 Kathy and Elliot Lewis on stage. Lee Lewis, Elliot Lewis. Two of the most distinguished names in radio, appearing each week in their own theater, starring in a repertory of transcribed stories of their own and your choosing. Radios for most players and radios for most plays. Drama, comedy, adventure, mystery, melodrama. Ladies and gentlemen, Mr. Elliot Lewis. Good evening. May I present my wife, Kathy? 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. It's sad, and in a wonderful way, we think one of the most beautiful stories we've done. And so tonight, we present a new play by Morton Fine and David Friedkin, called A Corner of Autumn. My name in the play is Harry Miller. And I'm Joyce De Silva. And we're two people in a very large city, in a small part of a very large city. Opening scene, a bar. A very cheap bar. And very tired laughter from tired jokes and old observations. A bartender and customer. Customer is not so much, but neither is the wine. And the entertainer is not so much either. Listen, and that's the setting. And here's the action. A man, Harry Miller, walking through the door. What are you doing, friend? Nothing. You need it. It's mostly a job. You got a piano, I looked first. Show me where. Point it to him right there. Hey, you pointed good. I'd say you've been off the booze for how long? A couple of days a week? Job, make it easier. I'm down to ten bucks. You guys kill me. You know what I always say? I always say, once a rampad, always a... Don't do that, mister. Go ahead. Play. Play for her. She could use it. Just keep going, miss. Move your foot, please. I think there's a coin. Here. It's a quarter. Thank you very much, mister. Harry. Harry Miller. Do you see anything more? No, miss. I think I got them all. A dollar twenty-eight. By all rights, half of it's yours, mister Miller. Wait here. I shall be glad to. Well, what about it, mister? Do I work? Fifteen bucks and food only close. Back in the booze and you choose your door. I'll back up front. Don't make any difference, right? My name's Harry Miller. Yeah, tonight was practice. The week starts tomorrow. Remember what I told you about the booze? All right. Yeah, yeah. Well, look, give me some change. Will you stand? I want to play the jukebox. Clear there. He gave me a job. Then we'll be working together. That's very nice. I've been looking for an accompanist. When do you sing again? Oh, that was my last number for the night. I'm very hungry. I was just going across the street. May I join you? That's a lovely idea. Please do. She handed me her coat and I held it for a 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. It has an un-team feel. You would have enjoyed it, Mr. Miller. May I suggest something? Chestnuts in the park? Look. 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. That one, right under the eucalyptus. 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. Now we can have our chestnuts. You haven't even told me your name. My name is Joyce Silver. That's my stage name, of course. What? For the entertainment crowd. My real name is Joyce Chakwaski. An acquaintance of mine in the profession advised me to change it. You're a professional too, aren't you? Then for 20 years. I should have known that while you played. Of course. Of course what? Of course you know why I was singing in that place. For experience, huh? That too. But mostly it's because I feel that a performer must get to know every type of audience. Do you agree? Are you cold? No, no, I'm all right. I am a little. Now what? Tell me about yourself. Piano player. For a long time. That's about all. Oh, surely not. Again, I play piano. That's all. You're very good. Very good. Very, very good. Mr. Silver. Yes, Mr. Miller. Is this all you do? Sing? Mr. Miller. Yes. 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. Sure are you. Had your career. I feel that in another month or so I shall be ready for a booking agent. Would you mind if I told you something? Not at all. You're the first man I let bring me to this bench. You may put your arm around me, if you like. We sat there for maybe an hour. My arm around her. In that kind of talk. And I walked her home. She lived in a small frame house that had a vacancy sign in the window. An iron gate out front. It's been a wonderful evening, truly. I wonder if you enjoyed it as much as I did. Sure I did, Mr. Silver. You may call me Joyce. Sure. And you're Harry. That's right. You may kiss me goodnight, if you like, Harry. You're very sweet. It wasn't far from Skid Row where she lived. A couple of blocks down, three blocks over. And the sign was there, 50 cents a night. And that's where I slept. 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. A room in a cheap hotel that they used to store a piano in. They put a cut in it. They took half the $10 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. I had great and true friends, so I bought a quart, set it on the piano, corked, so I learned I 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 of them, chestnuts in the park, on the bench under the tree by the fountain. Harry. What? It's almost like... Well, it is. Here's what? Isn't it Harry? Isn't it? Surely. 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. Sharing your table with two strangers to eat your blue plate specials in the cafeteria. A dusty doll wanted a dusty carnival and cost you a week's room rent because she's always loved dolls since she was a little girl. And a dance hall where everything is played too fast. Then the late movie. A double feature in a travelogue about Africa. The romance we had. What a gay evening, Harry. Wasn't it? Yeah. Such a beautiful doll, Harry. I always loved it. Yeah. Tired? Real tired. I'm not. I'm so happy. Happy I could go on and on. Oh, Harry. Harry, you won't laugh with me. For what? Charming place, dear. Stinks. What did you say, dear? I said this is a flea bag and it stinks. What are you doing here, dear? It's Thursday afternoon. So? What happened to Tuesday and Wednesday night, dear? As soon as you finished at the club. At the crumb, dear. You ran off. You didn't wait for me. Something wrong, dear? Look, Joyce, who are we kidding? Why is this bottle of whiskey on your piano? It's not whiskey, it's scotch. I asked you something, Joyce. Who are we kidding? Why, whatever do you mean? We're a couple of middle-aged slobs. Whatever do you mean? And liars. I'm going to tell you something else, mostly you. Joyce, you're the biggest liar I ever met. Have you been drinking? 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 are skinny. You're skinny and you're plain. No woman with an ounce of respect would listen to language like that. I'm going. You stay here and listen. What are you trying for? A career? I know a cat and an animal act could sing better than you. You're trying for a romance? Who do you think I am, Joyce? A prince out of a fairy tale? Something on a white horse? I'm a 40-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. That's right, Harry. I look at you and I say to myself, this is what my life is amounted to. 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? Here's to our romance, Joyce. Here's to what? Hey! No man's going to drink like that in my presence. Hey, put down that bottle. And no man's going to insult me like that. 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. You are listening to Kathy and Elliot Lewis on stage. Tonight's play, A Corner of Autumn. Later tonight, Marlena 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. Here how a gambler loses and then regains $3 million in diamonds at the gambling tables. Don't forget to listen tonight when it's Time for Love with Marlena Dietrich, presented by CBS Radio on most of these same stations. We left and it was the room again, the piano in the room and me. And that was all there was to the world, the world I knew real good. Me and a piano, nothing. It's time to stand up and go through a door and out into the street, give the man a couple of dollars and take the bottle and find a place that nobody knew, uncork the bottle. 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 couple of dollars for it and the wanting for it, the hunger, the scream inside for it. A skinny woman walked out of my room and suddenly that was the reason for it. You heard me, get up here. There, take the key. Okay, now what? Come on, lock me in. Sure, sure, easy does it, eh? It's a funny meaning you got, eh, but sure. Don't open the store to Lamar, you hear? Sure. Even if I try to break it down. You, Ace and Paparini, this joint will crawl with them. You know that, eh, Ace? Quiet's the word if I lock you in, eh? Just don't let me out, that's all. Lock it. Welcome to tomorrow, Ace. How you feeling? Broughten. It's a day for that. Go away. You did real good. Go away. I brought you something, coffee, sandwich. On me, Ace, because you did real good. Tearing 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. Can I come in? The landlady's not in, but I'm sure she won't mind if it's very important. It's important. But talk to you about us. About you and me. I'm sorry for what I said yesterday. If I caused you any unhappiness or embarrassment, I'm deeply sorry. Hairy hair. You look awful. I know. Did you get drunk? No. Listen to me, Joyce. All right. Once I was married. I don't mind that. And there was my little girl somewhere in there. I started to drink. There must have been a reason, dear. Maybe she... Just listen to me. I started to drink and I liked it. And I became a drunk. And it all drifted away from me, wife, family, and job. That was a long time ago. And now I'm here. You know why I'm here, Joyce? Hairy. Hairy, you were right yesterday. I mustn't lie to you anymore. Let's just forget it. No, no. I'm all the things you said. I can't sing. And I'm getting old. And I'm not pretty. 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. Maybe this is the way. The two of us would play it straight and we'd try to bucket together. And not expect too much. Because neither of us are anything much. Except to each other. That's right. Look, Hairy. The doll we wanted at the carnival? You still got that? It's when we were lying to each other. When we were young. Just something to put in the corner and smile at. Because we're older. I'll get you some dinner, dear. I like November best, Hairy. I know why. Because we've loved each other a month. Why do we have to come here? Don't deny me this place, dear. I'm so fond of it. The chest, not so eucalyptus tree and fountain. Hairy. What? Was your wife pretty? It's tough to remember. Prettier than me? Joyce, for the last few days you've been asking me questions like that. Cut it out. I'm tired of them. But I want to know, dear. I want to know all about you. The people you used to love. Well, was she? Was she what? Prettier than me? No. She wasn't pretty at all. What happened to her? I don't know. How did you meet her, dear? She used to sing with a band I'd wait for. What's the matter? Just the coincidence that you should fall deeply in love with two singers. Hairy. What? Did your children look like her or like you? What difference does it make? Nothing, I suppose. I wonder who our children will look like. You or me? Our children? Of course we'll have two boys and a girl just like you used to have. Listen, Joyce, all that's a long time ago. Leave it alone. Forget it. I'll help you forget it, dear. What happened to her? She divorced me, dear, and she got married again. I told you that. I told you that a hundred times. Did you love her a lot, Hairy? As much as you love me? I loved her very much. I had a family with her, but I was a drunk, and she left me. She couldn't have loved you very much. Shut up. You'll see, Hairy. You'll never want to leave me. I didn't leave her. She left me. You'll be happy. Happy. You know what? I can't stand the sight of you. You're getting upset about nothing at all. You're what you are, and I'm out of my mind to think you can be anything else. I'm what I am, Hairy. And you helped me see what I am. Out of my mind? I'm crazy to think that you're... Are you looking for a reason to get drunk, Hairy? I'm not going to give you one. I love you. I want to be the reason why you won't ever get drunk. Good night to you, lady. Eye a bottle, true friend. Thanks for waiting for me, Jeannie. The booze, the scotchy. Where's Joyce the silver? Joyce the silver? I'm paying. Here. You're paying. You get the scotchy, and you're fired, Hairy. Let's drink to it, baby. Fired. 20 empties. Hold a box of them. That means three hours to collect them. Give me a bottle of wine. Way to cost 60 cents, huh? How'd it chill, Joycey? How'd they hear out of there? Lie down, Hairy. After you, dear, dear, dear, dear. Right, Hairy. Joyce. Swear a casque. Lie down. Joyce. Swear a casque. Tell me what to do to make you feel better. I'll do it. I'll tell you what to do. Hairy, you're so... I mean it. Die. You're on my way, Joycey. I'm in a ball, and you're in my way. And you'll always be in my way. So die. Hairy. Hairy. Don't ever die, Joyce. Yes, my dear. Yes. You. Don't leave me. Yes. I'm sorry. I'm so sorry, Joyce. I need you. I'm nothing without you. You are me. Nothing. You're two of us. The way it has to be. The way I want it to be. I need you. I need you. There'll be no more loneliness, dear Hairy. Nice call, Hairy. Sound great. Thanks. Isn't he playing great, Joyce? Wonderful. Ready, honey? Night, Sam. Good night, kids. You really did, Hairy. You sounded wonderful. I know. He's getting better all the time. Want to go right home? Why don't we buy a couple of bags of chestnuts? Go for a walk. Mm-hmm. Park's so nice this time of night. The mansion, the eucalyptus tree, and the fountain. That fountain always reminds me of music. What does it remind you of? Music. Music, Joyce. A corner of autumn starring Kathy and Elliot Lewis. Mr. and Mrs. Lewis will tell you about next week's play in just a moment. Is the Army Nurse Corps in Korea? By, 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 53rd 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 D.C. And now, once again, Kathy and Elliot Lewis. Our thanks tonight to Paula Winslow and Junius Matthews, patrons of the bar that was run by Herb Butterfield. To Clayton Post, clerk at the Rooming House. And, of course, to Morton Fine and David Friedkin for the lovely story. Next week... Well, have you ever given a party where everything almost goes wrong? Especially a single woman giving a party for bows and married folks. Especially a single woman giving a party for bows and married friends. So next week, E. Jack Newman's The Party. Thank you for listening. And good night. Good night. Music for tonight's story was composed by Alexander Courage. Our pianist was Frank Leitner. And the orchestra was conducted by Love Glosskin. The Kathy and Elliot theme is by Ray Noble. Kathy and Elliot Lewis on stage is transcribed and directed by Mr. 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 traveler's aide volunteer feels who gives a little of her time each week, helping the stream of travelers in trouble who stop at the traveler's aide booths in air, rail, and bus terminals. Make helping people a weekly ritual in your life. America now listens to 105 million radio sets and listens most to the CBS Radio Network. Thank you for watching.