 That's the theme from the Sears Radio Theatre. Tonight's story is a comedy with Andy Griffith as your host. Here's a preview. A divorce? Just because I want you to have the best things in life. Look, I know you love me and I love you. Talking about a divorce is no way to prove it. But sometimes people just... I mean, loving each other isn't enough. The Sears Radio Theatre will begin after this message from your local station. This is Andy Griffith. In a subway car on a bench nearest the exit sits a rather good-looking man named Steve Montgomery. Before him on the floor of the car is a large piece of granite. It's so big, in fact, that Steve has to strap it. Now, across from him a male passenger gazes from the rock to Steve. He wants to say something. He's started several times, but Steve is staring so hard at a car car to cross from him that the passenger finally twists to see what Steve is looking at. It's a card advertising stamp collecting. The passenger finally finds his voice. You collect stamps? What? I asked if you collected stamps. Oh, no, I don't. But I'm thinking about it. Uh-huh. I saw you get on this car. Yeah. I've been visiting the breakwater. What's that got to do with it? Do it what? The big rock there. Oh, this? Yeah, that. It's solid granite, you know. It's amazing the stuff they put in breakwaters. Yeah, that's more amazing who visits breakwaters. What are you going to do with it? I mean, the rock there. What do you think? Mount it in a ring? It'd be kind of heavy for that. Maybe I should take it up again. I was a jeweler once. Hmm. So what are you now? I'm going to carve directly into this. It's something I've always wanted to do. A few chips, maybe. I might mount those. Do you have any idea what a stone like this is worth? No. And they throw it away. Use it as part of a breakwater. That's a city for you. Yeah. Very expensive to buy. That's why I never carved in stone before. What have you carved in? Nothing. Nothing? I have this sudden yen to become a sculptor. It's a good profession, you know. Hey, this is my stop. Good luck, buddy. Don't poop. Don't they ever clean these trains? Be careful of my rock. Yeah, lady. Be very careful of it because he's going to be a sculptor. And that's only the beginning of our story. A new adventure in radio listening. Five nights of exceptional entertainment every week brought to you in elitist production of the Sears Radio Theater. Our story, a very nice couple by Ted Shirteman. Our stars, Alan Young and Janet Waldo. The Sears Radio Theater is brought to you by Sears Roboc and Company. Sears, where America shops. We left Steve Montgomery in a subway train bound for home with a large piece of granite he found on a breakwater. His wife, Connie, to whom he's been married for a year and a half, is at home in the small two-room studio apartment where she cooks with canned heat in their closet-sized kitchen and washes dishes in the bathtub. At the moment, she knows nothing about Steve bringing home the rock. She's on the phone with her friend Eileen Flannan and gazing sourly at a plastic model airplane suspended by a string from the ceiling. You don't understand, Steve, Eileen. He has the soul of an artist. He may have the soul for it, but he likes the talent, Connie. He's a very good photographer. When he works at it, but he doesn't like it much, does he? Like what? Photography. Well. He's a dabbler. You might as well face it, Connie. You married a dabbler. I try to encourage him to follow through on something. Did he ever finish anything? Like his idea of writing songs. It was jingle. OK, jingle. Advertising jingle. All right, advertising jingle. Did he finish one? Well, yes. He had a real cute one about soap. About what? Soap. He called it sudsy-wudsy-ow. So what happened? I haven't heard it on the radio. No, you won't either. Steve found out it's a closed deal. What do you mean a closed deal? All the people who do such songs have the market all closed up. It's impossible for a newcomer to get in. What do you mean? I just mean the ad agencies go to the same songwriters all the time and make it impossible for anyone else to get an audition. With a title like sudsy-wudsy, I don't blame them. What's wrong with it? You're supposed to get suds with soap. What happened to Steve's big plan to print trading stamps? Well, the press is still here. And the ink and the type. And do you have any idea of how much stuff is required before you print anything? Do you, Eileen? And the puppets he was going to market? Well, he finished one puppet, all except the hands and feet and costume. And the model ships. Did Steve ever get that ship in the bottle? Well, the threads are still sticking out of the neck of the bottle. But that's not the reason he gave up the idea. I'm curious, Connie. Well, what do you live on? You're nosy, too, Eileen. Oh, come on, sweetie. We've been friends for a long time. Tell me, what do you live on? Well, um, Steve gets a check every month. I know. 75 bucks from a dead uncle's trust. It's better than a poke in the eye with a sharp stick. Not much. And I do all right as a mobile stenographer. Listen, Connie, I can get you an introduction to an advertising agency director who'd cast you in one of his commercials right away. You have a fine and versatile voice. Eileen, you've talked about this before. I just can't stand you living the way you do. The answer is still no, Eileen. But you have the talent for it. A lot more than Steve has. Eileen, oh, I hear him coming up the stairs now. And you can't wait to see what he's brought home this time, right? Call me and let me know. Goodbye, sweetie. Oh, dear. I just a minute, dear. I brought it home on the subway. What for? Help me get it in the apartment. Put it down, set it down. Oh, I think I hurt myself. What's it for? I think I got a hernia. Wait, we can't leave it here. Why not? People will fall over it. What's it for? Take a walk around it. I think I ruptured myself. Those stairs are killer. Steve. Will you still love me if I have to wear a truss? Oh, will you please answer my question? What question? What's it for? Well, I found it on a break. I don't care where you found it. I want to know what it's for. Connie, do you have any idea what it cost to buy a piece of granite like this? What's it for, Steve? Well, you know how I always wanted to be a sculptor. There's a tub of clay in the bedroom that's hardened since you decided to take a pottery. Don't change the subject. Well, I'm asking you one more time, Steve. What is that rock for? I'm going to carve it into something you'll be proud of. Oh, my golly. Of course, I have to get a hammer and some chisels first. Steve, let me understand this. You're going to carve it? When you're asked, you can say you're married to Steve Montgomery, the sculptor, whose latest piece is solid granite called Weeping Mary. That's a good name for it, don't you think? Well, don't you, Connie? I think Eileen Flanagan is right. I'll go out and buy a stone cutter's hammer and some chisels right away. I'll get started on it today. Oh, excuse me, granite. Who else would it be? Where are you? In the bathroom, doing the dishes. But he soon now you'll have a real sink to wash them in. Anything would be better than this bathtub. What have you got behind your back? The road to riches, Connie. I'm glad it isn't another rock. I've decided something, Connie. Soon as I get through, I'll help you move Weeping Mary. I've been falling over it all day. Why don't you want to see what I've got? You can drive the plates if you want to help me. Look. It's dead. I don't care whether it's dead. It's a rat. The neighbors all think I'm beating it. Get it out of here. Just a simple dead rat. What are you doing with it? It's part of my plan. Just as an experiment, of course, I am going to become a taxidermist. A what? A taxidermist. I've given up on the granted. I'm going to practice on this little guy. As soon as I learn to stuff animals, we'll move to Wyoming or Montana or someplace with his big game. Throw it away this instant. Do you have any idea how much a good taxidermist can make? I read all about it in Scientific Americans. Steve, that's what I meant when I said we're on the road to riches, Connie. Get rid of that thing at once. I've got to practice on something, Connie. I will not have it. Gee, I thought you'd be pleased. The time we reached near the end of a rope when her husband, Steve, brought home the dead rat and announced he was going to become a taxidermist. The only thing that saved him was Steve's getting an assignment from a magazine to take a few pictures. Now, Connie knew he didn't like photography much, but it was the only talent that he had ever demonstrated. And she was content that the magazine assignment would take him a week of his time before he brought home more pieces of granted or dead animals for the apartment already cluttered with things he had never finished. Connie had lunch with her friend, Eileen Flanagan, and explained. This man, I think he said his name was Purdue Hill. Well, anyway, he phoned Steve and asked if he was interested and he wasn't. Oh, but he was. Hmm, that's a switch. I think it came, Mr. Hill's phone call, right in the middle of the fight we were having about the dead rat. Please, not while I'm eating. You're only having coffee now. Connie, what happened to the big rock? Well, you know how Steve is. I know. He gave up the idea of being a sculptor when he found that rat in an alley. How did he get it to your apartment? The rat? The rock. The rock? Oh, on the subway. It was so heavy. I thought he'd never get it up the stairs. I helped him the last few. Oh, where is it now? In our living room. Oh, Connie. Why did you leave that slob? Don't call Steve a slob. I can phone Byron anytime you say. Who's Byron Eileen? Byron Stockwood, the advertising director I told you about. Oh, him. You want me to? I can call him right now. Well, uh, what do I have to do? We just stand before a microphone and read what's written in your marvelous voice. And you get paid for doing it. How much? Well, I don't know, but I do know you can make more than you're making now as a mobile stenographer. Shall I call and arrange an audition for you? Do I get paid for that? Well, of course not. The audition is just to see if they can use you. And where? Shall I, Connie? Oh, say yes. Well, OK, Eileen. Oh, finally. You shouldn't know it, Connie. Have you got a dime for the pay phone? I didn't expect it to happen so fast, Steve. I just had the audition yesterday. What's the commercial for? I don't know, but they want me there at 10.30. Oh, I better hurry or I'll be late. I'll go with you. Oh, that's not necessary. Well, you have those photographic prints to make yet. I said I'd go with you. Time's a wastin'. Come on. This is the control room, Mr. Montgomery. What happens here, Mr. Stockwood? Well, this is our engineer and he turns the mics on or off with those sliding gadgets. And this is the tape engineer. Hello. Hello. I give hand cues the actors can see through the glass there and I talk to them through this microphone here. It seems simple enough. Sit down, Mr. Montgomery. Back there. I have to go to work. Everybody ready? Ready as we're going to be. All set. Okay, we'll try it on for size. I'll give you a cue to begin. Watch with a hand, Myron. I give the cues with it. Okay, let's hear it. Have you tried flush? My cat won't use anything else. We don't have a cat. She meows happily when I put it in her litter box. I just purr when I dump it. It's a remarkable disposable kitty litter. And where do you dispose of flush? Down the toilet. That's disgusting. I won't have my wife in such a commercial. It's just scented sawdust. And... Hold it. Hold it. We're trying to rehearse a commercial, Mr. Montgomery. I can only see two people out there. Pick it up with the... Let's see. It's just scented sawdust and so on. On a cue from me. Who gave the meow? The same actor who plays the man. Okay, on a cue from me. You mean you're using one actor to play two parts? Yes, Mr. Montgomery. Now if you please be seated. Just a minute. You're contributing to the unemployment situation. By doubling an actor? Whatever you call it. You are, you know. But even the actor's union allows it in radio. I don't care what they allow. What are you, a troublemaker? I'm against him meowing. You're against everything. Will you please let us go on with our work here? I'll bet you're one of the ones who turned down my soap jingle. You and your attitudes are the reason Sudsy wassy never got on the air. Pass me the phone, Hal. I better call a studio cop to throw this guy out. Honey, you're not doing this commercial. Come on, let's go. Well, just a minute. Byron, what's the matter? Your husband objects. Honey, are you coming or not? No, I'm not. Go on, Byron. He objects to the commercial, to the doubling of the meow. And are you getting out or do I have to have you thrown out? I'll leave under my own power, Mr. Stockwood. I never thought you'd stoop so low. What have I done? A toilet flush on the air. It's just a sound. They use it on all in the family all the time. You don't have to apologize for anything, Connie. All in the family doesn't double actors just because they need a cat. What's that have to do with it? This is for radio. I don't care what it's for. I'll call the studio police. Never mind. I'm leaving. Oh, this is so humiliating. Oh, there, there. It's not your fault, Connie. Okay, guys, we'll save it after lunch. There, there, sweet girl. It left a light on. At 11 o'clock at night? Oh, Byron took me to dinner after we were through. You had to eat with him as well as work with him? Listen, that display of yours... I'm not through you, no, Connie. I'm seeing every newspaper editor I can tomorrow. I thought you were honest. I am? And what are you talking about? We don't even have a cat. Steve began to resent Connie's carving out a new career in broadcasting, and the casting calls from Byron Stockwood's office came often. So often, in fact, that Connie began earning enough money not only to get him out of debt, but to enable him to start a savings account. But what Steve resented most were the frequent dinner dates Connie had with Byron. And what Connie resented most was Steve's constant dabbling. For instance, she returned from a taping session to find him bent over a small wooden block. Oh, oh, excuse me, Rocket. Steve, didn't you even hear me come in? I was concentrating. What are you doing now? I mean, what is that? This is going to be a wood engraving. Wood engraving? That's different from a woodcut. A woodcut is on a plank of the wood. A wood engraving is done on the grain of the wood. This is a genuine boxwood. Feel it. It feels slick. It is. I've stabbed my thumb three times. This is called a graver. That's what I stabbed myself with. And the sand-filled leather pad the block rests on is what all wood engravers use. Um, what are these called? Well, various sizes of gravers. Two sizes of lining tools, I think, that Kirk called them. See, each one has sort of a ribbed cutting surface. And why are you home so late? It's only a little past nine. That's not late. Have you had dinner? Uh-huh. What happened? That, uh, Byron Stockwood again? Oh, he invited me. I went. What happened to the vinyl repair kit you were so enthused about? The one that was going to make us a fortune? I didn't think the husband of a big radio star should go around fixing chairs in beauty shops. I'm not a big radio star. Or haunting used car dealers in hopes that torn vinyl roof would show up on some crock of a car? So where's the kit? In the corner there. You're impossible. Why? Just because I'm trying to make some money to support us? Well, you're, you're a dabbler. Just because I can't afford to take you out to dinner every night like Byron Stockwood? It isn't every night. The last week, and I've counted them, it's been four nights out of the seven. Where are you going? To bed. Before I say something I may regret. Say it, say it. Put a bandage on your thumb. I don't want you to bleed all over the pillow. No Byron. You sure? Well, maybe. Just a little. Say when? When. Now, what do we drink to? Oh, whatever you want, Byron. To you. With whom I think I've fallen in love. Stop it, Byron. It's a fact, you know. Oh, that's just the wine talking. Oh, no, it isn't. I find myself spending my days and nights thinking about you. Only you, Connie. Let's change the subject. Oh, I can do that. But it isn't going to alter anything. What did you think about before I came into your life? My work. Only my work. Don't you ever get tired doing the same thing over and over? Sure, sure. But it's my work, my job. Hmm. What is? How you think of your work? I know a man who changes his work like he changes his socks. The man you're married to? I know a man who changes his work like he changes his socks. The man you're married to? I don't want to talk about him. Eileen Flanagan told me all about Steve. I said I didn't want to talk about Steve. Okay. What do you want to talk about? Anything. But him. You're not happy with him, Connie. And you could be with me. What makes you so sure? Because I give you the things you deserve. And you deserve a lot, Connie. I better go. Thanks for... a nice dinner, Byron. Let me just pay the check. My car's outside. No, I better take this subway home. See you tomorrow at the taping. Is that you, Connie? Yes. What are you going to move that piece of granite? Tomorrow. I'll move it tomorrow. Oh, always tomorrow. I'm already in bed. You don't expect me to get up and go out there in my pajamas, do you? I don't know what to expect from you. I've been thinking ever since I looked in the bank book, wood engraving is too slow. What does that go to do with a bank book? We can afford one. A Ford one watt? An etching press. Steam. Do you realize how much there is to be made doing etchings? I can see it now. Street scenes of the village. You all go buying an etching press. It's a lot faster than a wood engraving press. I don't care how fast it is. I wouldn't stab myself in the thumb all the time. I said no. I've had it with your wild schemes. All I'm trying to do is find a way to make some money for us. So you can quit working at this radio station business. I'll never quit. Why? Because you left a forego your nice little lunches and dinners with Byron Stockwood, is that it? At least he sticks to his job. That measly little job. He's a vice president of a big advertising agent. Just because I'm trying to make a good living for us. Where are you going? I'm sleeping in the other room. Good night, you! You devil! Oh, my precious. She's not here. That's right. She slept on the couch in the other room last night. Your boy's getting up, Connie. Want some coffee? Where is she? Connie? Connie, are you in the... No, she's not in there. What's this? The first time she's ever left me a note. She's asleep. Steve. She doesn't say dear Steve or dearer Steve or nothing. You're Steve. Have gone to early taping, used the bank book and by the etching press. Connie. No love? No nothing. Just... Connie. Etching press. I want an etching press. How come you're not lunching with Byron today, Connie? I told you I didn't. Because you asked me first. Good answer. It's crazy about you, you know. Byron Stockwood. Who else are we talking about? Oh, we're certainly not talking about Steve, are we? Nope. He keeps you busy, doesn't he? Byron. He casts me and plots apart. I don't know anybody who's swept him off his feet like you have. He'd marry you in a moment if you were free. Well, I'm not. Why aren't you, Connie? Look, Eileen, I'm just another radio actress who's done well for herself. Oh, thanks. And thanks to you, I just happened to get my start with Byron Stockwood. I appreciate what you did for me, Eileen. Byron's one of the most eligible bachelors in this town, you know. I'm not looking for an eligible bachelor or ineligible one, for that matter. Into his apartment yet? No. He's a penthouse, you know. Eileen, can we drop the subject? I was only saying... I know what you were saying. Waiter, the cheques, please. Excuse me, Rock. Where's it, Steve? Oh, hi, Connie. Where's the etching press? Whatever gave you the idea, I wanted an etching press. You did? Wait, when you gave up what engraving, you said etchings were faster. Oh, I was just making conversation, I guess. What are you doing? You see this? It's a mold. A mold for what? A toy soldier. When I finish pouring this alloy into it and let it set and paint it, it'll be a replica of one of Napoleon's soldiers. A toy soldier? Connie, I passed this store that was literally filled with toy soldiers. Kneeling and shooting rifles, someone horseback, oh, cavalrymen, canineers, you name it, they have it. Do you know what one Napoleonic soldier sells for in that store? Fifteen bucks! You are going into the toy soldier business? Sure, there's a fortune in it. People from all over the world collect toy soldiers. I bought only a dozen molds to start with. This is one lying prone, a Civil War soldier, I think. As soon as the alloy in this little ladle melts, I want to pour. Connie, where are you going? To get my suitcase. Where are you going? I don't know yet. Did Byron Stockwood cast you in a part that takes you away from here? No. I'm leaving you. Why? I've just had it, that's all. I came home all primed to congratulate you on getting an etching press and you didn't even know what I was talking about. Can't you take a little joke? I'm fed up with your jokes. You're dabbling. A guy tries to make a little money and you call it dabbling. What do you call flitting from one thing to the other? I don't flip. You don't do the thing you're equipped to do. Like what? Like photography. Oh, that. Yes, that. Well, you know, Leonardo did pinch you at it, but... Who? Leonardo... Oh, skip it. Send for the rest of my things when I know where I'll be. Look, I'll give up the toy soldiers if that's what's bugging you. I just thought it would be a profitable business to get into. If it isn't that, it'll be something else. No, Steve, I am leaving. I think a divorce is the only solution. A divorce? Just because I want you to have the best things in life. Look, I know you love me and I love you. Talking about a divorce is no way to prove it. But sometimes people just... I mean, loving each other isn't enough. What I mean? Goodbye, Steve. And here's the concluding act of a very nice couple. You don't know how happy your news makes me, Connie. Wait, it's not easy to walk out on a man. But you did. And that's what's important. I just couldn't take Steve's dabbling any longer. Did I tell you about him making toy soldiers? Yes, you did. Now I can get you on a plane to Reno tomorrow. And he said... Reno? Nevada? Well, you want a quick divorce so we can be married right away, don't you? What? I guess so, Byron. Where are you staying, Connie, dear? At a hotel for women. Silly girl. Well, you can stay at my penthouse. No. Just until your plane leaves tomorrow. No, uh, I'll stay at the hotel. But the place will be yours after we're married anyway. I said no, Byron. What are you doing? Give us a kiss, sweet girl. No. I said kiss me. I don't feel like it. Do you have a headache? No, I don't. Well, you kissed the man you just left, didn't you? That was different. He was my husband. You said so yourself. Well... Your best friend, Eileen Flanagan, said you were always complaining about your ex-husband going from this to that. He... he was trying to find himself. Are you making excuses for that bum? No, I'm not making... and don't call Steve a bum. Well, what else is he if not that? Well, look, it's one thing for me to downgrade him, but... I love the lines in your forehead when you get angry. But look, you're a very attractive man, but I won't have you saying nasty things about Steve. What am I supposed to do? Invite him to the Be Best Man at our wedding? You could do worse. I can't imagine how. Maybe he'd show up with his tin soldiers or wood engravings or something just as ridiculous. Like that big rock pops me. I'll see you. Go right ahead, young lady. Thank you. Excuse me, rock. Yes? My card. I'm Purdue Hill of the Hill magazines. I'm looking for Mr. Steve Montgomery. Oh! Oh, well, so am I, but I guess he isn't home. I wanted to offer him a job. Hey, Mr. Hill, I'm Mrs. Montgomery. Oh, thank you, thank you. Oh! Oh! I should have told you about that piece of granite. Are you all right, Mr. Hill? Oh, I guess so. Oh, here, let me help you out. You sure you're all right? Oh, yes, yes, yes. I'm fine, fine, fine, fine. We're so used to it now that... Well, we call it sweeping fairy because we follow it once in a while, too. It's a very unusual piece. A granite, isn't it? My husband decided he was going to sculpt it, but... Your husband, Steve Montgomery? Yes. And I thought he was just a photographer. Oh, he is! A good one. I know, I know, I know. That's why I came by. Very unusual. You said something about it, a job, Mr. Hill? Oh, yes, yes, yes. To make photos for our various magazines, a staff job. I don't suppose he'd be interested, but it's an opportunity for him to expose himself. Very unusual. So for sale? What? The granite sculpture. Oh, that thing. Oh, I've been asking to get rid of that rock for a long time. Yeah, the most unusual piece of surrealistic sculpture, Mrs. Montgomery. I'd like to have it, if it's for sale. Well, how much are you offering? I'll say three thousand. Four? Five? Thousand? Five thousand. I'll leave a check for it. As soon as it's clear to have the sculpture picked up, okay? You mean you'd actually pay money for that thing? I know the exact spot on my estate where it would show to greatest advantage. It is at a deal, Mrs. Montgomery. Well... And your husband could visit it any time he pleased. Well... Here, I'll make out the check right now. You can show it to your husband. If it's not satisfactory... Oh, it is, it is. I was just thinking about the job you offered. Though it only pays five hundred a week, but he could sculpt on the side. And, as I said, it would be a fine exposure for him. I ought to introduce myself. I'm Union Tatum. Glad to meet you. I'm Steve Montgomery. You want the onion from my martini? No thanks. I cannot stand them. You thought you might like it? That's called a Gibson. What is? But you're drinking. A martini has olives in it. Oh. They taste the same, but a martini has olives. I love olives. By tender. Bring two martinis. I am buying. But I'm drinking beer. Oh. And a beer for my friend. I cannot stand martinis. Oh. There's no reason for you to look so... I'm so sad about it. I'm not sad about you not liking martinis. Well, what are you sad about? Do you mind if I call you Steve? No, it's my name, Steve. Montgomery, Steve. And you could call me, wouldn't you? Okay, on you. You can have olives from a martini. Steve, why are you so sad? My wife left me. There's nothing to be sad about. I mean, I was mine when she left me. She just up and walked out. There's plenty of other people who sleep. Not like Carney. Who's that? Your dog? My wife wanted to walk out on me. Oh, yeah. Just because I was trying to make a good living for her. It was terrible. A man tries first one thing, then another. She didn't understand it. She got teeth off because I didn't buy an etching press. What? And she's always after me to move that piece of granite away from the door. Well, your wife is a... What did you say her name was? Carney. You're better off without her. You're better off without Carney. No, I'm not. You mark my words, Steve. You'll be better off without her. I say I won't be. I say I won't be. Do you want me to step outside on you? If I'm going to fight, I will make Miss Mead on you. Step outside and try. I'd rather wait in here for lollies. Okay, then in here. Get up and face the music on you. You're still a lollipop, aren't you? Yes, I am. You're going to get up and take your lumps? If I do, can I still have lollies for one more time? Every place for you. What are you doing sitting on the stoop of our building? Oh, Carney. Oh, Steve. You've been drinking. Carney, Carney, you're back. And with the most wonderful news. Oh, nothing could top the fact that you're back. Oh, Carney, Carney, Carney. I thought I'd lost you. I came back earlier, then Mr. Hill arrived, and I've been looking for you ever since. Oh, Carney, who's Mr. Hill? He's made an offer of $5,000 for that piece of granite you never touched. The check's upstairs, and that's not all. He wants to hire you as a photographer for 500 a week. $5,000 for the rush? He's going to put it on his estate. He said it was the most unusual piece of surrealistic sculpture. What's that got to do with the photography? Oh, that's why he came to the flat, to hire you. Then he saw the rock, and... Isn't it wonderful, darling? Oh, it's wonderful you came back, Carney. Oh, I'm so glad to be married to you. Me too. Come upstairs, and I'll prove it. You, uh, going to show me your etchings? You've already seen my etchings. I know, but I'm an art lover. The Sears Radio Theatre has been brought to you by Sears Robot & Company, where our policy is satisfaction guaranteed or your money back. Sears, where America shops for value. A very nice couple was written by Ted Shirteman, produced and directed by Fletcher Markle. Your host was Andy Griffin. Our stars were Alan Young and Janet Waldo, featured in the cast were Byron Kane, Jean Gillespie, Shepard Menken, Dawes Butler, and Vance Colving. The music for Sears Radio Theatre was composed and conducted by Nelson Riddle. This is Art Gilmore speaking. The Elliott Lewis production of Sears Radio Theatre is a presentation of CDI.