ANNOUNCER:
Today we're happy to welcome Miss Barbara Whiting, co-star of the popular program THOSE WHITING GIRLS, and Mr. Richard Crenna, of OUR MISS BROOKS, as our stars in a new play for radio.
MUSIC:
TYMPANI ROLL
ANNOUNCER:
Now, from Hollywood -- ROMANCE.
MUSIC:
THEME ... THEN OUT BEHIND--
ANNOUNCER:
ROMANCE, transcribed stories of love and adventure, of comedy and crisis, of conflict and human emotion. Today, the story of two young people and a stranger's car -- as Barbara Whiting and Richard Crenna star in Kathleen Hite's drama "One-Way Trip."
MUSIC:
FOR A FOREBODING INTRODUCTION ... THEN BEHIND ANNE--
ANNE:
(NARRATES) I guess we're all running from something -- in one way or another. I only knew I had to leave the East -- the cold, the snow, the slush, the loneliness -- and so when I read the ad in the classified section of the Times Friday morning, I phoned. It said, "Driving to Los Angeles Monday. Take two passengers. Share expenses." It was signed Pete Russell. On Monday morning we started out. Three of us: Mrs. Felix Botkin in the backseat, Pete Russell driving, and me next to him. My name is Anne Merritt.
SOUND:
RUNNING AUTO INTERIOR ... THEN IN BG
MRS. B:
Say, er, Mr. Russell? I wonder if you'd mind rolling up your window the tiniest little bit. There's a draft -- just hits the back of my neck.
PETE:
(BEAT AS HE ROLLS UP WINDOW, THEN--) Okay?
MRS. B:
Oh, that's fine. Thanks ever so much.
ANNE:
I could roll mine up, Mrs. Botkin.
MRS. B:
Well, if you don't mind, dear.
ANNE:
(BEAT, EXHALES) This certainly is a nice car, Mr. Russell.
PETE:
Oh, sure. Thanks.
ANNE:
I can drive. I mean, any time you get tired or anything. I'll be glad to take a turn.
PETE:
No, I'll drive, thanks. I'd planned to do all the driving.
MRS. B:
My goodness, I couldn't even offer. I - I guess you young people can't understand that, but I never once learned to drive. But then I'll bet you don't like women drivers much anyway, do you, Mr. Russell?
PETE:
Some of 'em are okay, I guess.
ANNE:
I'm supposed to be a good driver.
PETE:
Oh, really?
ANNE:
Well, I mean, men have said I am. Eddie -- I always drove his car; he'd ask me to. I mean-- Well, he preferred for me to drive.
MRS. B:
Eddie?
ANNE:
He's a-- He was a friend of mine.
MRS. B:
(CHUCKLES KNOWINGLY) A good friend?
ANNE:
(QUIETLY DEFENSIVE) Just a friend, Mrs. Botkin.
MRS. B:
Oh, well, now then, you mustn't mind me. I - I'm not really prying, you know. I just thought we could pass the time finding out about one another. Be a long trip.
ANNE:
I didn't mean anything. There's just not much to tell about me.
MRS. B:
Any family?
ANNE:
No, not really.
MRS. B:
How about you, Mr. Russell? Any family to speak of? (NO ANSWER) Mr. Russell?
PETE:
(TENSE) No, no. No, no family.
MRS. B:
Hm. Seems a shame. Big fine car like this, no family to speak of, to take trips in it and all.
ANNE:
Maybe Mr. Russell just prefers a big car. Some men do. On the road, especially. I guess a big car's better, isn't it?
PETE:
Yeah, yeah, it's better.
MRS. B:
But a sedan -- a big four-door sedan -- for just one person! Seems such a waste.
PETE:
(ANNOYED) Look-- Okay, it's a big fine car. (SNIDE) We don't have to talk about it all the time, do we?
MRS. B:
(TAKEN ABACK, QUIETLY) Well!
MUSIC:
TRANSITION ... THEN BEHIND ANNE--
ANNE:
(NARRATES) The scenery began to change. The snow gave way to drab gray landscape. The world around us was changing: still cold and bleak, but always ahead was the promise of sunshine -- and warmth. Mrs. Botkin quieted down and we didn't talk much after that. And Pete Russell seemed to relax a little and enjoy driving. He was nice-looking -- in a gentle kind of way -- and I felt reassured and safe. That night we stopped at a motel somewhere in Ohio.
SOUND:
NOCTURNAL BACKGROUND (CRICKETS CHIRP, ET CETERA) ... LUGGAGE HANDLED
PETE:
Here, I can carry that bag in for you.
ANNE:
Oh, no, it's all right. It isn't heavy.
PETE:
Look, I, uh-- I just got crowded today when she kept up all that gabbing. I guess I'm not used to talky old ladies.
ANNE:
That's okay, Mr. Russell.
PETE:
Oh, well, I'll, uh-- I'll knock on your door in the morning. We'll get an early start, okay?
ANNE:
Sure, that's fine with me.
PETE:
Call me Pete?
ANNE:
Oh, sure. Sure, Pete.
PETE:
Well, good night.
ANNE:
Good night.
SOUND:
ANNE'S STEPS FROM CRUNCHY GRAVEL, ONTO MOTEL PORCH, THEN TO MOTEL ROOM DOOR, WHICH OPENS
MRS. B:
(STARTLED GASP) Oh! Oh, my stars!
ANNE:
I'm sorry, Mrs. Botkin. I should have knocked.
SOUND:
ROOM DOOR CLOSES ... CRICKETS OUT ... ANNE'S STEPS IN ... LUGGAGE SET DOWN AND UNPACKED IN BG
MRS. B:
Oh, my -- I was so sure I'd locked it.
ANNE:
I'm really sorry. I didn't mean to frighten you.
MRS. B:
Strange motel, strange town -- puts me on edge. Can't for the life of me figure out why he chose to stop here anyway. Of course I'm one who knows my place and it isn't in me to butt in where I'm not wanted--
ANNE:
What's wrong with stopping here?
MRS. B:
I don't say it's wrong, my dear. I say it's peculiar: passing through all those big cities without a move to find a place to stay and - and stopping in the middle of nowhere.
ANNE:
I don't see anything wrong with it, Mrs. Botkin. But if you didn't want to stay here you should have said something.
MRS. B:
To that one? No, ma'am. I know his kind. Just don't pay to cross them. Sullen ones like him bear watching.
ANNE:
Maybe he's just got things on his mind. Maybe he's worried or something.
MRS. B:
(VINDICATED) A-ha! You've noticed it, too.
ANNE:
I haven't noticed anything. I just said--
MRS. B:
I know. You just said maybe he's got things on his mind. Maybe he's worried about something, you said. Well now, I'd just ponder that, if I were you. Because what's worrying him might just ought to be worrying us.
MUSIC:
TRANSITION
SOUND:
THUNDER CLAP ... RUNNING AUTO INTERIOR ... THEN IN BG
MRS. B:
(NERVOUS) Must you drive so fast, Mr. Russell?
PETE:
What?
MRS. B:
I say, must you drive so fast?
PETE:
We're only doing sixty, Mrs. Botkin.
MRS. B:
Well, that's fast enough in this rain.
ANNE:
(INGRATIATING) I think the car rides good at sixty. Don't you, Pete?
PETE:
Yeah. Say, you folks mind if we drive a little while after dark?
MRS. B:
In this weather? What's the big hurry?
ANNE:
I don't mind at all.
PETE:
The more ground we cover, the sooner we'll get out of it.
MUSIC:
TRANSITION ... THEN BEHIND ANNE--
ANNE:
(NARRATES) And we covered Indiana, and Illinois, and part of Missouri that day. (EXHALES) The rain was gone and in its place was wind and sleet. Mrs. Botkin didn't have much more to say and neither did Pete. You could feel the tension. And suddenly the trip was no longer relaxing. And I no longer felt safe.
SOUND:
DINER BACKGROUND ... DISHES, UTENSILS, ET CETERA
MRS. B:
And I'll bet you anything in the world he does it again tonight.
ANNE:
Are you sure? I mean-- Well, how do you know he slept in the car last night?
MRS. B:
Well, to tell you the truth, at first it was just a feeling I had. A - a hunch, you might say. Strong as anything, I had this feeling. Well, sir. Mind, when I went in to pay the motel bill this morning?
ANNE:
Uh-huh?
MRS. B:
Casual -- like I was asking the time of day -- I said to the manager, "By the way, what room did Mr. Russell occupy last night?" Well, he didn't know right off, and so he checked the registration, and then he looked at me peculiar and said, "There was no Mr. Russell registered here last night."
ANNE:
That's funny. I wonder what--
MRS. B:
You'd think he'd have the price of a room, wouldn't you? Anyone driving a big flashy car like that ought to be able to part with three dollars and a half for a night's sleep.
ANNE:
Oh, but look, Mrs. Botkin. There's nothing really wrong with a man sleeping in his car. It does seem funny, but it isn't against the law or anything like that. And it's really Mr. Russell's own business--
MRS. B:
"Mr. Russell"? If that's his real name.
ANNE:
Oh, now, really--
MRS. B:
You can't deny he don't care to discuss that car he's driving.
ANNE:
No, he - he does seem a little touchy about it.
MRS. B:
Touchy indeed. (CONFIDENTIALLY) That car belongs to Frank Marino. (QUIETLY TRIUMPHANT) There.
ANNE:
(DISBELIEF) Frank Marino? But - but how--?
MRS. B:
I looked on the steering wheel, that's how. Says so plain as day on that doohickey.
ANNE:
The registration slip?
MRS. B:
(YES) Frank Marino. Now, you know what kind of a man he is. And I'll tell you something else. He may be a racketeer or whatever, but he's got plenty of money -- and he is not the kind of a man to run a "share the ride" advertisement in the newspaper.
ANNE:
You think Pete -- er, Mr. Russell -- stole the car?
MRS. B:
I'm not saying. But there must be a reason why he won't talk about it.
SOUND:
DURING ABOVE, DINER DOOR OPENS AND SHUTS ... PETE'S STEPS APPROACH
PETE:
(FRIENDLY) Hi!
MRS. B:
(STARTLED GASP) Oh, my.
ANNE:
(SURPRISED) Oh, Mr. Russell--
PETE:
Began to think I'd lost ya. Knocked on your door over at the motel. Couldn't rouse anyone.
MRS. B:
(SUSPICIOUS) Want something special, did you?
PETE:
Oh, not special. Thought I'd have some coffee. Care if I sit here?
SOUND:
CHAIR SCRAPES AS MRS. B RISES
MRS. B:
(WITH UPTIGHT DISAPPROVAL) Well, I'm sure that's up to Miss Merritt. I was just fixing to leave when you came.
ANNE:
(KINDLY) Please sit down, Mr. Russell. Pete.
PETE:
(EXHALES) Thanks.
SOUND:
CHAIR SCRAPES AS PETE SITS ... MRS. B DROPS COINS ON TABLE
MRS. B:
Well-- Now, that should take care of my part. (POINTEDLY) Well, I'm going to bed.
PETE:
Good night.
ANNE:
I won't be long, Mrs. Botkin.
MRS. B:
(MOVING OFF, WITH DISAPPROVAL) That's up to you, my dear.
SOUND:
MRS. B'S STEPS TO DINER DOOR, WHICH OPENS AND CLOSES AS SHE EXITS
PETE:
She's been, uh, bending your ear about me, hasn't she?
ANNE:
Oh, she just talks a lot.
PETE:
Have you noticed there's some people who have to make trouble? They can never let well enough alone.
ANNE:
I guess so.
PETE:
(CAREFULLY) Anne, whatever it was Mrs. Botkin was saying about me, do you believe her?
ANNE:
I - I don't know, Pete.
PETE:
(EXHALES) I hoped you wouldn't say that. I really did.
ANNE:
Well, what can I say? Why won't you talk about the car? And why are we driving night and day like - like the police were after us or something? Now, what do you expect me to think?
SOUND:
CHAIR SCRAPES AS PETE RISES SUDDENLY
PETE:
(SULLENLY) Never mind. Never mind, I'm sorry I asked. See you later, Miss Merritt.
SOUND:
PETE'S STEPS AWAY
MUSIC:
UNEASY TRANSITION ... THEN BEHIND ANNE--
ANNE:
(NARRATES) Mrs. Botkin was asleep when I got to the room -- and I was glad. I was worried and upset, but after I got in bed it was all right, and I slept sound. Maybe too sound. Because when I woke up in the morning, Mrs. Botkin was gone. Bag and baggage, she was gone.
MUSIC:
UP FOR AN UNEASY FIRST ACT CURTAIN
ANNOUNCER:
We'll return to ROMANCE in just a moment.
There's potent drama in the daily routines of the doctors, nurses, and attendants, the drivers, gray ladies, patients, and visitors at every hospital. Their potent drama is summed up for you every Saturday in the daytime on CBS Radio's CITY HOSPITAL. Later today, most of these stations bring you thrilling realistic drama in CITY HOSPITAL.
And now for the second act of ROMANCE.
MUSIC:
FOREBODING SECOND ACT INTRODUCTION
SOUND:
MOTEL DESK CALL BELL RINGS THREE TIMES ... CLERK'S STEPS APPROACH
CLERK:
Yes, ma'am? Help you?
ANNE:
I'm staying in Number Twelve. The lady who was staying with me -- Mrs. Botkin? Have you seen her this morning?
CLERK:
No. Haven't seen a soul. Of course I just came on duty at six. D'you think she could've left earlier than six?
ANNE:
I don't know. You see, I really didn't know she was leaving.
SOUND:
CLERK'S STEPS TO REGISTER BOOK, THEN PAGES FLIPPED IN BOOK BEHIND--
CLERK:
Hmm, well, if she checked out, there'd likely be a record of it. Here we are, in Number Twelve-- (READS) "Miss Anne Merritt, Mrs. Felix Botkin." (BEAT) Nope. Don't mention anyone checkin' out.
ANNE:
What room is Mr. Russell in? Mr. Pete Russell.
SOUND:
PAGES FLIPPED BEHIND--
CLERK:
He, uh, checked in the same time last evenin'?
ANNE:
That's right.
CLERK:
(TO HIMSELF) Russell, Russell-- (BEAT, UP) No one registered by that name. You sure that's the right name?
ANNE:
(DISQUIETED) I - I guess I'm not sure. (TO HERSELF) Of anything.
CLERK:
How's that?
ANNE:
Oh, never mind. Thanks.
SOUND:
WE FOLLOW ANNE'S STEPS THROUGH MOTEL DOOR, WHICH OPENS AND CLOSES, ONTO MOTEL PORCH, THEN ONTO GRAVEL ... AUTO APPROACHES AND PULLS TO A STOP ... CAR DOOR OPENS
PETE:
(FRIENDLY) Hop in!
SOUND:
ANNE'S STEPS TO CAR ... SHE CLIMBS IN, CAR DOOR CLOSES ... ENGINE IDLES, IN BG
PETE:
(LIGHTLY) Think I'd run off without you?
ANNE:
(TENSELY) She's gone. Mrs. Botkin.
PETE:
(CASUALLY) Sure.
ANNE:
She's just disappeared. When I woke up, she was-- (DOUBLE TAKE) Wha--? What do you mean "sure"?
PETE:
(SHRUGS) Oh, I know she's gone, that's all. I took her down the road to the bus station.
ANNE:
But where was she going? She didn't say anything. I didn't know she planned to leave.
PETE:
I guess she decided pretty quick. Said something about a sister in Oklahoma City. She didn't want to take us out of our way. She talked a lot, you know.
ANNE:
(HALF TO HERSELF) I don't understand. I don't know what to think. Everything's so crazy.
PETE:
Oh, she, uh, said to give you this.
SOUND:
RUSTLE OF ENVELOPE AND PAPER MONEY
PETE:
The money's for the room, I guess. Suppose I take it, pay your bill at the desk, and we can get started?
ANNE:
(UNEASY) What? Um, I'll need a little time.
PETE:
Yeah. Well, not too long, huh?
MUSIC:
UNEASY TRANSITION ... THEN BEHIND ANNE--
ANNE:
(NARRATES) He handed me the note. It said, "Decided to visit my sister. Hope you have a nice trip." It didn't make sense. None of it made sense. I went back to the room, but there was nothing I could do. Nothing at all.
SOUND:
RUNNING AUTO INTERIOR ... FILLS A PAUSE, THEN IN BG
PETE:
Well, listen, I think I know why you came with me.
ANNE:
Why?
PETE:
Because you haven't got enough money left to take a bus. That's the only reason why, isn't it?
ANNE:
I - I don't know.
PETE:
Yeah, well, I'll loan you the money. The next stop, I'll loan you the money so you can buy a bus ticket, okay?
ANNE:
No. I mean-- Well, why should you? You don't owe me anything.
PETE:
I just don't want you driving with me if you don't-- Well, if you don't like my company. If I make you nervous.
ANNE:
Oh, no, Pete, honestly. Right now I - I feel relaxed -- for the first time since we left Ohio. Honest.
PETE:
Then why don't you take the old lady's advice, and have a nice trip?
MUSIC:
BEHIND ANNE--
ANNE:
(NARRATES, NERVOUSLY) I wanted to. I wanted to feel safe with him. If I'd met him any other way -- like if someone had introduced us -- I'd think, "Oh, he's an attractive man, this Pete Russell. Kind of quiet and thoughtful, and I could like him a lot." Only nobody introduced us. There wasn't anybody for me to ask, "What's he like? What kind of a boy is he?" There wasn't anybody to ask. Except him.
SOUND:
RUNNING AUTO INTERIOR ... FILLS A PAUSE, THEN IN BG
ANNE:
What are you going to do, when we get to Los Angeles?
PETE:
Look for a job. Think maybe I'd like to live there. Always before, I just sort of passed through, you know. Never stopped or stayed more'n a few days. No, this time if I can get a job, maybe I'll plant my own orange trees. Someday have a grove.
ANNE:
Hmm, that sounds ideal.
PETE:
This is your first trip?
ANNE:
(YES) Mmm, first time west of Albany. I've never been anywhere really. Mostly we just stayed at home.
PETE:
What was it like -- at home?
ANNE:
(BEAT) I ran away.
PETE:
(BEAT) You running away now?
ANNE:
When I was eighteen. You know, I don't think my folks even worried. I don't think they cared.
PETE:
I don't believe that.
ANNE:
It's true. There were eight of us kids. Never enough food for all of us. When I left, it made it easier on the others.
PETE:
(BEAT) You're homesick, aren't you?
ANNE:
Why should I be? There isn't any home now anyway. Not even as much as there used to be. My folks are dead.
PETE:
Still, you're homesick. I can tell.
ANNE:
Homesick is like being lonely, and afraid a little. That's what you mean, isn't it?
PETE:
Nah, it's not having things. It's not havin' a place that's yours, or somebody that belongs to you, or you to them.
ANNE:
(SUSPICIOUS) Are you running away, too, Pete? Is that why you're in such a hurry?
PETE:
(NO) I ran away five years ago.
ANNE:
But are you still running? Are you running from something now?
PETE:
(UPSET) What is it with you? You and the old lady both! Does a guy have to be running just because he doesn't want to tell his life story?! Is that what you think?! What right do you have to ask me that kind of a question? Do you think I'm a fugitive or something?
ANNE:
(SIMPLY) I'm sorry, Pete. It isn't any of my business. You're right.
SOUND:
CRUNCH! AND FLAPPETY-FLAP! OF FLAT TIRE ... CAR SWERVES A LITTLE, THEN SLOWLY ROLLS TO A STOP, IN BG
PETE:
(ANNOYED) Flat tire.
ANNE:
(WORRIED) Do we have to stop here?
PETE:
Where else would we stop?
ANNE:
But there isn't anyone to help. The road's deserted.
SOUND:
AUTO ENGINE SHUT OFF
PETE:
The road's deserted because I took a shortcut, and when the day comes I can't change a flat, I'd better stop drivin' a car.
SOUND:
CAR DOOR OPENS ... PETE AND ANNE CLIMB OUT ... PETE'S STEPS ON GRAVEL TO TOOLS ... A HARSH WIND BLOWS, IN BG
PETE:
Yeah, here -- you hold the flashlight. (NO RESPONSE) Well, are you gonna help or you gonna just sit there?
SOUND:
ANNE'S STEPS TO PETE
ANNE:
(SUDDENLY SCARED) Pete--? Pete, is it really a flat?
PETE:
What?
ANNE:
Is it--? I mean--
PETE:
(EXASPERATED) Hold the light steady and keep quiet. I think I've had about enough of that from you!
SOUND:
CLATTER! OF TOOLS AS PETE GATHERS THEM ... CONTINUES IN BG
ANNE:
This isn't your car, is it? (NO ANSWER) Is it?!
PETE:
No, it isn't.
ANNE:
(ACCUSING) It belongs to Frank Marino.
PETE:
(SNAPPISH) Yes! Yes, it does. Does that make ya happy?
ANNE:
(STARTS TO WEEP)
PETE:
Just hold it steady, will ya?
SOUND:
PETE'S STEPS TO TIRE ... IN BG, HE STARTS TO PRY THE HUBCAP OFF
ANNE:
(TEARFUL) It always happens, doesn't it? I mean, you always get a flat tire out on some isolated road. I guess it never happens when you're on a busy highway, or in town, or near people.
SOUND:
CRASH! AND CLATTER! OF HUBCAP PRIED OFF AND HITTING THE GROUND
ANNE:
(STARTLED) Ooh! What was that?!
PETE:
(EXASPERATED, RAPIDLY) The hubcap. It came off. It was supposed to come off. I was prying it off! What the devil's the matter with you anyway?
ANNE:
(SOBS) I'm scared. I'm scared to death!
PETE:
(WITH RESTRAINT) Okay, okay. If you're scared, get in the car.
ANNE:
(SOBS) I'll be scared there, too.
PETE:
Look--! (A QUIET PLEA, SOOTHING VOICE) Oh, look, I'm sorry, Anne. Now, come on. I gotta finish with the tire.
SOUND:
PETE TAKES A COUPLE OF STEPS TOWARD ANNE
ANNE:
(SOBS, PANICKED) Don't come near me! Please! Don't touch me!
PETE:
Anne, listen to me--
ANNE:
(SOBS, EXPLODES) Will you take me to a bus, please?! Will you?! Any bus! Please! Please, I wanna go on the bus!
PETE:
Okay! Okay, just as soon as I get this tire changed.
SOUND:
CLATTER OF TOOLS RESUMES
MUSIC:
TRANSITION
SOUND:
AUTO BRAKES TO A STOP, ENGINE OUT ... ANNE AND PETE ARE NO LONGER EMOTIONAL
ANNE:
What are you stopping for now?
PETE:
I need a cup of coffee. And I'll find out about your bus.
SOUND:
CAR DOOR OPENS ... PETE CLIMBS OUT, STEPS ON GRAVEL
PETE:
(OFF) You coming?
ANNE:
I - I guess so.
SOUND:
ANNE CLIMBS OUT OF CAR ... CAR DOOR CLOSES ... WE FOLLOW THEIR STEPS ON GRAVEL ONTO DINER PORCH, THROUGH DINER DOOR, WHICH OPENS AND CLOSES ... THEIR STEPS IN
WAITER:
(SLIGHTLY OFF) Oh, we're just servin' at the counter at this hour.
SOUND:
THEIR STEPS TO COUNTER
WAITER:
(CLOSER) No dinners left. Got eggs, bacon--
PETE:
Coffee, black.
ANNE:
For me, too.
WAITER:
Oh.
SOUND:
WAITER'S STEPS AWAY ... STOOLS SCRAPE AS ANNE AND PETE SIT ... ANNE RUMMAGES IN HER PURSE, IN BG--
ANNE:
Well, I bet I look a fright. I haven't put any lipstick on for hours.
PETE:
You look okay. (BEAT) Well, you lose your lipstick?
ANNE:
I'm looking for my coin purse.
PETE:
I'll pay for it.
ANNE:
I'll pay for my own.
PETE:
Okay, have it your way.
SOUND:
RUMMAGING STOPS ... STOOL SCRAPES AS PETE RISES ... HIS STEPS OFF
PETE:
(OFF) Here's a paper. Ought to give the bus schedule.
SOUND:
RUSTLE OF NEWSPAPER PICKED UP, OFF ... PETE'S STEPS RETURN
PETE:
(APPROACHES) Here, look it up.
SOUND:
NEWSPAPER RUSTLES BRIEFLY AS PETE DROPS IT IN FRONT OF ANNE
PETE:
(GENIALLY ANNOYED) I tried to be honest with you, but it didn't work. You've got your mind made up to be scared, so go ahead and be scared. At least I tried. Someday I hope you'll remember that.
ANNE:
Pete! Wait!
PETE:
Now what?
ANNE:
Frank Marino is dead.
PETE:
What?
ANNE:
Look. (SOUND: PAPER RUSTLES) Front page of the paper. It says, "Frank Marino was found dead in his stateroom aboard the S. S. Monarch last night. The ship's doctor said Mr. Marino, who was bound for Europe, died of a heart attack." (NO RESPONSE) Well, doesn't it mean anything to you? (SOUND: PAPER RUSTLES)
PETE:
Sure, it means something to me. That's his car out there.
ANNE:
Does - does that mean he won't find out?
PETE:
Find out what?
ANNE:
About his car.
PETE:
What about his car?
ANNE:
(EXHALES) Does it mean he won't find out you stole it?
PETE:
(STUNNED) Stole--? Stole it? (QUICKLY, FIRMLY) Look-- Listen, I'm being paid for driving Mr. Marino's car to Los Angeles. His chauffeur put an ad in the paper and I answered it. He wanted to spend Christmas back east with his family, but Mr. Marino wanted his car in Los Angeles, so the chauffeur hired me to drive it to L.A. for him.
ANNE:
(INCREDULOUS) Is that true? Honestly?
PETE:
Call the police if you want. Ask them if it's a stolen car.
ANNE:
(RELIEVED, SLIGHTLY ANNOYED) Couldn't you have said that about two thousand miles ago? I mean, the way you acted about that car--
PETE:
(INTERRUPTS, ANNOYED) What about the way you've acted ever since we started? Like I was a - a criminal or something! (MORE CALM, SYMPATHETIC) Listen, I understand you now. I didn't before. It's not me you're afraid of, or the car, or anything else. You're afraid to face yourself. This trip, pulling up roots, taking off for a strange place-- You blamed me for all your own fears.
ANNE:
(CHUCKLES) I guess you're right. I did blame you.
PETE:
Look, I didn't know how Marino would feel if he knew I took passengers in his car. He was paying my expenses. Only I really needed the money, so-- (CHUCKLES) I don't know what I'm telling you all this for. You're probably worrying about the next bus.
ANNE:
(MAKES A DECISION) Do you mind--? I mean-- If I don't take the bus?
PETE:
(BEAT, SURPRISED) Ride with me?
ANNE:
If you don't mind. I'd really like to.
PETE:
(DRY) Why? So you can dream up something else to be scared of?
ANNE:
I'm telling you I'm sorry. Let me apologize -- please.
PETE:
(LIGHTLY) You think you could stand my company for another couple of days?
ANNE:
(AFFECTIONATELY) I think I could stand your company for a long time.
PETE:
Okay. (WARMLY) Okay, we'll try it again.
ANNE:
(SIMPLY) And, Pete, listen-- I'm not scared any more.
MUSIC:
CURTAIN
ANNOUNCER:
ROMANCE is produced and directed by William Froug. "One-Way Trip" was written by Kathleen Hite and starred Barbara Whiting as Anne and Richard Crenna as Pete. Helen Kleeb was Mrs. Botkin and Don Diamond was the clerk. Music is supervised by Jerry Goldsmith. This is Dan Cubberly inviting you to hear ROMANCE transcribed next week at this same time.
MUSIC:
THEME ... THEN IN BG, UNTIL END
ANNOUNCER:
The lighting of the White House Christmas tree will be a special feature on CBS Radio tomorrow when our program called ON A SUNDAY AFTERNOON comes this way on most of these same stations. Songs by Bing Crosby, an interview with Howard Keel, and Carmen McRae, in person as special guest star, will be among the other features of ON A SUNDAY AFTERNOON when it follows the regular broadcast of the Philharmonic Symphony. Stay tuned now for GUNSMOKE, which follows immediately over most of these same stations.