HOST:

This is Cicely Tyson.

MUSIC:

WISTFUL, WITH PIANO, UNDER

HOST:

Everywhere in this house is the evidence of a life shared. The Norths have lived here for nearly ten years. They moved in as newlyweds. In the beginning, it was a struggle for them, scraping together a down-payment, the monthly mortgage instalments looming large. But it was what they wanted.

From their first dinner--hamburgers and champagne, in front of their fireplace--they were certain they had done the right thing. And that it was what they would always want.

Today, as Abby North moves restlessly through the rooms, she takes no notice of the many photographs that line the walls...pictures of herself and her husband that chronicle their time together. She doesn't see the likenesses of the two people who are sometimes smiling and sometimes not, but are always touching, and always together. She stops beside the desk, where her letter lies. She reads what she has spent so long writing. It is pitifully short...inadequate, and incomplete.

MUSIC:

FAST FADE OUT

ABBY:

(READING) Dearest... I hope you understand. I feel the walls closing in on me. I just can't take it any longer. It's as if I'm drowning. Please don't blame yourself. And, please, try not to blame me. It's not a matter of blame or fault; I simply have to go; I can't stay here. I don't know what would happen if I tried to stay, but I feel that I might explode, and there'd be no collecting the pieces. I know I'll be back. I can't imagine life without you. When I return, I hope that I'll find you here. Right now, I must go somewhere. To look for myself. Love... Abby.

MUSIC:

WISTFUL FLUTE, UNDER

HOST:

She stares for a long while at the letter. Finally, she folds it, writes his name upon it, and props it on the mantel of the fireplace. Then, she finishes her packing, and walks out the door.

MUSIC:

OUT QUICK WITH:

SFX:

FRONT DOOR CLOSES

HOST:

The finality of a closing door. Abby North's departure could mean the end of nearly a decade of marriage. But every ending holds a beginning too. And this is only the beginning of our story.

MUSIC:

"RADIO THEATRE" THEME, ESTABLISH THEN UNDER

ANNCR:

"Mutual Radio Theatre", a new adventure in radio listening. Five nights of exceptional entertainment, every week. Brought to you in Elliott Lewis' production of the "Mutual Radio Theatre". Our story: "Interlude", by Pamela Russell. Our stars: Mary Jane Croft and Elliott Lewis.

MUSIC:

OUT

MUSIC:

WISTFUL, YET MOVING FORWARD, UNDER

SFX:

UNDER, STARTING AT [X], CAR HORN TOOTING ... DOPPLER EFFECT, AS CAR PASSES

HOST:

Abby North is nearing her destination. She accelerates, and passes a large, [X] loud truck on the highway. Glancing into the rear-view mirror, Abby sees not the receding diesel, but instead, catches an accidental and unprepared glimpse of her own face.

All the long drive, she has been thinking of what she has left behind: her husband and her home. Now that she is within miles of the winter-deserted seaside resort that she has chosen as a refuge, her thoughts shift like gears, and she begins to wonder what awaits her. What lies ahead, and not behind her... She snaps on the radio...

MUSIC:

FAST FADE OUT

DJ:

(ON RADIO) This is Harv Harvey, KTNS Matola Bend. And now, the perfect sound for this grey Wednesday...a rush from the past. Ten years ago, count 'em, ten years since you danced to this one... "Interlude". If you please.

MUSIC:

WISTFUL, STRINGS AND PIANO, ESTABLISH, THEN UNDER

ABBY:

Oh, Harv Harvey. You did have to pick that today. And at the moment I turned it on. You're right. It has been ten years since I danced to it. I wonder how many other women are remembering the same things I am. They're standing at playpens or kitchen sinks. They're home... I'm on the road. And remembering. I wonder whose memories are sweeter, theirs or mine. What is it, I wonder. What is it that brings two people together? What attracts them? What holds them? And...what drives them apart? (PAUSE) "Interlude". Hm. (SIGHS) If it could only stay an interlude, and not become boring...familiar routine... deadly habit. If it could only always retain that touch of mystery and excitement. If it could only remain...a kind of constant interlude. If only it could...

MUSIC:

LOUDER, THEN FADES OUT

SFX:

"EMPTY HOTEL LOBBY" AMBIENCE, UNDER

SFX:

SHE ENTERS HOTEL LOBBY, AND WALKS TO FRONT DESK

ABBY:

Hello. I'm Abby North. I called this morning, to reserve a room.

MANAGER:

Yes, Mrs. North. Welcome to the Moorlands. If you'll just sign the register?

ABBY:

Certainly. It's really quiet here.

MANAGER:

Oh, this is the off-season. Most people prefer the beach in summer. They find it rather depressing in winter. Most people do. That's been my experience.

ABBY:

(CHUCKLING) Yes, all that grey ocean. Overwhelming, I suppose. I was here once in July. It's very different now. But still, it's so beautiful. Oh, I have only the one bag.

MANAGER:

(LOOKING IT UP) You'll be in the Admiral Farrowgate. It's one of our loveliest rooms. No two rooms are the same, here at the Moorlands.

ABBY:

Yes, I remember.

SFX:

TWO DINGS OF DESK-BELL

MANAGER:

Have a pleasant stay, Mrs. North. If there's anything that we can do for you, please don't hesitate to ask.

ABBY:

Thank you very much.

MUSIC:

SHORT TRANSITIONAL, CONTINUING UNDER

SFX:

ABBY WALKS TO FRONT DESK

MANAGER:

All settled in, Mrs. North?

ABBY:

Yes.

MANAGER:

And, uh, is the room satisfactory?

MUSIC:

FAST FADE OUT

ABBY:

Oh, more than that! It's not often you find fresh flowers in hotel rooms any more. And no television. But the view is really too tempting.

MANAGER:

I...don't understand.

ABBY:

I couldn't just sit and look out the window. I thought I'd go for a walk on the beach.

MANAGER:

Well. Have a nice walk, Mrs. North, but...do be careful. The tide sometimes comes in very quickly.

ABBY:

Yes, I will.

SFX:

SHE WALKS TO DECK DOOR ... OPENS IT ... WALKS OUT ... CLOSES IT

SFX:

TWO DINGS ON DESK-BELL ... BELLHOP STEPS IN

BELLHOP:

More guests?

SFX:

BELLHOP WALKS TO FRONT DESK

BELLHOP:

Uh, where are they?

MANAGER:

(GRIMLY) No. No, I want you to do something for me.

BELLHOP:

Yeah?

MANAGER:

(QUIETLY URGENT) The woman you just took up to the Farrowgate Room?

BELLHOP:

Uh-huh?

MANAGER:

She's gone for a walk on the beach. I want you to keep an eye on her. From a discrete distance. You understand?

BELLHOP:

No, not really.

MANAGER:

I don't like the looks of it. When you've been in the hotel business as long as I have, you develop a kind of sixth sense for these things.

BELLHOP:

What things?

MANAGER:

Don't let her see you. But don't let her take a stroll into the surf either. It's bad for business. And business is bad enough.

BELLHOP:

Y-- you mean you think that she mi--?

MANAGER:

It's been my experience that a little attention, given at the right time, can often prevent a tragedy.

BELLHOP:

Anything you say. But she looked okay to me. Should I go now?

MANAGER:

Yes. And don't let her see you. Try to practise a little...finesse. Difficult as that may be for you to do.

BELLHOP:

(SALUTING) You got it.

MANAGER:

I'm certain that I do.

MUSIC:

ONE OMINOUS CHORD TRANSITIONAL

SFX:

SEASIDE AMBIENCE (SEAGULLS, WAVES), UNDER

MUSIC:

WISTFUL FLUTE, UNDER

SFX:

A MAN JOGS UP TO ABBY

KENNETH:

(SLIGHTLY SHORT OF BREATH) Phew! Hi there!

ABBY:

Hello!

KENNETH:

Mind if I walk with you?

ABBY:

Won't you be covering old ground? I mean, I'm going the way you've just come from.

KENNETH:

I don't mind, if you don't.

ABBY:

Well. It's a public beach, isn't it?

KENNETH:

You staying at the Moorlands?

ABBY:

Yes.

KENNETH:

Great hotel.

ABBY:

Yes, it is.

KENNETH:

(SIGHS HAPPILY) Ah, I feel terrific! Great run! You jog?

ABBY:

No.

KENNETH:

I just did nearly three miles! I found the greatest little cove. You should see it! Would ya like to?

ABBY:

Oh, I don't...know if I feel like walking all that way.

KENNETH:

Oh, it's not that far. You gotta get in shape. Not the athletic type, are you?

ABBY:

Tennis is my game.

KENNETH:

I play tennis. Great game!

ABBY:

Yes, you look like a tennis-player.

KENNETH:

But skiiing is my true passion.

ABBY:

Snow-skiing?

KENNETH:

Yeah! You ski?

ABBY:

Yes, I do.

KENNETH:

Ah, skiing is great!

ABBY:

You use that word a lot.

KENNETH:

Great?

ABBY:

Mm.

KENNETH:

Well, it's the way I feel, you know? Boy, things must really be slow at the Moorlands.

ABBY:

Why do you say that?

KENNETH:

Well, they're letting their bellhop go for afternoon walks on the beach. Look. Behind us.

ABBY:

Well, that's strange. It's almost as if he were following us. (BEAT) He's turning back. Now that he knows we've seen him. Isn't that odd.

KENNETH:

Yeah, well, he probably didn't have anything else to do.

ABBY:

Hmm... But still... Hm.

KENNETH:

Must be tough. Being a woman, travelling alone.

ABBY:

What makes you think I'm travelling alone?

KENNETH:

Well, I just thought-- I mean, I assumed that you were.

ABBY:

I am.

KENNETH:

Well, since that's the case, will you have dinner with me tonight?

ABBY:

No, I won't. I'm a little...rusty at this. You're right, it is tough being a woman and being alone.

KENNETH:

I said, "travelling alone".

ABBY:

Same difference.

KENNETH:

Is it?

ABBY:

(BEAT) Well, this is where I turn back. Being the athlete you are, I'm sure you'll want to go on for miles and miles. So, goodbye.

KENNETH:

Yeah? You'll be sorry you didn't see that cove. Goodbye, lonely lady.

ABBY:

I'm not lonely. I'm only alone.

KENNETH:

Same difference.

ABBY:

Is it?

KENNETH:

Maybe we'll run into each other again, some time.

ABBY:

Hmm. That would be really (IRONIC) great.

MUSIC:

CURTAIN

MUSIC:

CURTAIN (STRINGS AND GUITAR), CONTINUING UNDER

HOST:

Abby is not used to dining alone. She's not even used to entering rooms alone. She's been half of a couple for so many years, that she's almost forgotten what it's like to be alone. When she arrives in the dining room, it's all but deserted. There's only one other diner. He turns, and waves to her. It's the man from the beach. She's seated at the table next to him.

KENNETH:

Hello again!

ABBY:

(SURPRISED) Hello! Why didn't you say you were staying here?

KENNETH:

You didn't ask me.

MUSIC:

FADES OUT, UNDER

ABBY:

That's true; I didn't. But then, you were asking most of the questions.

KENNETH:

But you weren't giving many answers. My name's Kenneth.

ABBY:

Kenneth? I'm Abby. You knew we'd be having dinner together tonight, whether I said Yes or No, this afternoon.

KENNETH:

We could'a been going elsewhere.

ABBY:

Not likely, though.

KENNETH:

I confess, I was pretty sure you'd be here.

ABBY:

You strike me as pretty sure of most things. Yourself, most of all.

KENNETH:

Maybe. Besides, we're not really together, are we? Separate tables? Don't you think it's awfully silly?

ABBY:

What's awfully silly?

KENNETH:

My not joining you. And don't say it's a public dining room.

ABBY:

It is, you know. (BEAT) But please join me, Kenneth.

KENNETH:

Thank you, Abby.

SFX:

SCRAPE OF CHAIR, AS HE STANDS UP

KENNETH:

Thought you'd never ask.

SFX:

WALKS TO HER TABLE, UNDER

ABBY:

(LAUGHING) I didn't either.

SFX:

SCRAPE OF CHAIR, AS HE SITS DOWN

KENNETH:

So...Abby. Why the Moorlands in winter?

ABBY:

And why alone? That was to be your next question, right?

KENNETH:

You're excellent at anticipating and evading.

ABBY:

I don't mean to be evasive.

KENNETH:

No?

ABBY:

It's just difficult to answer as many questions as you ask.

KENNETH:

Well, asking questions is the only way that I've found to get answers.

ABBY:

And are answers so important to you?

KENNETH:

Yes. So, why the Moorlands in winter, Abby?

ABBY:

Ooh, I admire tenacity.

KENNETH:

(CHUCKLES) Well. Reward it, then, with an answer.

ABBY:

(DEEP BREATH) I was here once, in the summer, with someone. It was a very happy time. I have fond memories of this place.

KENNETH:

But, then, why come back in November, and alone?

ABBY:

I'm not sure I know. (PAUSE) I think, maybe, I've come to test my memories. And myself.

SFX:

WAITER APPROACHES THEIR TABLE

WAITER:

Good evening. A cocktail before dinner?

KENNETH:

Abby?

ABBY:

Uh, no, thank you.

KENNETH:

Would you like some wine? Some Cabernet Sauvignon?

ABBY:

Oh, that sounds wonderful!

KENNETH:

A bottle, please. We'll order dinner later.

WAITER:

Very good, Sir.

SFX:

HE WALKS AWAY

ABBY:

And now... I'll turn your question on you. Why are you here, Kenneth?

KENNETH:

I have as many reasons as there are people in this room.

ABBY:

(CHUCKLING) But we're the only ones here.

KENNETH:

(CHUCKLING) Well, maybe you and I are the reasons, then.

ABBY:

And you accuse me of evasion!

KENNETH:

Did I?

ABBY:

You did. Well, I guess it takes one evader to know one.

KENNETH:

(DEEP BREATH) I've been here before too. And, like you, in the summer, and with someone. I remember it as fondly as you do.

ABBY:

Do you always get what you want?

KENNETH:

What d'you mean?

ABBY:

I mean, that I had absolutely no intention of having dinner with you tonight, and somehow, here we are together.

KENNETH:

No, I don't always get what I want. But I'm very glad I did tonight.

ABBY:

(SMILING) So am I. Strangely enough. You're very different tonight, than you were this afternoon. You haven't said, "Great!" once.

KENNETH:

Oh, well, listen, I'm sorry about this afternoon on the beach. I pushed too hard, too fast.

ABBY:

Why did you?

KENNETH:

I don't know. It's not like me to act that way. I'm not much of a pusher.

ABBY:

Well... I don't imagine you have to push very much. I would think that you get things rather easily.

KENNETH:

Well, I guess I do. Easier than most, anyway. That was a mean crack you made about me being an athlete.

ABBY:

(CHUCKLING) I'm sorry now, I said it. But I wasn't, then. You pushed me, and I pushed away.

KENNETH:

Yeah, I-- I wasn't beating my chest and proclaiming my physical prowess on the ski slopes and the tennis court.

ABBY:

What were you doing?

KENNETH:

I was trying to make conversation.

ABBY:

Why?

KENNETH:

Why, what?

ABBY:

Why did you want to talk with me?

KENNETH:

Well, you're a very attractive woman. And you seemed...

ABBY:

What?

KENNETH:

(BEAT) As if you wanted to talk.

ABBY:

Ah. That isn't what you were gonna say, Kenneth.

KENNETH:

Hm. I was going to say, you seemed...lonely.

ABBY:

Alone. Remember?

KENNETH:

I knew that would make you angry all over again.

SFX:

WAITER APPROACHES

WAITER:

Would you like to taste the wine now, Sir?

SFX:

PUTS ICE BUCKET ON TABLE ... ADJUSTS BOTTLE IN IT

KENNETH:

Uh, let's give it a little time to breathe.

WAITER:

Yes, Sir.

SFX:

HE WALKS AWAY

KENNETH:

Are you angry, Abby?

ABBY:

(EXHALES) Give me a little time to breathe too. Will you?

KENNETH:

You're a very unusual woman.

ABBY:

What makes you say that?

KENNETH:

Well, most women would have heard me only up to the point where I said they were very attractive.

ABBY:

(CHUCKLES) You think so? Well, you'd be in the position to know. I'm sure you've said it often enough.

KENNETH:

Only when it was true.

SFX:

TAKES WINE OUT OF ICE BUCKET

KENNETH:

Now, let me taste this wine, and see if it's drinkable.

SFX:

POURS SOME INTO A GLASS

KENNETH:

And then we'll have some. Maybe even...too much.

SFX:

PUTS BOTTLE DOWN

ABBY:

I have no intention of drinking too much wine.

KENNETH:

Do you always do what you intend to do, Abby?

ABBY:

Yes. I try.

KENNETH:

Like, not having dinner with me?

ABBY:

I said, I tried. I didn't say I never slipped.

KENNETH:

Is that what you think tonight is? Some kind of transgression? A slip? A sin? (BEAT) You know, Abby, you can drown in good intentions.

ABBY:

Yes. I know about drowning.

KENNETH:

I think you do.

ABBY:

Takes one to know one. (PAUSE) I'm married, Kenneth.

KENNETH:

(BEAT) So am I.

SFX:

TAKES BOTTLE OUT OF ICE BUCKET

KENNETH:

Let's have some wine, Abby.

SFX:

GETS GLASSES ... POURS WINE INTO THEM

MUSIC:

CURTAIN

MUSIC:

CURTAIN UP, ESTABLISH, THEN UNDER

HOST:

The wine bottle stands empty in its silver bucket. Only white china demitasses and wide bowl-like glasses, touched at the bottom with brandy, remain on the table. Abby and Kenneth talk on and on, two familiar strangers, telling secrets and making confessions to one another. Putting words to long silences, and sharing them.

ABBY:

I never expected this to happen.

MUSIC:

FADES OUT

KENNETH:

What's happened?

ABBY:

It's been so long since I've talked with anyone like this.

KENNETH:

Not even with your husband?

ABBY:

(SIMPLY) No. Not recently.

KENNETH:

Is that why you ran away from him?

ABBY:

I didn't run away from him. I love him very much.

KENNETH:

Well, what are you running from?

ABBY:

(THINKS A MOMENT) I needed to get away from...my life, for a while.

KENNETH:

Don't you like your life, Abby?

ABBY:

I do. It's everything I've ever wanted. But lately, I've found myself wanting to want...something new. D'you understand? Does that make any sense at all?

KENNETH:

It does.

ABBY:

I felt I needed to be someone else. Maybe who I was ten years ago, or maybe who I'll be ten years from now. Maybe someone entirely different.

KENNETH:

Who were you, ten years ago, Abby?

ABBY:

Let's see... Ten years ago, I was single. I was younger. I think I was braver. More willing to... blindly jump in, you know? I guess, ten years ago, I still believed I was immortal. I didn't think, then, that I'd ever get old, or sick, or even tired. Never used to get tired. I could go on endlessly, it seemed...

KENNETH:

But not any more? You feel mortal now?

ABBY:

Not only mortal--worse than that. The other day, I was playing tennis with a friend. We had an unusually long rally, and I... I almost fainted. My heart started to pound; I couldn't get my breath. I tried to pass it off by saying I had a touch of the flu, but it wasn't true. I was-- It scared me. Suddenly, I felt old.

KENNETH:

You didn't say anything to your husband, I'll bet.

ABBY:

No, I didn't.

KENNETH:

Why?

ABBY:

I didn't want him to worry.

KENNETH:

Maybe you didn't want him to know that you felt old.

ABBY:

(TINY CHUCKLE) Huh. I guess I always wanted to be perfect for him. Ageless. Eternally young and beautiful.

KENNETH:

And I'm sure you always will be to him. But, Abby (CHUCKLING) nobody's perfect.

ABBY:

My husband is.

KENNETH:

I'm telling you, nobody is. Don't you think he's afraid of getting old, too? Don't you think it kills him when he runs up a flight of stairs, taking them one at a time, instead of two like he used to do? It happens to all of us.

ABBY:

You too?

KENNETH:

Me too.

SFX:

WAITER APPROACHES QUICKLY

WAITER:

Will there be anything else, Sir?

KENNETH:

Oh! No. Thank you. Just the check.

WAITER:

Yes, Sir.

SFX:

QUICKLY WALKS AWAY

ABBY:

(WHISPERS) Oh, I'll bet that waiter's cursing us! He probably would have had the night off, if it wasn't for us. We've kept him here for so long! What time is it, anyway?

KENNETH:

(CHECKING WATCH) Uh... twelve-twenty.

ABBY:

It can't be! That means we've been here for (THINKS) over four hours! It can't be after twelve.

KENNETH:

But it is.

ABBY:

Oh! I better go.

KENNETH:

I'll see you up.

ABBY:

No, that's not necessary, Kenneth.

KENNETH:

Are you afraid?

ABBY:

Of what?

KENNETH:

Of me.

ABBY:

No. It's just that I'm perfectly capable of finding my own way to my own room. And I'd like to pay for my own dinner.

SFX:

WAITER APPROACHES, UNDER

KENNETH:

Now, don't be ridiculous.

WAITER:

Here you are, Sir.

SFX:

PUTS CHECK ON TABLE ... KENNETH PICKS IT UP

KENNETH:

Oh. Thank you.

SFX:

WAITER WALKS AWAY, UNDER

KENNETH:

I asked you to dinner.

ABBY:

And I refused, remember? This was a chance encounter--

KENNETH:

Not really. Don't reach for your purse, Abby, unless you need your lipstick. And I'm buying dinner, and that's the end of the discussion.

ABBY:

Tell me something... Do you feel more in control, because you're signing the check?

KENNETH:

Not especially. Do you feel less in control, because I'm signing the check?

ABBY:

No.

KENNETH:

What room are you in, Abby?

ABBY:

The Farrowgate.

KENNETH:

What...a coincidence! I'm in the Lord Nelson, next door to you.

ABBY:

(IRONIC) Hm. Must be kismet.

KENNETH:

(CHUCKLING) I seem to have a talent for making you angry.

ABBY:

What you have a talent for, is arranging to have things your own way. You always--

KENNETH:

I always what?

ABBY:

Nothing.

KENNETH:

I always, what, Abby?

ABBY:

The whole evening's been your way.

KENNETH:

Why, I thought you were enjoying it too.

ABBY:

I was. And that's exactly what you wanted. You wanted to have dinner; we had dinner. You wanted to pay for dinner; so, you're paying. You wanted to see me up to my room... What's next? When we get there, are you going to say to me, "Isn't it silly having rooms right next to each other? Why don't you join me in mine?"

KENNETH:

All right, if you want things your way, Abby, I'll join you in your room.

ABBY:

(LAUGHING) Oh, you're unbelievable!

KENNETH:

(SMILING) Well, I'm glad I could make you laugh. You take things much too seriously, Abby. And you have such a wonderful laugh. Don't be so serious.

ABBY:

(FRUSTRATED) Ah! I can't help it. It's my nature.

KENNETH:

Forget your nature, who you think you are! Didn't you say you needed to be someone else for a while?

ABBY:

I did say that. But it's easier said than done.

KENNETH:

Let's go, Abby.

ABBY:

All right.

SFX:

SCRAPE OF CHAIRS, AS THEY STAND UP

ABBY:

Um... Was it Farrowgate who said, "Damn the torpedoes! Full speed ahead"?

KENNETH:

Could have been. Might have been Perrey. I'm not much of a history buff.

ABBY:

No, I wouldn't think so. You don't seem very concerned with the past.

KENNETH:

Or the future. I wanna live totally in the present.

ABBY:

For the moment.

KENNETH:

Right!

ABBY:

No guilt, no regrets, no recriminations...

KENNETH:

Right again.

ABBY:

No life insurance?

KENNETH:

Only a small policy.

ABBY:

Hmm. May I tell you something?

KENNETH:

Sure.

ABBY:

That's the philosophy of a three-year-old.

KENNETH:

Well, there's a lot to be said for being three. Very few three-year-old neurotics.

ABBY:

But you're a grown man, and you're carrying around an infantile view of life. Which, incidentally, I don't think you really believe.

KENNETH:

Well, you're entitled to your opinion. Why do you think I'm here, Abby? Did it ever occur to you that I might need to be someone else for a little while too? Someone not so solid, not so responsible? Maybe it is a child, but I think a child lives inside all of us. That child is a part of who we really are. I see the child within you, when you laugh, Abby.

ABBY:

(SOFTLY) And who are you, really, Kenneth, right now? I want to know.

KENNETH:

(PAUSE) Maybe I can tell you... Maybe you're the only one I can tell. Let's go upstairs.

MUSIC:

CHILDLIKE DISCORDANT PIANO TRANSITIONAL

SFX:

TWO DINGS OF DESK-BELL

SFX:

EMPTY "HOTEL LOBBY" AMBIENCE, UNDER

BELLHOP:

Somebody checkin' out?

MANAGER:

No, there's someone checking in. They'll be arriving in an hour or so. I want you to be waiting for them. It's a group of ornithologists.

BELLHOP:

Doctors?

MANAGER:

Bird-watchers.

BELLHOP:

Oh. Say, that guy in Nelson and the lady in Farrowgate are sure gettin' friendly.

MANAGER:

It is policy in this hotel that employees do not discuss guests, except when absolutely necessary in the performance of duty. Is this necessary?

BELLHOP:

No, I guess not. But they asked me to take their picture, the other day. Now, go figure that. You wouldn't think a pair like that would want their picture taken together. I mean, the wrong party might come across it, ya know? Ya get my drift?

MANAGER:

I do. It's hardly a drift. More a hurricane. And it's not our affair.

BELLHOP:

No, it's theirs. You sure had her pegged wrong. She ain't takin' no walks into the ocean. Not on a bet!

MANAGER:

Our ornithologists will be here soon. Are you ready for them?

BELLHOP:

I guess. What would a bunch o' bird-watchers want anyway?

MANAGER:

A bunch of birds.

SFX:

OUT

MUSIC:

RELAXING, WITH A FEW BIRD CHIRPS

SFX:

"SEASIDE" AMBIENCE, UNDER ... ABBY AND ROBERT RUNNING ON SAND

MUSIC:

FADE OUT

ABBY:

(SLIGHTLY WINDED) Ah! I can't run another step!

KENNETH:

(ENCOURAGING) C'mon, Abby! We're almost there!

ABBY:

(LAUGHING) Where?

KENNETH:

You'll see. Come on!

SFX:

THEY RUN A FEW MORE STEPS, THEN STOP

KENNETH:

(A BIT WINDED) There! This is it.

ABBY:

Oh! Oh, it's beautiful!

KENNETH:

You can only get to this cove at low-tide, unless you swim. This is the place I wanted you to see, the first day.

ABBY:

Oh! It really is wonderful!

KENNETH:

Sit down, Abby. We only have a few minutes.

ABBY:

(SITS ON A ROCK) Yes.

KENNETH:

We'll have to head back before the tide comes in. Or, we could swim.

ABBY:

You could swim.

KENNETH:

(CATCHES HIS BREATH, SITS BESIDE HER) Abby... These last few days have been... I can't describe them, what they've meant to me.

ABBY:

I know. I feel the same way. Better not try and capture it with words.

KENNETH:

And...now, it's time to go.

ABBY:

Yeah... The tide is coming in.

KENNETH:

Yes, the tide...and reality.

ABBY:

Hm.

KENNETH:

I had a phone call this morning.

ABBY:

Hm. Funny. I made a phone call this morning. So... We both go back to our real lives.

KENNETH:

If I could, if there was any way, I'd stay here with you forever.

ABBY:

But you can't. And I can't. And we both knew that from the very beginning.

KENNETH:

That's right. We did, didn't we?

ABBY:

Yes. Kenneth, I want to go home. Our time together has been lovely...but slightly unreal. I needed it. I needed you. And now, I need to leave. I want to go home. I want to be myself again.

KENNETH:

So do I, Abby. Heh. Tide's coming in fast. We better go.

SFX:

THEY STAND UP, ON SAND

ABBY:

(A SUDDEN THOUGHT) Oh, Kenneth? Do something for me?

KENNETH:

What?

ABBY:

Will you go ahead? Go quickly, and be gone by the time I get back to the hotel?

KENNETH:

No, I won't do that, Abby. I'll leave you here, but I won't say goodbye. Not now. Not yet. I'll be waiting in my room for you. We'll say our goodbyes there.

ABBY:

(EXASPERATED EXHALE) Always the way you want it.

KENNETH:

(SMILING) Your room, then.

(THEY BOTH LAUGH SOFTLY)

 

KENNETH:

Abby...

ABBY:

Hm?

KENNETH:

Haven't you realized yet, that we want the same things?

ABBY:

(SOFTLY) Yes. (BEAT) Go on, Kenneth. And wait for me. I'll be there soon.

SFX:

CROSSFADE OUT WITH:

MUSIC:

ROMANTIC CURTAIN (FLUTE & GUITAR)

MUSIC:

SLIGHTLY WISTFUL "MOVING ON" CURTAIN, ESTABLISH, THEN UNDER

HOST:

Cicely Tyson again.

SFX:

"ELEGANT, CROWDED PARTY" AMBIENCE, UNDER

HOST:

It's an elegant gathering. Beautifully dressed women and men threading through the spacious rooms, nodding here and there in conversation. This party is the first time Abby and her husband have gone out since the homecoming from the Moorlands. She watches him cross the room, and tries to listen to what her hostess is saying to her.

MUSIC:

FAST FADE OUT

SHEILA:

Abby, darling, how do you do it?

ABBY:

Do what, Sheila?

SHEILA:

How do you manage to have such a beautiful, blissful marriage? How many years has it been?

ABBY:

Our tenth anniversary will be in three months.

SHEILA:

(EXHALES) Whew! Ten years! Darling, I salute you! I've never been able to maintain any marriage for ten years, much less a happy one.

ABBY:

Sheila, how many times have you been married?

SHEILA:

(EXHALES) Ohhh...let me see. If I take the plunge with Ted--and you know that I will--then he'll be husband number five. Oh, I must remember to consult my numerologist about that.

ABBY:

Five???

SHEILA:

Yes, darling, five.

ABBY:

(CHUCKLING) D'you ever think that marriage might not be for you?

SHEILA:

Certainly not! I was born to be married! And one of these days, I'll find the man I was born to be married to. Maybe it's Ted.

ABBY:

And what if it isn't Ted?

SHEILA:

(SIGHS) Oh...I'll take that chance. And if it's not (AFFECTED) Ted... he'll turn up one day. (AFFECTED CHUCKLE) I'm the eternal optimist.

ABBY:

Yes, so it would seem.

SHEILA:

But, darling, you haven't told me yet. Now, if you're so concerned about me and my myriad marriages, you'll tell me the secret of having a happy one. What is it, Abby?

ABBY:

Well, I don't know that there's any secret to a happy marriage. It's just two people who are willing to work at being together.

SHEILA:

(DISAPPOINTED) Huh.

ABBY:

It's not easy, sharing a life. Sometimes, you want one all for yourself. You don't wanna share. You're tired of sharing. You wanna go off and grab a new life that's all your own. Sometimes, you do just that. Sometimes, you come back to the old shared life. (WISTFUL) And, sometimes, I guess, you don't.

SHEILA:

Abby? Are you all right?

ABBY:

Yes. I'm fine.

SHEILA:

(TO ANOTHER COUPLE) Oh, hel-lo, darlings! Abby, dear, I want you to meet Larry and Sondra Benedict.

ABBY:

Oh, hello.

LARRY:

Nice to meet you, Abby.

SHEILA:

Darlings, there's food somewhere, and the bar's obscured by that crowd of our alcoholic friends, but it's there, I assure you! Aw, do go over and get yourself something!

LARRY:

We'll just do that.

SHEILA:

(LOW, GOSSIPY) Now, there's a couple. The Benedicts.

ABBY:

(SIMPLY) What about them?

SHEILA:

Well, they pride themselves on sixteen years of marriage. Of course, he cheats, and she cheats; I think even the dog cheats.

ABBY:

(CHUCKLES)

SHEILA:

So, I mean, what's the point? It's a sham. I'll take my many nuptials any time. At least they've failed honestly. You know, I'd rather have all my honest failures than the Benedicts' successful lie.

ABBY:

Yeah, I think I know what you mean.

SHEILA:

(SIGHS) Oh, but you're the lucky one, Abby. You have it all! You have an honest success. The real thing! And you still haven't told me how you do it.

ABBY:

I wish I could tell you, Sheila, but marriage is a succession of bargains and deals, made between two people. It's different for every couple. The things their willing to do to remain a couple. The sacrifices, compromises. Marriage is a covenant.

SHEILA:

Hmm. A secret one. You're being very mysterious! There is a secret?

ABBY:

Sheila...there's always a secret.

SHEILA:

(SEES SOMEONE APPROACHING) Oh! Here's the dear boy who can give me an answer!

SFX:

A MAN'S APPROACHING FOOTSTEPS

SHEILA:

I was just telling your wife that she was keeping secrets from me. And maybe you'll tell me, Kenny.

KENNETH:

You know I'll tell you anything, Sheila.

SHEILA:

I want to know the secret of a happy marriage.

KENNETH:

Anything but that.

SHEILA:

Oh, I swear it's a conspiracy!

KENNETH:

I'm sorry, sweetie, but I can't tell you what I don't know.

SHEILA:

Well, then, make something up. Show a little imagination. I'm on the brink of my fifth marriage! I'm facing the abyss!

KENNETH:

Well, I think maybe you oughtta tell me your secret, (CHUCKLING) Sheila. You've had more experience with marriage than I have.

SHEILA:

(CHUCKLING) Well, the operative word here is "happy", darling. Happy marriage. I'm talking quality, not quantity.

KENNETH:

I don't know what to tell you.

SHEILA:

Well, I want a marriage like yours.

KENNETH:

(SMILING) Find a girl like Abby.

ABBY:

Thank you.

SHEILA:

(IRONIC) Oh, yes. And I thank you too, Kenny darling. You've been an enormous help to me. (SIGHS) Oh, well. (SEES CROWD IS GETTING SMALLER) Are things beginning to thin out a bit?

KENNETH:

I think so.

SHEILA:

Well, I suppose I should go and say goodbye to somebody, or something...

ABBY:

Oh, and you can say goodbye to us, Sheila. We're going.

SHEILA:

Now, you see? That's just what I mean. You're both ready to leave at the same time. No consultation, no argument; you're just out the door together. Now... How did you communicate to one another that you're ready to go?

ABBY:

I just knew, that's all.

KENNETH:

Me too.

SHEILA:

(SIGHS) Oh, all right then, cryptic ones. Call me, Abby, will you? We'll have lunch next week, and I'll grill you some more.

ABBY:

(SMILING) I'll look forward to it.

SHEILA:

(CHUCKLES)

ABBY:

Bye, Sheila.

KENNETH:

Great party, sweetie.

SHEILA:

G'bye, darlings!

SFX:

ABBY AND KENNETH WALK TO DOOR ... OPEN IT ... LEAVE ... CLOSE IT

SFX:

"PARTY" AMBIENCE OUT ... "QUIET NIGHT STREET" AMBIENCE UNDER

SFX:

THEY WALK TOGETHER, UNDER

ABBY:

(EXHALES) Amazing Sheila.

KENNETH:

There's only one like her.

ABBY:

Couldn't possibly be another. You know, her parties are always so glossy, so shiny-beautiful. Why is it that, after every one of them...I feel a little depressed?

KENNETH:

(CHUCKLES) It's like eating too much sugar. It tastes awfully good, but there isn't any substance.

ABBY:

You're right.

SFX:

OUT

MUSIC:

SWEETLY ROMANTIC TRANSITIONAL, FADING UNDER

SFX:

"CAR INTERIOR, DRIVING" AMBIENCE, UNDER

ABBY:

D'you suppose that Sheila will go on forever, marrying and divorcing, marrying and divorcing?

KENNETH:

Hm. Looks like a pattern.

ABBY:

She called her marriages "honest failures". But she described another couple there tonight, as a "successful lie". She said we were an "honest success".

KENNETH:

Hm. Sheila's getting pretty profound, these days.

ABBY:

(CHUCKLES) I just wonder what she'd think if she knew our secret.

KENNETH:

Well, not many people would understand. I certainly don't think Sheila would.

ABBY:

We are the only couple I know who take separate vacations together. I guess it would seem silly to a lot of people. And downright strange to some.

KENNETH:

Yeah. But it's such a wonderful game. It hurts no-one, and it helps us. It's the most incredible feeling to approach you as a stranger. To have you respond to me as a stranger.

ABBY:

And being able to say the things that you wouldn't, ordinarily couldn't. I agree, darling, it's a wonderful game. But I wonder, is it entirely honest? Is our game-playing...a kind of lying?

KENNETH:

Well, were you lying when you wrote that letter and left the house?

ABBY:

No. I was feeling those things. But I knew you'd be following me. Beside that letter was the address of the Moorlands. Isn't that a lie?

KENNETH:

I don't think so. It's the way we play the game. All we're really doing is stripping away the years of routine, familiarity, expectation...and allowing ourselves to be surprised again. We're placing ourselves in an atmosphere where we can rediscover each other...find new things...remember what we may have forgotten. I've never wanted to leave you, Abby. But there have been times when I wanted to walk away from our marriage. And I know you felt the same way. The game enables us to do that. It's a game. But it's not a lie.

ABBY:

I don't think we've ever lied to each other.

KENNETH:

But we have kept things back.

ABBY:

What do you mean?

KENNETH:

Well, like your episode on the tennis court, when you nearly collapsed. You could tell me about that as a stranger, but you couldn't as my wife. You wanted me to know. That's what I mean about our game.

ABBY:

(SOFTLY) Yeah, you're right.

KENNETH:

It is pretense, no doubt about that. We're not strangers or illicit lovers, but when we pretend to be, we reveal so much of our true selves.

MUSIC:

QUIETLY ROMANTIC (GUITAR & PIANO), UNDER

KENNETH:

I could sit across the table from you in that hotel dining room, and listen to you talk about your fears. And I could tell you mine. Now, would we do that in our own dining room? I don't think so.

ABBY:

(SOFTLY) No. No.

KENNETH:

Our conversation tends to go to the immediate. What did I do today? What did you do today? It's only normal. After all, life is ninety percent mundane functioning. For some reason, we don't talk about the other ten percent, the feelings, the joys and fears. Those things go unspoken. I guess we expect that the people we live with, the ones we're closest to, just know those things about us, without being told. And maybe they do know. But I think it needs to be said, and heard, once in a while.

ABBY:

(SOFTLY) Yeah, I suppose.

KENNETH:

So...we pretend, for a few days, that the person we know best in all the world, we don't know at all.

ABBY:

(SOFTLY) Hm.

KENNETH:

And then, we can say the things that may be known, but need to be spoken, and heard. I don't see anything strange or silly about it, Abby.

ABBY:

And it's not a deception?

MUSIC:

FAST FADE OUT AT [X]

KENNETH:

No. It's always you. [X] You...in a different light... caught from a different angle. I love you so much, I want you to call the doctor tomorrow morning, first-thing, and make an appointment.

ABBY:

(DISMISSIVE) Oh, Kenny...

KENNETH:

Well, you should have a complete checkup. That tennis incident scares the hell outta me.

ABBY:

I'll go see Dr. Davis, if you insist, but I'm really fine.

KENNETH:

All right; that's great. Let's just make sure of it, okay?

ABBY:

(SOFTLY) Okay. (PAUSE. UP) You know, this trip...I experienced something I never have before.

KENNETH:

What was that?

ABBY:

I was jealous of myself. While I was listening to you talk about living for the moment, not wanting to be so solid and responsible, I thought, "Why doesn't he ever tell me these things?" And then I remembered. He is telling me.

KENNETH:

I know. When I came on so strong, that first day on the beach, I wanted to punch myself in the nose.

ABBY:

(CHUCKLING) Kenny. We're not crazy, are we?

KENNETH:

I think we're the sanest people I know.

ABBY:

I know we're the happiest.

MUSIC:

ONE-CHORD CURTAIN

MUSIC:

QUIETLY ROMANTIC PIANO, ESTABLISH, THEN UNDER

HOST:

The Norths have arrived home from the party. They're in the den, the room Abby had so restlessly paced, only a few days ago. Tonight, she and Kenneth walk slowly, stopping before each photograph on the wall... remembering...

MUSIC:

FADING OUT AT [X]

KENNETH:

That one was five years ago, in Jamaica. [X] Whatever happened to that white bathing suit? I loved it on you.

ABBY:

It got tired; gave out in the seat, of all places! I had to throw it away. Oh, look! Montana...three years ago. (LAUGHING) Look at my red nose! I've never had such a terrible cold. But was worth missing the skiing, just to get that Vick's rub you gave me.

KENNETH:

(SMILING) I remember it well.

ABBY:

(CHUCKLES, THEN) I dropped the film from the Moorlands off at the camera store today. It'll be ready next Tuesday.

KENNETH:

I hope that bellhop knew what he was doing.

ABBY:

Oh, I'm sure he did. Just think of all the people who've taken our picture. Scuba-divers, mountain guides, little old ladies from Oshkosh, Wisc-- Remember Edith Hardwick at the Eiffel Tower?

(THEY CHUCKLE)

 

ABBY:

They've all come out all right.

KENNETH:

Don't forget the little Chinese boy in San Francisco.

ABBY:

Oh, he was an artist! That's my favourite picture. Which is yours, darling?

KENNETH:

I...think I'll wait for the Moorlands before I say.

ABBY:

When d'you suppose we'll go again? And where?

KENNETH:

Never know about that. That's the rule.

ABBY:

I love our game! Our interludes.

KENNETH:

Maybe we'll really do something different, next time, Abby. Maybe next time, we'll pretend we're married.

(THEY LAUGH WARMLY, DEEPLY IN LOVE)

 

MUSIC:

WARMLY ROMANTIC CURTAIN

MUSIC:

"RADIO THEATRE" THEME, ESTABLISH, THEN UNDER

ANNCR:

The "Mutual Radio Theatre" is brought to you, five nights a week, at this time. Tonight's original radio play, "Interlude", was written by Pamela Russell, and produced and directed by Fletcher Markle. Your hostess was Cicely Tyson. Our stars were Mary Jane Croft and Elliott Lewis. Featured in the cast were Vic Perrin, Lillian Buyeff, Byron Kane, and Stanley Director. The music for "Radio Theatre" was composed and conducted by Nelson Riddle. John Harland speaking. The Elliott Lewis production of "Radio Theatre" is a presentation of C.V.I.

MUSIC:

UP, FOR SEVERAL BARS, THEN UNDER

NIMOY:

This is Leonard Nimoy. Listen to us tomorrow. I've got another story of adventure, about men and women defying the odds. Listen here. Tomorrow.

MUSIC:

UP, THEN FADE OUT