO HER FRONT DOOR, RINGS DOORBELL

SFX:

NO ANSWER. RINGS DOORBELL AGAIN.

SFX:

DOOR OPENS

HARRY:

(QUIETLY) I'd like to talk to you.

JOYCE:

About what?

HARRY:

Can I come in?

JOYCE:

Landlady's not in, but I'm sure she won't mind, if it's very important.

HARRY:

It's important.

SFX:

DOOR CLOSES. THEY WALK TO HER ROOM. SHE OPENS DOOR, THEY STEP IN. SHE CLOSES IT.

JOYCE:

Sit down.

HARRY:

I wanna talk to you about us. About you and me.

SFX:

THEY SIT ON THE BED

JOYCE:

Yes?

HARRY:

(DEEPLY REPENTANT) I'm sorry for what I said yesterday. If I caused you any unhappiness or embarrassment. I'm deeply sorry. (PAUSE) Joyce.

JOYCE:

Oh, Harry, Harry.

HARRY:

I--

JOYCE:

You look awful.

HARRY:

I know.

JOYCE:

Did you get drunk?

HARRY:

No. Listen to me, Joyce.

JOYCE:

All right.

HARRY:

(PAUSE) Once, I was married--

JOYCE:

I don't mind that a bit.

[recording skips]

HARRY:

And there were two boys, and there was my little girl. Somewhere in there, I-- I started to drink.

JOYCE:

There must have been a reason, dear. Maybe she--

HARRY:

No, just listen, Joyce. I-- I started to drink, and I liked it, and... I became a drunk. And it all drifted away from me. Wife, family, and job. Th-- that was a long time ago. And now, I'm here. (PAUSE) You know why I'm here, Joyce?

JOYCE:

Harry. Harry, you were right, yesterday. I mustn't lie to you any more.

HARRY:

Oh, let's just forget it--

JOYCE:

No. No. (PAUSE) I'm all the things you said. I can't sing. And I'm getting old. And I'm not pretty. And I'm tired. And I'm lonesome. So lonesome. And you were kind to me, and I... tried to make it all a young dream. I need you.

HARRY:

Maybe this is the way. The two of us. We play it straight, and we try to buck it together. And not expect too much. Cause neither of us are anything much.

JOYCE:

Except to each other.

HARRY:

That's right.

JOYCE:

Look! Look, Harry!

HARRY:

The doll we won at the carnival? You still got that?

JOYCE:

M-hm.

MUSIC:

PIANO, WISTFUL NOTES, UNDER

JOYCE:

It's when we were lying to each other. When we were young. It's just something to put in the corner and smile at. Cause we're older.

MUSIC:

PIANO, INTO MELANCHOLY, LUSH, SLIGHTLY DISCHORDANT TUNE, UNDER

JOYCE:

I'll get you some dinner, dear.

SCENE 10:

THE PARK, NIGHT

MUSIC:

PIANO, QUIET, WISTFUL, THEN OUT

SFX:

TRICKLING FOUNTAIN, UNDER

JOYCE:

I like November best, Harry. I know why. Because we've loved each other a month.

HARRY:

Why do we have to come here?

JOYCE:

Don't deny me this place, dear. I'm so fond of it. The chestnuts, the eucalyptus tree, and the fountain. Harry...

HARRY:

What?

JOYCE:

Was your wife pretty?

HARRY:

It's tough to remember.

JOYCE:

Prettier than me?

HARRY:

Joyce, for the last few days, you've been asking me questions like that. Cut it out. I'm tired of it.

JOYCE:

But I want to know, dear. I want to know all about you. The people you used to love. (PAUSE) Well, was she?

HARRY:

Was she what?

JOYCE:

Prettier than me?

HARRY:

No, no, no. She wasn't pretty at all.

JOYCE:

What happened to her?

HARRY:

I dunno.

JOYCE:

How did you meet her, dear?

HARRY:

She used to sing with a band I played for.

JOYCE:

(NERVOUS LITTLE LAUGH)

HARRY:

What'sa matter?

JOYCE:

Just the coincidence that you should fall deeply in love with two singers. Harry...

HARRY:

What?

JOYCE:

Did your children look like her or like you?

HARRY:

What difference does it make?

JOYCE:

Nothing, I suppose. I wonder who our children will look like, you or me?

HARRY:

Our children?

JOYCE:

Of course. We'll have two boys and a girl, just like you used to have, so we--

HARRY:

Listen, Joyce. All that's a long time ago. Leave it alone. Forget it.

JOYCE:

I'll help you forget it, dear. (PAUSE) What happened to her?

HARRY:

(ANNOYED) She divorced me, dear. And she got married again. I told you that. I told you that, a hundred times.

JOYCE:

Did you love her a lot, Harry? As much as you love me?

HARRY:

(ANNOYED) I loved her very much. I had a family with her, but I was a drunk, and she left me.

JOYCE:

She couldn't have loved you very mu--

HARRY:

Shut up.

JOYCE:

Not like I love you--

HARRY:

Shut up!

JOYCE:

You'll see, Harry. You'll never want to leave me--

HARRY:

I didn't leave her; she left me!

JOYCE:

We'll be happy. Happy!

HARRY:

You know what? I can't stand the sight of you!

JOYCE:

You're getting upset about nothing at all.

HARRY:

You're what you are, and I'm out of my mind to think you can be anything else!

JOYCE:

I'm what I am, Harry. And you helped me see what I am.

HARRY:

Outta my mind! I'm crazy to think that you'd--

JOYCE:

Are you looking for a reason to get drunk, Harry? I'm not going to give you one. I love you. I want to be the reason why you won't ever get drunk.

HARRY:

(ENRAGED) Good night to you, lady!

SFX:

HE STORMS AWAY

SCENE 11:

LIQUOR STORE, DAY

SFX:

CASH REGISTER RINGS AS DRAWER OPENS. CLERK PUTS MONEY IN IT, AND CLOSES DRAWER

HARRY:

Thanks.

SFX:

HE WALKS TO DOOR. ITS BELL JINGLES AS HE OPENS IT, THEN CLOSES IT.

SFX:

CITY STREET AMBIENCE AS HE WALKS ALONG, UNDER

HARRY:

(SMILING) Bottle, bottle. Hiya, bottle!

SFX:

ECHOING FOOTSTEPS AS HE ENTERS A SMALL ALLEY

HARRY:

Great and true friend. (OPENS IT, TAKES A GULP, CATCHES HIS BREATH) Thanks for waiting for me, Genie. (TAKES ANOTHER GULP, CATCHES HIS BREATH)

MUSIC:

PIANO, HEAVY, DISCHORDANT, MENACING, THEN OUT

SCENE 12:

THE BAR, NIGHT

SFX:

DOOR CLOSES. HARRY WALKS UNSTEADILY TO THE BAR

STAN:

Hey, you're late, Harry!

HARRY:

(SLURRED) Gimme a drink.

STAN:

Uh-oh.

HARRY:

The booze, the scotchy.

STAN:

And where's Joyce DaSilva? Joyce DaSilva.

HARRY:

I'm paying. Here.

SFX:

TOSSES A QUARTER ON THE BAR

STAN:

You're paying.

SFX:

POURS HIM A DRINK, UNDER

STAN:

Ya get the scotchy. And you're fired, Harry.

HARRY:

Let's drink to it, baby! Fired!

SCENE 13:

LIQUOR STORE, DAY

SFX:

HARRY PUTS A BOX FULL OF EMPTY BOTTLES ONTO THE COUNTER

HARRY:

(VERY DRUNK) Twenty empties! Whole box of 'em! Took me three hours to collect 'em! Gimme a bottle o' wine. One that costs sixty cents, eh?

SFX:

CLERK GETS BOTTLE, PUTS IT ON COUNTER

HARRY:

Yeah. Yeah! (LAUGHS TRIUMPHANTLY AND MANIACALLY, FADING OUT)

SCENE 14:

JOYCE'S HOUSE, DAY

SFX:

RATTLE OF GATE, AS HE OPENS IT AWKWARDLY. HE WALKS TO HER DOOR.

JOYCE:

(WITH TENDERNESS) Hello, Harry. I've been waiting for you.

HARRY:

(BARELY INTELLIGIBLE) How are the children, Joycie? Are they here, or they there?

JOYCE:

(QUIETLY) Yes.

SFX:

SHE OPENS DOOR, WALKS HIM IN, THEN CLOSES DOOR

HARRY:

(LAUGHS QUIETLY TO HIMSELF, UNDER)

SFX:

SHE WALKS HIM TO HER ROOM, AND OPENS THE DOOR

JOYCE:

Go in and lie down, Harry. I'll get--

HARRY:

(FLAMBOYANT) After you, dear, dear, dear, dear.

JOYCE:

All right, Harry.

SFX:

SHE CLOSES DOOR

HARRY:

Joyce Shwerkoski.

JOYCE:

Lie down, Harry.

HARRY:

Joyce. Shwerkoski.

JOYCE:

(WITH COMPLETE DEVOTION) Tell me what to do to make you feel better. I'll do it.

HARRY:

I'll tell you what to do. (PAUSE) Die!

JOYCE:

(GASP) Oh, Harry! You're so drunk!

HARRY:

I mean it! Die! You're in my way, Joycie. I'm havin' a ball! And you're in my way. And you'll always be in my way. So, die! Just di-- (BURSTS INTO TEARS)

JOYCE:

(TENDERLY TAKING HIM IN HER ARMS, AS HE SOBS) Oh... It's all right. Harry... Harry... It's all right.

HARRY:

(SOBBING) Don't ever die, Joyce.

JOYCE:

Yes, my dear... Yes... Yes...

HARRY:

(SOBBING) Don't leave me.

JOYCE:

Yes...

HARRY:

(SOBBING) I'm sorry. I'm so sorry, Joyce. I need you. I'm nothing without you.

JOYCE:

Nor me.

HARRY:

(CRYING SOFTLY) Nothing. The two of us. The way it has to be. The way I want it to be. I need you.

JOYCE:

I need you. There'll be no more loneliness, dear Harry.

HARRY:

(CRIES SOFTLY)

JOYCE:

Dear, dear Harry. (WHISPERS) I love you.

SCENE 15:

THE BAR

MUSIC:

PIANO, LUSH, ROMANTIC, TO BEAUTIFUL FINISH

SFX:

AUDIENCE APPLAUDS

HARRY:

Thank you!

SFX:

HE WALKS TO THE BAR

STAN:

(WARMLY) Nice goin', Harry. You sound great.

HARRY:

Thanks.

STAN:

Isn't he playing great, Joyce?

JOYCE:

Wonderful.

HARRY:

Ready, honey?

JOYCE:

M-hm.

HARRY:

'Night, Stan.

STAN:

Goodnight, kids.

SFX:

THEY WALK TO DOOR, OPEN IT, LEAVE, CLOSE IT.

SFX:

STREET AMBIENCE, AS THEY WALK ALONG, UNDER

JOYCE:

You really did, Harry. You sounded wonderful.

HARRY:

(SMILES) I know. It's getting better all the time.

JOYCE:

Yeah. (PAUSE) Wanna go right home?

HARRY:

Why don't we buy a coupla bags o' chestnuts?

JOYCE:

And go for a walk.

HARRY:

M-hm.

JOYCE:

Park's so nice this time of night. The bench and the eucalyptus tree and the fountain. That fountain always reminds me of music. (PAUSE) What does it remind you of?

HARRY:

(SMILES) Music. Music, Joyce!

SFX:

THEY WALK ALONG TOGETHER, THEN OUT

MUSIC:

THEME, UP TO CRESCENDO, THEN OUT

ANNCR:

"A Corner of Autumn", starring Cathy and Elliott Lewis. Mister and Mrs. Lewis will tell you about next week's play, in just a moment.

Is the Army Nurse Corps in Korea? Why, of course. Wherever American fighting men go, the Army Nurse Corps brings medical and surgical care to the sick and wounded. This fine organization has openings for at least a thousand new nurses. This week, as the Army Nurse Corps celebrates its fifty-third birthday, the Corps extends an invitation to all Registered Nurses to join the ranks. For full information, write the Surgeon General, U.S. Army, Washington 25, DC. That's the Surgeon General, U.S. Army, Washington 25, DC.

And now, once again, Cathy and Elliott Lewis.

MUSIC:

"ON STAGE" THEME UP, THEN OUT

CATHY:

Our thanks tonight to Paula Winslow and Junius Matthews--patrons of the bar that was run by Herb Butterfield.

ELLIOTT:

To Clayton Post--the clerk at the rooming house.

CATHY:

And of course, to Morton Fine and David Friedkin, for the lovely story.

ELLIOTT:

Next week, well-- Have you ever given a party where everything almost goes wrong?

CATHY:

Especially a single woman, giving a party for beaux and married friends.

ELLIOTT:

So, next week, E. Jack Neuman's "The Party".

CATHY:

Thank you for listening. And goodnight.

ELLIOTT:

Goodnight.

MUSIC:

"ON STAGE" THEME UP, UNDER

ANNCR:

Music for tonight's story was composed by Alexander Courage. Our pianist was Frank Lightner. And the orchestra was conducted by Lud Gluskin. The "Cathy and Elliott Theme" is by Ray Noble. "Cathy and Elliott Lewis - On Stage" is transcribed and directed by Mister Lewis. George Walsh speaking.

Will you ever forget the grateful look of the kid at the carnival, when you found his frantic mother for him? It was worth a little extra time, wasn't it? That's the way a Traveller's Aid volunteer feels, who gives a little of her time each week, helping the stream of travellers in trouble, who stop at the Traveller's Aid booths, in air, rail, and bus terminals. Make helping people a weekly ritual in your life.

America now listens to one-hundred-five million radio sets, and listens most to the CBS Radio Network.

MUSIC:

CONTINUES, THEN OUT