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An Origénal Ninety Minuto Drama ’0? Taievision

Thesis for tho Dogm o? M. A.
MICHIGAN STATE UNiVERSET‘t’
Malcolm. Sharps
1959

‘ ' LIBRARY
Michigan Stats
University

  
     

  

my; Mix33:§ 9g REALITY

An Original Ninety Minute Drama for Television

By
mcom SHARPE

AN ABSTRACT

Submitted to the College of Communication Arts
Michigan State University in partial fulfillment
of the requiremonts tor the degree of

MASTER OF ARTS
Dapartmens of'reloviaion, Radio, and Film

1959

v‘ '

23c Masks of Reality is based on the premise that

communication, primarily through the mass media, which
distorts reality can often have a harmful effect upon
the values of our society.

Research on this concept was done before, during,
and after the writing of the play. The results of this research
are shown in Chapter I. Here psychiatrists, social scientists,
and critics of the mass media bring forth their ideas on what
effect distortion can have on the American public. Their
comments generally indicate that the media can and do influence
our culture to accept the values of conformity, passivity,
and immaturity.

The play itself deals with a protagonist who is unheppily
involved in creating a world of fantasy in which his wife lives.
He creates this distortion partially through the medium of.
television and partially through personal communicution. When
this false life is in jeopardy of being destroyed, conflict
arises. It is at this ooint that the protagonist must lake
a decision: should he attempt to keep his wife living a life
of fantasy or should he force her to face reality?

While the play is primarily concerned with the theme of
distorted communiCstion, it also touches upon concepts involving

the television network's responsibility to the public, the

ABSTRACT HALCULM Shnnhfi
Sponsor's responsibilities to both his program and the public,
and the growth of the organization resulting in the decline
5! the individual.

The third chatter deals with the problems which arose
in the writing of the play, and also the problems which would
arise in the production of the play. Here solutions are
stated and suggestions are given. The chapter concludes with
a reemphssis of the play's premise stressing its imgortance

to the dreads interpretation.

THE MASKS 93 REALITY

 

 

An Original Ninety Minute Drama for Television

By
MALCOLM SHARPE

A THESIS
Submitted to the College of Communication Arts

Michigan State University in partial fulfillment
of the requirements for the degree of

.MASTER OF ARTS

Department of Television, Radio, and Film

1959

AC5“ 01‘! LLDGELraii‘Z T3

The writing of this thesis and this enlight-
ening year of graduate study have been made
all the more pleasant due to the encourage-
ment, friendship, and constructive criticism
of Dr. Roger Busfield, Dr. Colby Lewis, June

Krane, and Jim Carver. I thank you.

11

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In writing a creative thesis, I have attempted to
attain two objectives: the first, to crests a ninety minute
television drama which would possess a certain degree of
literary merit; and the second, to comment on some problem
involving communiCetions end our modern American society.

Sost people are aware of the fact that the civiliza-
tion in which we live today is bound together by channels of
communication. These channels range from solitary street
signs to huge electronic mazes, and their development, along
with other technological advances, have not only added to our
culture, but also complicated it.

The mass media, in perticulsr, have made a tremendous ’
impact on the personality of our nation. Today, at mid-
century, our social scientists are only beginning to fathom
the nature and scope of these media. There are many questions
and problems waiting to be fully answered, and among them is
this one: Are the mass media presenting a realistic picture
of society to man? And if the redid are not doing this, the
question then follows: What effect does this distorted pic-
ture have on the modern men?

How does one determine what is real and what is dis-
torted? Scientists have realized for mdny years now that
there is a difference bvtween that which is assumed to exist
in reality and that which is actually perceived by msn. The

fundamental difference between these two is caused by the

limitations and peculiarities of the human mind.1

The human observer lives in a real environment which
is altogether too big and complex for him to handle. There
is so much subtlety, variety, permutation and combination
that he is forced to reconstruct it, in a simpler model be-
for. he can manage it.2

The only method that the social scientistsand psychi-
atrists possess to infer the existence of a real world is to
compare one observer's views with the views of others. Dis~
erepancies in these views permit them to make some inferences
about the psychological processes of the observer, and then,
by combining these various observations they can construct a
picture of what one might call “assumed reality.” Whether
this assumed picture of reality is a true picture or not is a
rather difficult statement to verify. Nevertheless, the
assumption of some 'reality" is an extremely helpful tOcl to
man.3

hence, we see that man lives in a world which is not
based on accurate knowledge, but rather on pictures which he 4
often creates himself. Furthermore, these pictures, these per-
ceptions determine at any moment how men will act, and yet
these acts themselves do not take place in the pseudo-environ-

ment uhere the behavior is stimulated. They take place rather

 

lJungen Euesch and Gregory Bateson, Commugigstion (New
fork, w. W. Horton & CO.’ Inc.. 1951)’ p. 2730

2Walter Lippmann, Public Opinion (New York, The mecmillan
Company, 1922). p. 16.

3Ruesch, loo. cit.

in the real environment where the action eventuates.“

Thus while the imagined world determines man's actions,
it cannot determine the results of his actions. There-
fore, when men feels frustration and maladjustment, it is
often because he is coming to grips with reali y. It is
through this contact with reality that man learns to adjust
to his environment.5

According to Walter Lipomann, most of man's contact
with reality takes place through the medium of fictions.

By fictions he dees not neen lies, but rather presentations
of the environment which are, in lesser or greater degree,
made by man himself. Fictions extend from hallucinations to
scientific models. Furthermore, a work of fiction may have
almOSt any degree of fidelity, and as long as the degree

can be taken into account, the fiction is not misleading.6

As we have already stated, most of the world is out of
the reach of man. Hie ability to live and to experience
all is limited. Despite his frailtiee, however, man has

been making many advances on this unknown world. Through

“Lippmann, 22. £11., p. 1,5.

5M-

6Ib$ cip- 160

scientific progress he is able to see, touch, smell and taste
vast portions of reality that have never before been avail-
able. Through the use of his faculties and the facilities
of science, man is now developing new yictures, which are
often merely fictions, of the world beyond his reach.7

The mass media's place in this system is rather obvious.
Being the suppliensof much of the sight and sound in our en-
vironment, their ability to convey reality‘is‘unmistaksble.
Yet are they aiding in this capacity? Are they providing
our society with a useful and accurate set of values and
descriptions?

The importance of such media as radio, television and
films cannot be lightly overlooked in this respect. Not
only are they bringing us images of various phenomena, but
through the characters and situations in their dramas, soap
Operas and westerns, they are involving us in the very lives
of persons whom we have never met. Arnhiem, in his study,
"The werld of the Daytime Serial," warns us that the serials
hold almost a nonspoly on the mental lives of many women.8

What happens to our lives when we allow our mental capa-

cities to be influenced by such things as soap operas?

 

7:21 e p. 290

8Rudolf Arnhiem, ”The World of the Daytime Serial,"
Egblic Opinion and Propaganda, ed. Daniel Kstz, Darwin
Cartwright, Samuel hldersveld, and Alfred McClund Lee,
(New York: The Dryden Press, p. 262.)

Soap operas, as well as much of the other drama that we see
and hear, bear little or no relation to the lives of us,
the listeners, and quite often anything that we can learn
from these shows is wholly inapslicable to our every day
existence.

Yet, in a study by Berta Herzog, we find that the dis-
torted world or the soap operas and its spokesmen are never-
theles regarded as trustworthy guides and models by a large
number of listeners. Listeners felt that they had learned
a great deal about personal relations, manners, what to do
in certain crises and, above all, how to be resigned to ca-
tastrophe. I

Both HGPZOQ and Joseph Klapycr warn us that when this
unrealistic material, fit only to serve in an escapist func-
tion, is used as a presumably valid source of information
and advice, the results are clearly undesirable. They
claim that the advice is often 1 practicnl and if put to
use in real life would likely grove futile and Light con-
ceivably cause serious harm. In addition, much of the
escapistic communication, if taken seriously, lulls the
audience into a blind resignation to trouble, and into an
equally blind faith that eve‘y hing will come out all right

ll
in the end.

 

9Joseeh T. Klaoper The Effoct_of Mess Media (New York
| ‘- ’ , ’
the Bureau of Agplied Social nesearch, Columhid‘finiversity,
1949), p. 111 - 14.

lUIhid., p. III - 15.

The words "lull," "resignation," and “blind faith" are
important facets of the preceding paragraph because they
spell out "passivity.” Gilbert Seldos attacks the broad-
casters because he feels that they are attempting to create
a climate of passive acceptance on the airwaves. Seldes
claims that they are trying to capitalize on the average
man's weariness after a hard day's work, and the housewife's
daydreams during her day's work. "The audience must be re-
ceptive, nearly as passive as possible. As a service to his
clients, the broadcaster must paralyze the critical question-
ing of the mind."12 Furthermore, the commercials will
appeal to the customers' ambitions, offer him a way to success
and solutions of his personal problems. They will hammer
away, and their audience must never sense the exaggeration
and distortion, they must never ask for proof. This, con-
cludes Seldes, is the engineering of consent, for it induces
a mood of friendliness and it blankets and suffocates all
those faculties which interfere with the erration of the
empty mind.13

How we can clearly see that distortions created by the
media can have a dangerous effect on the American public.

A psychiatrist, Dr. Eugene Glynn, writing in Televisiggls

 

12Gilbert Seldes, The Great Audience (New York, The
Viking Press, 1951), p. 237.

13gb1d.

 

ul ure delves deeper into those effects.

Concluding that passivity is the chief effect of tele-
vision, Glynn compares it to what is known in Freudian
psychology as the oral age This is the age of intake,
when the mouth is the most vital or gun in relation to the
world. The extensions of this include the taking in of
sounds, voices, and the absorption of ideas. There is also
the continual counting on someone else to supply satisis.ction
and security, and finally, a poor tolerance of frustrution,
which results in the demand for immediate satisfi ction. The
television set, claims Glynn, is easily and agreeably a
mother to whom the child can turn to, expecting the same
satisfactions.l2+

Glynn believes that television satisfies other needs
too, needs centering around the wish for someone to cure,
to nurse, to solace. Adults often have difficulty finding
someone to ta ks over this role once their o:n :zothers give
it up. Hence their infantile longin1gs must often be ea tis-
fied symbolically, and the television set easily fills the
function. Warmth, sound, constsncy, availubility, a steady
givin’ without a demand for rCturn, the encouragement to
complete passive surrender and envelopment; all this, states

Glynn, and active fanta y bes sides.15

 

1hBusgene Glynn, "Tc levision and the American Character, "
Television's In1p~ct on Areri on CultureJ ed. Willi -m Y. pElliot
(East Lansing, Michigan state University frees, 1950), p. 180.

151b1e.

Seldes also sees the listener in this light. He
claims the receptive listener neither thinks nor acts. He
is being entertained in an America gone "static."

The picture of the American character looks familiar
after studying the preceding symptoms. In modern America,
the world supplies and the individual feasts, and along with
this, we see the cherished values of conformity, comfort, and
security.17 Activity, self—reliance, and aggression are
notably absent.18

Glynn then asks the question, which is extremely vital
to this discussion: ‘Will reality match up to the television
fantasies that our current generation is being nursed on?
Today's children are in a peculiar position, since their ex-
perience is exhausted in advance. There is little they
have not seen, done or lived through, and yet this eXperience
is second-hand. When the real experience finally arrives,
it is watered down for it has been half lived already, but
never truly felt.19

Glynn concludes by warning us that if television is not

preperly used, it will be degraded into an instrument

 

léSeldes, 39,. £13., 13. 2139.
17Glynn, 93. 515,, p. 180.
13m. p. 178.
IQIQLQ. p. 181

10

for the shaping of the group man, the man who is dependent, and
outward seeking, the natural foil of any authoritarianism.20

The passive mun--is this what we are really like
today? This is difficult to imagine since the media usually
portray the typical AmeriCun citizen as an uncommonly shrewd
and thoughtful person, a rugged individualist, a considerate
voter and a herdheaded consumer. man as depicted by the
media is the flowering of twentieth century progress and
enlightenment. According to Vance Packard, the men who
create these images, the professional persuaders, do so with
tongue in cheek. They see us in far less flattering terms.
To them, we act irrationally and emotionally. We are
bundles of daydreams, hidden yeernings, and guilt complexes.
This is how they see us and this is the insight they are
using to influence our very own behavior.21 Hence we see
an interesting paradox and another glaring distortion of
reality created by the media.

It appears, so fer, that the human mind has been in-
fluenced a great deal and that there is little room left
any more for intelligence or creative thinking. Seldes
feels that the broadcasters are even attempting to condition
their audiences to despise intellectualism itself and to
especially degrade the "thinking man." (His book was obviously

written before the Viceroy commercial.) He claims that there is

20M” p. 1:32.

21Vance Packard, The Hidden Persueders, (New York,
David MCKEY, “Co, 1997 g P. 70

11

a persist est, unxnaitting, successful attuc3 beln.:; muse on
the men of i1te1li,.nca who he: so iur eecnned t?1& c1uteflion
of nn1* e Lliunl One manifestation of this anti-intellectunliem
is 11.1 i.nn3e un a: radio, televieiun and the movies are const M1117
piecing around educetion. The ebeent-minded professor end the
engulnr 6 ins ter are co11tinunlly fed to the nubile, fine the
pro.ce11",ul men of any stature is rennin: ly use d as e foil
for the "triun:hent n“E.”“'

We are beginning to corylctely accejt a teenage standard
of Life, cont sues fir. Selcee, nothing rust interfere with
our h=i ring; a goed tie e. he strive to have a 1159 of leisure
as exemglified in the regezines, but it eludes us. The
yeung bride becomes dieiliueiencd when she finds out that
she is doing housewer3 and not, an the wcdia always pre-
cented it, glaring house. The realities of adult life
arrive as a series of ohccke since they do not corros and
to the premises made to us. Renee we reject them, er,
cling to the sensatiene of youth.23

Hany years 130, Hollywood found out that by catering
ta these senuetinne and by giving the {eonle congensntory
il lusioz1s it could bring cueto1e1s buck u gtcin and 6-1 mi
into the theatere. The movies did not attenyt to give
peoele information with which they cenid solve their uro-
bless; innteud they aimed at 5:111n; th em a dream that are

on thrili in; in cero1r1eon with raility that they would

LLSElfies’ an. gef.’ F. 251.

2-»
) 11¢.

12

return for further hours of daydreaming.. Even fine novels
and dramas came out of the movie mill revised to fit the day-
dreamo of the public. This fulfillment by fantasy, claims
H. A. Overstreet, is the pattern of psychological immatur-
ity, and because Hollywo d has usually favored depicting
life in glamorous fantasy, it has had a vested interest in
the emotional immaturity of the publico2h

Seldes feels it is the function of the popular arts
to divert but not to deceive. Continuing Overstreet's idea
one step further, he states that, if the media present a
View of life that is cangerous to us, that prevents us from
raising mature citizens, then their function of entertainment
is not fulfilled.25

In the preceding pages there have been some rather strong
indictments leveled at the media. I doubt whether I, or any
of the quoted authors, however, would go as far as to say
that the media were the entire cause of all the conformity,
passivity, and immaturity in our culture. Naturally, the
.media are Just a part of our society, and, therefore, they
often merely reflect many of its values.

It is interesting to note, however, that there are
many peeple aware of the fact that there is danger in what
is shown to the public, and that this danger often 7ies in
the fact that the public is not always being presented with
a realistic valuable picture of life. The media often distort

reality, sometimes for entortainment's sake, sometimes

 

24R. A. Overstrett, Tho Miture Mind, (New York, ”.1.
Norton and Co., Inc., 1111), pIfian.

253e1oes. Op. Cit. D. 2510

13

for sales value, and sometimes for no discernible reason
at all.

What happens to a public which is bombarded, night
after night with frivolous westerns, stock-situation de-
tective shows, and meaningless quiz games? Are he being
lulled into passivity, as Glynn suggests?

It seems that the American public is being given more
and more of a chsnce to lull itself into a degenerate state,
a state where all decisions will be made for us or pressured
upon us, a state in which we will have to do very little
thinking or acting. Today we sit in front of our television
sets and listen; we sit in our cars and listen; we sit in
drive-in movies and listen; we sit on the be oh and listen.
Teenagers walk down the street and listen. We sit in cure-
beriss and listen. We sit in our offices and, thanks to
Muzak, we listen. It is getting difficult to go anywhere
anymore without being forced to listen.

One cannot condemn listening itself; rather it is whet
we listen to and how we listen to it that is the danger.
Walter Lip mann's book, Public Ooinign, contuins a paragraph
which is as apropos today as it was when written many years
ago.

Thus the environment with which our public

Opinions deal is refracted in many ways by

censorship and privacy at the source, by physical

and social barriers at the other end, by scanty

attention, by the poverty of language, by cis-

traction, by unconscious constellations of

feeling, by wear and tear, violence and monotony.

These limitations on our access to that enviromnent

combine with the obscurity and complexity of the
facts themselves to thwart clesrness and justice

of perce>tion, to substitl e misleading
fictions for workable iie , and to de-
prive us of adequate chec upon tho3e

who consciausly strive to. lsltod 4°

d
as
<3

Hence we see the difficulties involved in being a
listener and the corplicntions involved when the source
itself sends a distorted message.

As members of a society which spends so much of its
time being acted upon by the mass media, it is our duty to
realize the nature of the concepts and the values that are
being heaped upon us.

It was the realization of the imnortance of this con-
cept that gave me the impetus to write the following play.
The play concerns itself with some of the p oblems which
arise not only out of distorted media communication, but
also out of distorted human communication.

The Waistuhir»

   

In Thomas Griffith's excellent book,
Culture, he clains that “we are faced with the likelihood
that all our luxuries will diminish us as people as they in-
crease their saturation. We are all prisoners of what we
have called progress." He goes on to say that "it would be
dangerous to think that left to its own, the situation would
provide its own corrective. It wasn't so in the days of
laissez-faire," he warns us, "end it will not be so cultur-

ally.”27

 

‘éLippmann, 23. cit. p. 7s.

27Thomus Griffith, The E: st ~HirrC11ture, (New York,
Harper and Brothers PubliJhe1s, l/5lf, p. zoo.

I would like to hone that the following drama serves in
some small way to awaken someone to a problem which I feel

needs attention, study and correction.

15

CHAPTER II

THE MASKS OF REALITY

"To part from actual things
is nothing, but from our
memories, how different!
For the heart breaks when

it is torn from its dreams,
so small a part does reality
play in the consciousness of
men 0'

Francois Mauriac, ”Questions of
Pregedence”, Egggire. August 1959.
p. 1..

{.3
J
J
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1".
F%
l N

5(1‘. .I‘L‘Ig
m

(The waiting r033 of a hospital.
Seated on 333333 bench is 333313
Jfl““ITJB, a tall, Llawflcr n3blo,
attwauuive'nowun, 3L33t U irty-
two years old. 833 10315 around

nervously. A D3.-,x 33.3rs .)

Doctor! 339 3373 up 333 3333 to tho
, .

\flrt ‘11P-

UV; J
Nowr relax, Leslie. Lvnzyt 13: will be all right.
LLS
3111 he "93d a3 Operatio3, Doctor? 3111 no?

r 1\~
3"! 43‘.

valr‘

(Ho looks at L6? 110 téq 33 2 tfully;
hen motL 033 33? tOLaru a 03303.)

Let's sit down over here for a mom3nt.
(Thfly Slt.)
LESLI”
(Still pleading)
Will he read an operation?
DLIC i.‘33i

Your 333 has hoax vary fortunats. If he'd be33 1003133 in
the di ro3tion of tPa c.3133‘03, ho 331313 have lnxt 313 vision
co"p LGLTL‘. .33 it aha-£3 nox, mu Faie a @033 333339 of

saving it.

(iobbi I}? «‘3 burg'w' her face in

q

.101" ban (is. )

Oh, my poor Jimmy! Why ”ust it happen to him? fia'a just
a child.

He'll be all right, Lflslio. You aid 1 “’14 v.1'll hava to
have faith through this . . . you mjst.

‘

If Harolfl were only AGTS. I don't Know if I can take this
without him.

D \"Lflfl'b-
It '1‘.

on . n ca 3.» :p d-.:.nc rum 2? ' fl , 7) 'k .
Y ca 11 Fifi lOfi' :3efa a f WW , f co, if .ru 11 a
I'm aura he'll fly home immediately.

LLJLIE
:01 E01 fie mustn't knaw anythinq about it now. There's
nothing he can do by being here. If ha doesn’t fllt tfiia

contract in Los Angeles, the business u 11 be wane. He'll
be wiped out . . . he r.ustn't know.

D QC '1“ '3 R

I think you're being vxr" Wise, Leslie. Vcrv ris . I'll
Operate tomorrow. You'll be able to Vth t ul”U" in the
evening.

(D

Tish-3
(N353 head 1n.discaurangnnt
and disbelief.)

Tomorrow! So soon!

(quan mus‘c swells Up in bacV—
ground, ard the ‘ameru ests to
reveal that tcig Kas all been
taking place in a talsvlsion
studio. The Dlnuflrfid's vnice

BWfldeIX booms in ova? the public

address a. sto, 1.

O.K. That's it, gida. flung on. Tho rahaarsal for tomor~
row's Show is u: in twawtf mlnwtus.

19

D EJCTCl
(1353 look-3 brioflv a, clipboard
and 1333 ad3333333 tin crew.)

We might as well strika the 11vi32 room set . . . we won't
be using it £0? 3 W333. Let's drag a £33 chew: s over to
the waiting room area for rabaarsal.

(A voice, it's 0?ncr at f’rst
unseen bi‘ tEe 03 era, afldrasses
13:18 UL}{JU11{

VGICE
$100 3how taday, 533?". Carry, as usual, but 3330. ’
((332315, the 3: in," :3, turns to
face 3.17 :iJNJUi. 83% is in his
e3rly flfifl L03. He's a little on
the short 33d stocky side. He
dr33333 well, but his clothes

are not stylish. 3&3 voice is
husky, but in a qautla Sort of

way. Is emits a £33113: of
warmth throng} his vulca and his
mannerisms.

DII:J?3F
(Surprised)

Well, w.‘*3ra t: a devil have you been all aftgrnoon? I missed
yuu.

33M

In there some law that says the producer has to hang over the
director's shoulder during evary perfarmance?

IRES? SR
‘Yea, out, Sam, you've has 33 doing it now far eirht yaars.
33%

Well, today I got tied up in the office . . . you know, all
that pa9er work this ttma of ha 333th.

. you, 833. It'll thrn you ibto
an orgu3ization wan. It 3111.

(5:115 ShI'U- *3 o)

How about aomo coffee?
SAM
Look, Sorry, I doo't have too much tira to . . .
D I '-~" .5143 11" JR
Wow you're gottiw1 nervous fr1n that of“

Hey, Chuck, bring: two black.» on tizo 51:31:10.

3
O
5
fi‘
3
I")
a
’23

u

(Growing sorioms.)

Truthfully, Gerry, I don't have much tifio tofiav, and I koow
you're rush ed too, but I thoufiht I ought to 90 down ngpa
before I left for homo.

"T“ 1 “"f\‘_
T .5. ..1;.J(J .3. ‘1':

C'mon, Sam, we have enough melodrama around here alromd'
What's up?

SAM

I don't know. To toll you tho truth, Gerry, I do1't x11“.
I Just have a foolin3, that's all . . . just a fgglinz,

Y' :I.""1""’
Di? 3. )J‘k.;\

Has srxobody said soautfllng? Is the sponsor unharov?
SAM
Happy, unhappy. Who knows. fiobody says aoytntng. ngy
look at "ou, and woo 190k at tiom, and sooohow 71u cot to
feelings Culiqfl's U?) a o . hat'z all.
DE “3 FOR

(Josttng)

Maybe they want Leslie to b03033 pregnant aratn. That boosta.
the rating last time.

SAM
(Ho 3003 no humor in Garry's jest. )
Look, Garry. I wouldn't coma down here and sneak to you if
I didn't songhow feel that it was somethinc really important.

Now you're a Smart boy, and you've always done a nice job,
and believe mo, I've apgrociataiit . . . but plaasa try and

do a little bit better than usual the next few days. Huh?

(He pats JJERY affootiowatoly
on the back.)

Uiai 1131733

(Bewilderod at Sao's 80r70usnesa)

Sure . . . sure, SJM. I didn't realize It was anythinx
that botuorod you so much. Don't worry about it. flo'll

make out all right.
33%

(A bit chagrinod at his own
seriousness)

Eh! There's grobably nothin: wrong at all. Vavbo it's just
my norvea. Every day N? there the hatchet's falling 3” some
poor sohmaa's mead. Snip, snip, snip, like they were trim-

.- .. 1 '
TYLLan 3. DUS'R.

Yeah. It's probably just your irafiwatton.
(Ho looks at his watch.)

Well, I'm going to start rowearsal. Why don't you stick
around for awglle . . . relax.

5.7L 5‘31

Relax, huh. Tomorrow morning I'V3 got an agaolntuuat with
George Goaslor . . . at his Poquast. YOu try aod relax.

{fiflCTCR
(Lets out low wh'stle.)

NO wonder yOU'PG WOZ‘I’EOd. GOSSIOP'S has?) ”133.1(1313 chu-qgggg
loft and qun 59 last few months.

3AM
You're telling me. He's the Lead bush trimmer, that follow.

. .‘A‘LJ‘J; u

Look, Sam, stick around hero for aootaor hour. Than we'll
go out, have a raw drinks and a nico supuor. It'll tags the

edge off things for 75011.

Thanks, bu Selma expects mo ho 13 an hour. Eon know how
punctual E0 on are with their sud,0r

SO call her up. T311 to? to forro t flakinr camper tooirht
and have no? Loot us downtown. l'll call Hiara, and we'll
mane it a fsursono.

(L. up!
U1" AM
Some othor tiTO, sorry. I'm n3t in the wood for stotvin;

out tonight.
DLH‘CTfiF
YOU vxoa so a; in , Sam? hi: t gea1~s we've wpr'v mo;1 t) GELBP.
M ht v<:ar3: A;u we've waver Rotten t"”o*’or 10v a1 evening.
5

I'd 11k;’3 to *oat that tire 3’ youra )“o fly. She must be
sumo cook.

Some 000:.

She cartainly is.

(my

r3'
153

'“311, I've got to ba running also: now. Do a “toe job to-
mom -.- .. , hula?

I0 shakes <I3:$‘i§?‘i.'3 hard 3010211313“.
Lon turns aud heads f3? exit.)

3 Lire Q

(H3 watcluzs SAM walk ataya tfifln
32. mtg after him.)

Givo no a buzz after the meeting and toll mo that Pw Q‘Li)anod
I'll b0 ifi at 016V'3V.‘

(3AM coHtian s to ..alk, too pra-
occupiod 1r: iii-3T7; tn;unhts to
hear this la 3t row-.1 1:.)

3‘0

i
r C"
0
#9
Ci;
0
O
.3
0

073.3

31M enters his a nrtvofit. In
tho vast LbulG, ho taxes a wows—
pa.wsr iron his pocket, than haw 3

up iml hat and coat. 373 wife's
v0 30 is board from tho at or r036.)

E: I_J.".:"§
(353 99m3EB 13 a full voice, vet
there is a fooling of weatvnss
8505.13 1 t o)
Sax, is t.& you?
t”? t
8"“-nl

Tirt's right. I'm 113m .

1'11 bot you forgot toe gape?!
if... '1
-III

(‘53 in: tho koad11“os as ho
walks toward tho llvin . room)

You Know I wouldn't forgot your 3320?, dear.

(As he )“tfin3t1
we see that L . . a f
01 f o 1 V6 Rynli emjnct 2
11nd a tel}: ; - “' ' 1
in. 131‘: T12??? :2 J. _ .. L.- 3 '
foil-'8: 1.“. 23m ":J’YE-‘r-S of '“r' 1." 571': :‘fi-
".zazmxg'its. Para). 1"? 12?:me 3 Fa hi?»
.ffon t pr'filfifl of t”h3<T?‘tJTV

,~_.. J-‘ . .. , . p 3.. .. .._ u I
tHiOH.n tum »Luly U1.1L)H3 ;u40

V '7. .' . ' .' 1-, ,‘ .
t-"L’J, Vi ‘1'] ~53 0 L) '.'.J' :n'. J. 8 8:5{120311 in
o. . - ‘
a 39ft C‘Q5P. ham 1: unfualthy
13'.)E.;"l"} . {;'.‘,r) {.31} r 3 9 .IY’CL‘. 3,5},

tioi in a ban. Sow 938 a large
f.amo, % i Jot Vow firfra snows to
ham: on :o?, Peri. {hr U3 of the
wo an 333 rsor to to. 513 looks
and tal Fts mus. 0113? thao sFe
actmully 13. she's seated in

froot of tho only 27231'h‘31'3’1 not": in
the room, a television sot, watch
13 on.)

Well, how do you fool today?

(Listlassly)
Foal? I fool llko I do every day. “But do you exonot . . .
a miracle to baryon while you're away?

SAH

Let's not rive up on miracles. You waver coo toll what God
will do.

82L? 1-1
Well, I wait. Maybe tomorrow.
' 3;“; 51'!
Here's the paper, dear. I'll road It later.

(He hands her the paoor.)

She briefly looks at the 3600?,
than folds it and places it on

the tabla beside bur.)
I'll look at it in a little while. Hy eyes seem tired now.
SAW
Hare, I'll put on another light. It'll be batter to sea in.
(Pa snaps 03 floor lamp.)
SgLfil

(Al'focii O":at:31$r)

Honestly, Sax, the way you spoil mo, som:ono w:uld think ms
were newlyweds.

You're still my brldo, S.lm-. You can't dong €13t.

25

NO, no, I can't. Bat ”fiyba, for 71;? saga it w'ull have
been better if we'd flavor arrfnd . . . ”11

{[1
“Q
“

(Attamgtiwj to pans Off he?
30313331053 11~¥tly)

What? And Lava we yruw up to be a 131’311 111 “an? ?hat's
battar, huh?

.YQ A
1-11“

(.1

Ufl19 k10Ws.

B13178 ti) 1.10;) E113}? L1?) by (:I'JJ'ng'Ln:
10 subjoct. )

£311, What's for 33) or tonight?
LEHA

3

The butcher left the oral—3r on the I:5.t:1‘f:e1r~. 311213013 I thing:
there's 3019 liver, if 333 “31' it, or 3ama laxb chgas.

Liver would be $118 far a 3h1310. How abavt van?

U.J5'|‘I-L
‘ \r‘ ..« ’0 ‘. A“ 3" ‘
Liver, T 33? 250. n.3u’3 11. Caf1371 33.

Sam noes inns t

the maat dud sturta to
the Ntfil. 33 313 still
I n the k t319 .)

to H .‘tc. 10"]. 150

" \ ‘
2’11”!
3», m~1:'3 new tquay?
‘ Q’On
:).‘.IJ~ L

‘ . _ n ,
5:3-.0 talks, ant. became m. ;.er
'1 .i 1 ‘ qt ‘ ". g s s
diam-coo 1110-". 1111 um v 2.3.86
froa L10 tolo'iai)1 set, me c n-
I)

. 1 , -
not agar V3

b)
ox

3:1 1‘1

(SiLfA talks aiain 3*:1.1b‘v.
SQ? turns and walks ba3: inLo
the living P003.)

1- if I~‘~ '- '.' ‘11 " 'v -" f ‘ '2 - - ‘L q‘ x ‘3 . I' a 1 ' . .- ' . ‘v .-
300: 3“; uOJ'L 333 uupq L13 BUB ”Lf aau C)w9 sit 13 336
311112 r303, w2ur3 33 031 talk

(5 a" "
t) .1 1J3'cfi

I might as $311, I ntgpvsa. I get a littln t5333 watchi“-
this tim3 of "1 ht. The day is diffevmnt . . . it 33333't
botnar me, out in ti evuninq . . .

(33M shuts 3f? £33 sot a1i
mar out of the 333 r. 33
ports her 83d rwidea bar t
txe dining vuon ta‘sln. gar 1323
are 1333 and nova forward in
planned, hesitant matians.)

(flu 1:0 53; her)

It seem to me ;»ur 1223 ara 3 P0713? tndav. Yau'll be u;

wad ar312d gm Vt; soon 11 $31 $339 Ln’s u:.

t'

t 3331 at tho

(5%.) h3113 33p 31
13 “1% P003 tabla.)

1

fi

S...'1IJ"-A
(31 35111192 )

'3 .\'. 1". . 1 u 1 r ‘ y .~:‘.‘. I 1 is 1 '1 ' fl " fil " ' O "
1.52.11 .Jtr'oa. 81". L; 333’ .11 .121. 57.31“ 21; even 3123113 {Hm .3332“: 1..-
‘ Q

tin: stro333r. Fran 113t0n312 to r"u, 1 333313 ha a Petular
lady wrostlar by now.

(41-333 back 1130 12:5;33521 213-25. 30:1.-
tinuaa to 33111313123 5333-311.)

‘3?3 $33 3166 533 I furqot tonf.ht, veffitatl3 l
' ‘3 a 2‘1"" :1 ..d WU ' (If? '7'“): .-: 4'.“ L O 5‘51"! (:3 1353751 7.13 a. 7:21,} '51 o c o +‘llt 3111

p

(On heavinr €33 word "store,"
33% laoks :3. T»;?a is coqcern
335 vuilt on his face.)

C" ’ '9!
U38 “-

(U3Comf3vtab1V)

t)

,7~ '0. ‘ *~-.- .7 1‘ ‘ul’ ,‘ '.- r V: : :-’.. ‘1 -. v‘ - a, .
null, you :4;th 3113;! bIJBJ it _.3 31132.53 554-12: 0? ~18.”

3“ 33111111533 13:33 361133.33t,)
80 '%&t did IQ” do Lfifidy?

r3 5? «a
H.331; .11

What did I d? tuduy? I did what I do evnry 43v aftez‘° you
leave. I washed tie dishes . . .

saw:

{.33'1 '5"

Now you doa’t d3 that avary day. Yuur Lazs £331 better in
the m0r3infi, huh?

3 .3. L 'L-fs‘s.
Ya. 333333 to do a little work. Yur z'VQ {qt 3) Vamp sung

dOiYUK Q I)“ .0 Ulli. “r“ o . . 51218:?" .51. rdai’ I; 5:) f:."_)*“$f"f 7“ If)»; 1‘“ ‘33.)" 8"“‘(1
watcraa tha l’J.

3155

HOW did that v0<an 5; 3 out 03 t ;at "*veana pragrafl?

t“: r 'v
93.5.: .1

hey gave her the easiest question 13 the 33113, and she
missed it.

8.3. Bi
That's too had.

She could 'ave 333d the 13333, believe ra . . . five childrmn
333's rat, five. But at least 31:31 gave ha? a toaster a3d
3333 3333333 and a lmi gels for hor boy.

I‘W'

'33
In)“ A

£811,3v33 if 333 didn't 313,3t 13a~
J

t .2313 3.3353 53133113?
1

a
Q
'52.: .. .v .|’ 4- .. , . , ,l '1 ‘, _ 1 V” .. .
P‘le :s so . u12) saw U33 3333 3311 3311 “3? Out.

h?
01

SJL”A
Perhaps. Just t13 33 v;;, it was terribla . . . thaw thsy
bad a movie 0 . . an old one. I tpint I saw it years
ago. One of tnosa pic tunes wit; airard 3. Rubi"snn
E9 played a ganjst33, I suppose.

‘1' 7"»
-d;.".'L

"
[.4

Ya, move kind of r134.taor. Ho's a t.'3 r31110 ”an, that
Rubi : on . . . 80 cru3l.

x" 5 "
A)": c‘.

He always seams t3 b3 that way, doasm't he? ~33 1'w=3':~3 juat
all HOtOI‘o

5:) "33),.3‘1
But to be so cruel.

1.- 5
£331..

Do you taut no to put 3033 onions an tgg liver?
N0. Dow't botger.
And tuat was you” 333, huh?

I wish that mag my 33?. Oh, I'm talllnfi van, 333, it's
Just tr3"i . . ‘pic . . . tga 311335 that have happened
to b33119 Jean in :3.

(BALM 5n 100%3 uh 33th conflern.
lo a alas, not his thsafhta but
marely words to ma a conversation.)

33%

V—

"r 5.“;
‘ - 1-1.4“)..1 J

For boy: JiMfi . YOU ~ J1, the boy I tolfl yfiu EPJWt S G333P‘
fly: kho 33 3 near the 33,132103?

SRM
Yes.

u"...

:1” J 4i.
He may lose his slcht. Ho neeas an Operation.

.‘1 7f

5)

That's . . . tfiat'a too bad.
SLLLI'Y‘L

That poor vegan. I ain't k10w why one person 311311 have
such heartache in life.

331 .3?
I'm sure the buy will b9 all Tirkt.
SJIXA
(Bacovgs 311?“fi1? emotional)

It isn't fair. She tries

But to have sac h tr>.b]n3, 33 z. .
' l ”:I' ? ‘s‘my ;’

30. She's an 1C0d.u;
811 3.1

ha -119 311017 63 and 01t3r8
di

('H 3
ti 16 gin: POOH.

Snlma, plaase. It's just a stary on the televislan. That's
all. Tnore's no need to get so mpsat.

SJLEA

(35PM; s a 3 “ago“ws mnra emotional)

A story _ the talavisian? It's a life, Sam. Somebodv's
lifa . . . and to Have such trouble.

You're 11,5t, Szlmu. It's a tvujic Lui1t; l is. But
tkove's :1 anti to cry 0”)? Laallu Jiihifigd' problams every
n1 ht. It certa€117 1:1't 701'” to hal; hep boy fist butter.
bJIfik
{a ’ “ \s i"
(firylnxé o on 2?01 neJSMI;)

got Courage, that girl.
(She s 1195 faintly.)
well, how did it go at the store today?
53H He again becow s nervous and
annoyed. He replies as if
he'd rather not answer.)
Oh, it went fine, dea . . . fine.

3

I suppose they're starting to buy for Spring alreggy.

(He turns and heads back
toward kitchen.)

The spring stock is starting to move all right. Mrs. . . .
Kessel was in with her son, Jackie . . . got him a new suit.
She . . . she asked for you.

313142.31
I'll bet Jackie's a big boy now . . . must be tall like his father.

r ‘. 1r-
AM

(J;

0h, he’s tall all right, and getting husky too.
3 mm

Did you get in those bathing suits you've been waiting for?
'3 {KM

Neh! Every time I call the manufacturar, he eoys, “They're coming
. . . They're coming.” "be is summer," I tell him.

x.‘ TE‘ 1": f
luau .14“

Pa never had trouble with those manufacturers. One peep from him,
and they'd come down and make the delivery themselves.
c} A 1. ,r

.lel

Your father, God rest his soul, didn't live in a day when

L3. -

Even so, tnzy ou3ht to do

:3 '3 '17‘31

. . _.,v
.AJV‘VNJ. 1

Eh, but I shoxlin't

know how. It gas

aftor Pa diod. ft1r a1
Eouli IQ] ll itaznfl'va LC“)? L
: ul.i ; Lave i1.iic;513o1+

..
1
'3 u

Your father and wothor co
Brio-{firing up tim iii-”5.53 and
It tas tho only may fax 3
Some life, they Rafi. . .
s.

D
L

It was a haunt ”:1

0‘: ('1 I?

You more so 3 ,
you than they owzzr

and not
“ad in

r;
It was all so beautiful,
311 17a, I'vo hood taingin"
stayt ooopofl no ‘tpo on t
healthier if 71 w:vo& 17%
take omort a: a. It a

lifs.

31

- ’_'__ I‘.‘ I-... 1’4. - \ '\. ‘- 70“.
1:1 min ;.:.?wgf'371 L7) {3.1; ;.J -. LEI: {Him-
I. 1"
liver on time.
a..." . ’3 ‘v‘ , £~.~.-41 ~o- -. *7
r);1(") fl’.’ LICS J. 4.7. a '3"). (.3 U.
7 A n - . . . -. ... .-‘ . oy ‘ -',-- ‘u ‘—
31!“ You'rv £111 1wfifthU you
4. ,,. . r .. ,3. . , 4. =. .7 ..
tumib Vaxj 02:17xo,: 11 L ;; LNS :5333
"V- - 9, . +. .. ‘.. 1. ‘ . ’1‘ a"
1,1 F.',;'/.‘"."3 13;) .-‘: 1.1L ‘7; u . Go unfit
3‘" ' | ‘ 7" “‘1‘ ' -~ .. 11‘. . t "f
.327 UN?) Lu!) 2; o 1.2.160 .2 2i :3- -..f .L
it.
0". -.
at"?
- , .,. . “A . t 7,- .. . 1 :1.-.
r‘t‘dhi. 31"); ltali U~i!-‘.Lr ‘. 134'"; E i. will.
. . . 7 .3. -.". , .
r7zging taut placo.

.. ‘.‘
53 -MJ wit.

.l-I _.

.1. ._1. .
11.3.»! v) li‘rgg
’\ ‘0‘
;"t .3.

that life boiut?frl.

Q Q o J
’-‘;' 5'
Chili-‘5
ivo Elmo. “so? F2516 777.1170 gvaqéo in
‘3

‘
EAL S J

" 7’0.

:J A
rgfl .3. I. 1., I, _ .~ - 3)..
LJ .i . O . S\ L.‘(_}g{iiu.-&'&{l.
3.] T',‘
lji'LHI:
(31% is mcoawt arilr lost in
‘h1ou'nt.)
m.‘,_w_ H . a . 1‘. ,.,
. liayo'l no roaso1 11v .2" to
1.7.. .7 ~ 1 . vita-n .
1.3 J. .JUI’Lh 1.153017. gm”. no EIJU'M $.00].
0 a street level f7 at. You coald
'1‘, .‘ ‘0‘ _ 7‘ o s -p‘ ' v
-.: LU. 3.1.”? -.O)11 I Dr :7: '31.} o o o 3. 3.)“!

)5

SELMA

Sam . . . Sam, how many times a year does the talk and up
with you trying to get me to move!

SAM
' All right! All right, Selma. I'm sorry. Forget it.

(He shrugs his shoulders.)
This is your father's house . . .

SELMA

(Interrupting SAM)
It's not just my father's house, Sam. It's my home. It's
the only home I've ever known. Even after we got married

we lived here with Pa. How could I exist without being in
this house? The house and the store, they're not just

things, places . . . they're my life . . . the only bit of
life I've got left.
SAM
(Dejectedly, to himself)
The house . . . the store . . . and Leslie Jennings . . .

(Addresses SELMA)

I'm sorry. I'm sorry I mentioned it again. YOu're right.

We can't leave here. Come, let's eat; the food will get
cold.

End of Scene II

n" 11711

lam-.311. LL II

A‘

(’3'.
LL.

Good morninz,

A 511'] 0

Good morning,

une 27th, if that big lug

Op 9113 0

Oh, well,
I doubt if e's
dollar 112151.

55:01.:

He'll find a way.

8 11;"):3 0 so 1'10 1'4 ffB i s

Ho's always exgooting

don't w1rry sea at

.. ._ '. .9 -, ,4“ .o‘ 1- ~ ' 9 .‘
(The rozoyt.oxisu's roo1 :Lts:de
'., . MOI. _\ .~' ‘- 1 '91 I M "‘
t<1e ff) 1 -00 03'} 1.4: 11,-; 11:23.57...,r,

' 1 ‘9
5.33.11

0 ’1" "‘ ‘4‘: ‘ “.711 n j‘}"
Q;)\.n.\ 11“.. \; v.1

3
"(‘i
in.)

(Loo up £101 typing)

anlor.

L).’.L ‘d:

14311, E ‘0".3 the bit: duff?

‘

5111 the track

33M

thatgfron the size of t11t rizg

.-o‘, ‘9‘ f - "- -‘ v I,- " ‘-‘.. ‘-- . _. ,1 J"-F.‘
’3?) 31-3 51-1 5.310;; 5'.) 1.425.113 21 £35.13 In.) 7.1.0} ‘u‘a.’ 3
(3;? "‘. If”:
LJ-J'J‘l "J-T 3“.-
rm 3'
C) K :11
Ghflflfitifi: we?
‘\ 1511'- .-- .1 .-
" :..-1.~"4. .1. 1.31 ,‘f.
_.,._,.-1.- (. ~~ . _
uJ moody. uO 01 in.
an!) . . ~ ,_ 4‘." -‘ ~ ~v m.
(an! enters :10 011 ”11,13 0.. ‘.:4.~5_u.‘:-7:)

. r'.‘r‘ {11-31;}
Gosslor. u--$- 4‘

n.1n is seated at
his desk, eaxinqz1r"-1J:J.y

t? H.s is a lar1e,
13.15113.

‘18 (335' ‘13?
H0 is extr0?1ly wol l
:1'?10\)Utl

i a ,oara1ce.

U)

into 43 31 1
8011.!“ 1!.) f-JT-l‘i
fii ties.

01°88 Sud

.7)
‘fi

‘J 3"‘({ 3‘.

L13 ."ao1 :us almost a )ronzo-
lit. Hard71es to it, 'hich can

:- v”. a" 4 ._ '3 v .'
{101?} 1739:) 1-1" ..)‘.:';1.‘-.31?1"‘. ‘1'; C .;1= .

31+

'7? .- 4.9... . - 3n rap.
(.u) :30 H --.4n1s ‘tn.u.i;.: 8.1} ”L03
~ ~' :\ ‘ ‘ W 1- ““ . '.'
élJ. VI."- 27.11:); .‘a; «AL-3 {.013}: 51.3.1 hum}
- - 1. 1. ~. ' . - .- *‘r
LuVug 03. 1030 a c.¢-r Li.u
1...‘ ' _. )
3L1.‘ C31. "up.
‘ ""3“"?
lu}1l‘~v:o-5

(Inta fins-:13)

Ya . 1 1 ya, lopc, Tcfi T ape's no wand fnv it, V4dc‘s‘uHL.
No mead. {ave him 471:1 p 12110 2:5";0111 ‘tzi.intt;. I): 107.1 Kim's to
settle on Usi‘o of sour , fhan d» it . . . "a . . . ya . . .
Just maxa a :29 it's tangy? 0129 of . . . En? Fmfi: . 1 . uh

__§

. q I“ 't' ‘c‘l-fli.‘.,‘ ' .‘v _.'.¢.‘ ‘, .‘.. '3': ., ' .-- -L

huh . . . ya. U.n., inaug, an.) Uibr .. t“ a £0 CPL no-
7".“

marrow 1 . . RI ,1b. 250.

('0 1&023 ”n Dd3n0 and malts
11,1.)0 r‘(.L.J.I.) ‘

«'911, Sam, how the devil are you?

L0

”135
Not bad 1 . o and you?
£4.11; .17.: .311
Great, fireatl ElaTad a I ttl a 3“-zfifl be? re mar? this
morninrrg . . . a (up 1:1 Lg) 53001.. C411, 3 “:2 11-5". in)? “

9
you ou;ht to drum dawn to N3 3100 ugquqy, It'q ~ygflt
Similygj roat.

.f-s _ 4,”
0-411.: ,

r 3
L3Cih§
/. ,\ £ "1-
(32.111.114330‘N’13)

Favbo I'll firs? ova? fiext week. We'll 31‘? a little hawfi-
b31110

p.- fi-V -.- ~3-
\I .II- J": J.J-J.l

Glad to have you, of $31: 30. 1'3 3 But tiaé up Wfifib mack.
Par aps Lao L30: afLQV. 1'11 havn awn €iv0 You a call
I :iava so ‘13 iii ”5' 1 . IT.\’iJ' 3 JCS-2:21 t?

sxm
Fina.

C} . Jg‘ss ‘.‘ ‘1‘; ‘- :?

By the may, how's tau little wvngn?

35

SAM

The same as usual, perhanfi a little better.

"":(':‘!"
”AI...‘ u ‘3? ul

Let's Sue, the last tfme I saw boy was at the CJrflstmag
Party, wasn't it?

I don't think eu've nut my uifa

. GaIrge. Ste's been ill
10? 9I I.ta a IV w $2313 ngw.

I! ‘r " r
._.3‘ Q.» 1 L
I -‘ ,. - .3. .- ~.. I... ~ I' -.
On, Was. .mxcuse no. I mugu Lava can:u3a1 ”3r Iign Jim
,I. . 9'"! ..' 4...: Is. '3, .5. - .0
Racazsm's wife. 1ra:;1c I IIIII: apout 301.? If», ham, mm {In

. . . If there's anything I can parssnally do to h“lp,
Why I'd be glad t3 . . .

Hall n w, lat's got down to businega.
(119 Pa lithts .119 01:35 i1". )
Up till this time, you've handled juab one show for us, Sam,
just one, and you've more a II 00 j:)b too, I m?~ht aafl, very
nice. But wa feel tkat "n‘wq s yru OI flIt t-J have a change
. . . do soma’hing differzfit.
Sag

A change?

f

N» 13!-) ‘.3

air-
2Q

N:3w tVCIe's a possibility, just a pass iuility, that wn'll
be ad& mg a new show ta Lac grog I wIn , and I thinx you're
the man to handle it.

x it!

I SUIOOSB it 6990 is on ~hat bj“a of Ipaqram in 3, dan¢¢e.
You kqu L haven't Maw 3943 33(1) 9:39 xIrIavue in

Don't warrr ubugt it. fka Wralav ana Ross Aficno will an

ho production work. Yau’ll just nvareeo t fr)m 01:? awd
o o o o o o 3.3 50th G1: 8. 3 13(1‘1JU’ L} 33-11:) @1151. 3"); .

Well, it's abaut t1"0 7flu rave “a a littla rose Tor: 3”7Ufii
ha: . figen do I st.rt?

'his ray sonwi a bit stwu*:e, but we're nob 54:0 THU. In
4 ' a
1

fi
- "' '0‘“‘ J“ :" 4-: ' I ‘- . .t.“ ‘-
mug be Ldfiu mam , ana~3 LU ”a, not.

81131

Next week: T36 bw*in in: of June! That's awfully quick
13:11 1; it?

”7"" ‘T--T)
\li—O‘Jku -1JAL

We ire takin: a gavhle, I know, but I think we'll be all
Ldt.

(1.1";
YOU'FG u.:.‘~3 bi)u380
G" 1 i} "’

t)

(:0 th up, tuvns avd looks out
tan u1HQGW. HD 333333 ":3 “Git
81.11.3'11120-1-13 r5159”)? fii'léitif-l-Jo)

The Show will run stday thvquh i”r;ua7 from 4:03 to 4250.

S" 135. (341‘ .11) 051.1,) 13 a O"! 1-3é1i.3..1. :21. t. .13
(13.. 1.131341“, I 1.3-): ' 11 111111-73 &”"1.1’3.d
4 ~

T3 tall yam tha truth, 633333, neithmr did I.

(34 law ha again.)

So ysz lealLJ "at a gamma? raglacg<>nfi for nglla J n;.1n s.
?I_; u‘”‘“a3, a.» wirl‘s tnmnw ”JifF;1I a y ars rvnzntlg;ru.t a
b; EJEI': 0

L0... in't -;r~£- ~\ ..‘,‘--- .~- 1r..— - ~. . .--.- - ’3'... Wh_ °. -‘ . 3»-
T.AJ..|'J L). 1.4;.) it 1.4. 1;! Jr, ~1‘Ji1 .. P )7u3113'2} '1‘" i1“, “4.1.19 $3,“; £1 11) .L 91.

Leslie J.nnings is out.

37

(Angrily)
Hhat do you mean she’s out? who saidhshe's out?
GESSLER

Look, 3am. Don't get mad at me. The sponsor's jus
changing shows; that's all. You still have a job.

SfiN

How can you just take a show like that . . . that people
have been following for ten years, and just end it ... How?

vwnr‘ v":-

\

Gills) JUL—o1

For crying out loud, don’t get so excited. Look, Jennings
is getting killed in the ratings. Sue she's got some

loyal listeners, a few old ladies and some tired housewives,
but they can't justify our keeping the show on in that slot.

'

SA}

.-

What's there to justify? The show's justified itself for
the past ten years.

GESSLER
All right, 3am. The show's justified itself. But you've
got to take into consideration that we've got other pro-
grams that come on right after Jennings . . . that we've got
advertising time to sell there.
SAM
So?
GBSSLER
So who wants to advertise on a show that follows Jennings.
The only audience left listening is a group of old ladies.
The sponsors won't touch the time.
SAM

And Harry Marks over at Hoalthglo Drugs has agreed to go
along with this, huh?

GESSLER
Just about. We've been talking about it with his agency,

Staley and Rose, for the past month now. They've done some
survey work and found a change would be good for them, too.

a .. ,. _ .2. s: ,. o .. . s ’P'u‘- -

so tJOJ'WG CJfl.tdd a log huhwd onlfilitn ha
a- } .~, . *0 km , - ‘ ,\ I‘;"~. '3 , ," “v 2-.

Ono's aes2rtlu3 the onus, nun?

‘f‘T”

(J: _:..:_I(§l

33”: I'm a bNS.V Hun. Z'VO told T): e s
not continue tqls any Lnrtfi r.

I." l '.e

0.“, L1

Eistor $essler, ho; can 7ou ho ostly do 2233? how can
do it? Peoolo Yav» list? ed to $1 3 ‘h-; a“ tea your
I'll take 701 to W? office and seat 73' all ih= lozoors
the CHPlSt’GS euros . . . tqe tale ru"". It?» been a

1.2

of their LLVGC.

O L

1‘3? (it?

’.A 3

8 ".
:1

‘5

every-

53:)

l

1;.

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0“ r ‘ '1‘. + ‘ I: " “s 5‘.- " ".‘ T fl q’1”
03? 1 2n.. T au's all, eon . . . SU‘LLJ "t. L tustu‘at
it doesn't 8311 no"’ Spraio
(‘7 fl
'b)o‘\."i
' 3 .h ... 9. ‘ ‘-.~ . -‘ .I- . ”a A n_, --. '- . w. , -v'
I'm airaid l hav- Lu turn so y r sLLo , u. Jessi P. Ltd
pu" 1‘- ’!" "‘ ‘- 0 " “"V-A“ V -a Q 4 .1 II R -- ‘ \ .-.
£0011- “’15"? tliJ‘.’ u u “a. '1‘» s31) s-LLLIE t) (M) . 1.11:}. 1..“ _ ' V‘ 1: 14.3.6
-- nus- . s; a.‘r‘. .‘J’ . “ d I q n - 9‘
J thin S show an t. w a LI’. IS' 3., . . . a . . : 3:5 morn-‘1 a,
u - I . .-'...- .1... . 5 " , I .g, u, — s ' . a- u . a- - , ... ~ .. .
)orsonal PilfflltMKLléflufullflg 0151; 5<u1:.ufiLl 'L awnoriLl &,
I. v -)- ’“u‘ ' ‘ "‘ " " ~‘ 'N ‘1- n" " E ‘ ' ‘ ' " ’ I
l'n saro its sin use :9 01 snotuom seem a owe, 5? yon 713
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a. “mu. 3,
1- s” ' ‘ . N \o -- ‘ «v -.. . .3. .' _ L , . .. .
04.1, I 03‘1, Cuff] I? Ln; show 13:1-I: 3-4151'1‘3 i;.'-.‘ 5.“ n3." -' it :3 flit/‘55
”’J 1' - - I. ‘ -‘\ .' D. it ~ " w. - r b - - 2‘ ' ' ' ' ‘ '
Cu :11 f9, .i::. w»: l a: “y .,.t¢s ea.¢3 to ~; a a: iffn£”fli Ls
yrx . .‘l. . .. T.’ . 4‘ ~ . . . .
sou r a s.os oq raj o in 1 -;3, I 5% )Ou at it. Ha ~o vs
‘5‘! a ‘r ' .. y . a- ‘ . -_ ~ 1-. . ,-, ,N‘ u . v T. v 3., t - - g t. .- ‘ p ,.\ . .1.'- - --
cg,Lr;, l.1 t ,230 iii, ,, 4uie, Li L ;;. .5ui sh mloajly, {Coin} agagg
. -\. I .-.-\ -‘_ “l P. ,1. ,v-v‘ .‘... ,. . ,.., . .‘ _«‘. \ - U c.- .- y- l - .. .
r.»~n3, a Sn n1£a~i a s L).s 3, sure als.ng2::.izstlo to Lfixxility
~ '- v 3' I. - ’ '? 0’ \ ~‘ 1 , ' w. ’ ’ ~ v. g. - - a-n v"
Harry “ rt; m'autou 0:0 exn H;'oermasoor to be :;1on u :Vnitlfifl
on the staff.
6 r 1"
a.“
m‘\.a~». , .. ‘ J‘ ‘ Vf r. “-7 -'~‘.~’ . ~« ‘ - .
ludfO'S KO tool LJ Io OuUE all u '8. I rov)12se taut
Rapp::‘M .
I“ --" '- w‘x
£14,}. in _- 3
.- 5, ‘53_ ‘\r ‘05... ‘ I .. 3". . p“ a .
Y3): re .Luo. .qjfl“..yei, 1-,v Lu) u;k2 tgs :Tfiflhs sullen gin {5*LO
a it ICHP. 0L scars? on ave you the best staff 11 Lho
‘L ‘ ‘ f ' gf'. '1 P ‘ hr ' '1‘ .J a P - '— A - -. . ~ I" A.
SL..;1,:,I,(‘2fl. 1" )3" 6 K 2.1" 2 - Qt] T‘s. "L YWlOLC. "“J-‘i. £37.: - ' " 3'3
t”r3LI’ czgxs Lit: JI.NJJ {La . ilfll ?“y; zrzd 130 10 mass 'to r-a'au
arzzlw eflfiifco L Too {1- m, ;r ;“v; L ~12 - “3r~1wmiv this v-hf?~z~
. J n . H
sugar :“n 2 our . if s.

1‘ 5

\o
to

I d: d plant;r of mark on Lgat gnaw,
rea 1120.

’1
id

$ "\ ‘ r",' :‘ > -‘-u‘ ‘
DI’O 2;..2511'l f PS, :2 .J O

(u; 1.; i.) m) i ; . ‘1 .~
EH _ ’ ‘1: I: r- “A.“ ‘P__‘. F. 9 ' 1» :__ .' a ‘3‘“ ’7 M31" v“. 2" 3...}. .t
OLA’ "DU 1 "C1: 0V3?) .a’ u u .c 4.2). (2.; l "H'- 2"» 035* U!" h“ V“) I” O
‘ 5’ 1-, y"-.',‘.' « .-‘ '5,» -~ 37“.. - 4"

Ta, you wo2t LOO. -332; 522 La 3322.

’1‘ n . a '. " t" ”s V' ‘ “ " W‘ -' . -. ‘.'r '1 1'2-“ . . finv‘“. . '.’ I..- .
Tnut 530w was rug LOP uwn gears ILA? a CLOCx. neat 02.2123232
l“ 1' ' l’ u r .r 1 .- .~\ 4- Q. ,.‘ . .o. .‘. J. ~., ‘._ 1: S“. n
-IdVd J JJ CVuI’ 1h]. J. 55.1-}1J114 m.‘ $,.:_)“‘..5_:

Don't hollara "b we, V;w1€r. As “a? as I'm cgfitarvafl you
can 13:31.8 {'24:- t ar15-23"*e 3121'! out 0‘ " T 0 022:.
of Lara txflay. 60' 7-2 '. '2 253 st 11 flV'L 701
. . now if you u21. 't baht to D) couneguad tic» Lita ccwra~
1

tion, than "aava - that's all, luave!
Leave . . . just 13a"3. It’s so 0323 far :33 t2 32y.

Sure it is easy 13? me to 22*. I 337 it ten tiflns a £27.

(-11-?
s3 12 '3

r1 .. ._ 1”". .. .' . , ....- . ".1, ‘ .'.' ' .9 . 1 .. .
Lon ting» a flu?! r02 trio“ a lay Ami “mat ;f I fit: Luava?

O -L - Ii
bf: . . '3 " 9 " 7. <1..-” .,, r. ‘I ' .3 .x. . .~ t ;I.. . L, 31 _.
lhnzt d3 yruv ngrlzsgv. ”3:32 LHALwJ sag Lo L at? LVxfil; he

'a. ‘-‘- — . I " 9‘ ' . ‘ ‘ l' v. ' v- ¢ '0 ~ .- v' 3 -
32111 t2011c Luat haorgo Laschr ma a kwl at 12 uu12L2;

armor?

7’". ‘ ‘ ' ‘ 1. c)
\A..-J...:L.) -3 .H. L

If you u":1to luave, ynu can, Fgwlor

5 Q .L
.. - a"! .. . ...<— 4-. V m - .3 .2 I: ' 4". ...
yaars 0 i arl qu G}7Hmd o0 muwo uUCLSL 3 2w? .7»;m .
r_.., 2 ,. x19 ..,.,.-z .,. .. . - . ,3 3 :- - . --
lg»; 00111 Th flmlb { LL uLtsggLogrz It 2% hrx haL2:va SLGCN’ :23

al.’ "“. ' " -,' " '1 9‘1» -' fl‘” 3‘ -.
Ldyuo 3-2? u1-o C.u “ #3 mpg dam
~L 1 ‘ ~01, . I. 4. .An’ .21.“, u- ‘r a \c- -. 1' ,p
no" “953 v 3—71 ’4» ”—157.3135 3’31 5'51 311-. 21:1- 2.20 ‘3 1323.37} 3 LL; :1‘: F- 27"?“
. .‘V _.‘ ,._ I- L” - , I. ', ‘ . a . - A" 2 _ -2 a . ‘ . ..

as 11 hduuicu? ran qu3 >oncd. As a Ratter 31 302 HWY
pochy, 2'1; qun 303 a ¥eUC to max; um 73%? m‘n3.

-v¢
,,.
N
\J
’J
L’d
V"!
.
9
0
C
r;
3 (1' w

LO

One week!

Ohu woek my au'ru v1v12~ me, {M1}? You already kwow what my
answer 1111 be . . . L111 you said, I'fi a "fi 1 Uj) ”an, and
so are you, and annLhJP thinfi that me hava in cowmnn is that

we both need each other vary badly. I need you -OP a 11V-
check, and you fiend no to keep 8 million dollgr 1,0” or
Izaz;>_13r. '

If that's the 1wa you see it.

But you're still afraid of old Sam rowler . . . afraid he
won't go along with :11? p1 mans rnvbo he'll u1ltf§r 30%?-
thin: in Harry Maréi's ear, a1ra3 .d Gulfl‘l t-at you have to
drag him 1n.bn?a like a young k1fl a.d try awd scare him with
your loud taifil

fiobodv's tryin: to scaro you. I told :anI $33 way thinjs
stand awd that's tha way they're fininr to be. flow that we
,bochi :now tha 0L cr's position, lct's and this ridiculous
discussion. I'm a busy man.

8 ‘11”!
I'm glad you krow th{ way things are saint 10 ha bzzcausa I'm
not 53 sure.

All right, 81'. l'm not rain; to sit here all 1‘11113 and
b11719. va you V‘ wt to 1113t m9 and utty lull - — gcod
luck!

C! I‘ .‘.
b’al A!

So now you're oquauin: y.ursalf $121 City Hall, but

I was afraid you'd take this kind of an altt’bufle, Sam.
Purnaps if you won‘t 113-6 0 to we, v0u'l.L 1".hJfi t3 tho
9.5533503.

30V!

U

Th9 ago

“L.

LU”? to 3'
'JaUngu

I took the libo
agencv ropre
o'clock.

(sax--

00 A. ..

Hm'll ha

I

n pl. - .. ,H n‘ x :v
ilLuUOl uifiquS
S

i '2‘: f; a d

.‘P ‘. .n. -._ r. v' ,
(an... :14 a gust--110 :33 if LN ”11:
- w H _." .\.'_V‘ ‘1‘ ..
tingrd de RQSL)

«a s ‘g‘ (1 '~-'- :1
{,.ii-4-~)-.,)-;;. a

J?"‘:(;e:3:1o a ~‘-",“\‘3L’:i."-il’lf7 "01" *Fv'w w? t1“: em
Eo'll b0 at Ffljr “$5138 at ten

- , "a. . 1"’
I'LQI'O ..1?.”~‘{.U.3, fin-"‘1?

Sim

,. “no

. A ,1
an. 4. 4.“

t0 1. Jf

'1' -
"t’!"'
LA.‘ 1'

i5

8

'3' 1. ,- " ~—--‘- ‘ -‘ ‘- -. F 4v p , 19-.v .9 '-
Lmhfl, . bo Lu *Qlfifi y2“'d butfimfl‘11160 ‘0»? so?w¢nu:1: 9:9
" H .. - nfl « . L~ . .M

GOLD. L43 1" I 01. .L L OD MO .1833 ; l 7: CC‘ 3 3:: ‘I g

I appreciate

yuvr oonc@?ns

1, ~..‘ v.‘ r1» 1 , y.

"La; rdsa, ”$1, EJJ'Ll XCuffib it,
I", A ‘1'
02'. hi

I", v '1.“
$4 .3 f): ,4

0.

.‘ .. 9 t .-.. . .v . ,~,-,‘ ”j. M . .n :, ,_ 5) ~ __ -. N.
wall, I alfia,a lghn u) Sudrt LvU H1? uf; .Etu av L v1 orat. n
‘fi' 4- - " It ., . V!‘A‘V\‘fi ,- ‘h 1 v~y».‘- g
COJV'BI’S :16 0‘1. 1 'J-.:a-1 9:3 was 2123.730 1.: ;.3...‘t;1..~). =.'-."1 I mix :1 £1 ,' J. .38 "f
8} asll. Parka s Wu'll fiat tafiu; "fl a~d d3 *W:% a 11% same-
." . \' I
11191-0.
G' ,‘ “xv'j!
‘ / ‘\I.J
~n‘- H --~.‘

PU; 3.1.1.; 8 o

f. p ‘

Q.."Ԥ-'|I
I'll nave “"

- 9"
Spare timo.

5111371 1. tié:\?f3 :“r*2£)

42

(Looks up munacingiy)
YOu do that) 3&1”. You (7:0 $711213!

(3AM axita.)

’f" . 3
mfifi @? bacma Three

b3

SCENE I!

(The outer office of Sam Fowler.
The SEChLTARY is typing as SAM
enters. He shows signs of con— .
cern from his recent conference-
With 0833191‘0)

SAM

Look, Joan, I'm going over to Harry Marks' offices at Healthglo.
I won't be back till late this afternoon.

JOAN

Do you want me to call you there if anything urgent comes up?
SRM

I guess so . . . and by the way, there'll be a man here shortly
from Staley and Ross. Tell him I'm 111 . . . I didn't come in
today . o . you don't know when I'll be back. Tell him anything,
but get rid of him.

JOAN
I'm afraid you're too late, Sir.

SAM

Too late?
JOAN
He's already here.
SAM
(Looks around)
Where?
JOAN

Well, I told him you were in a meeting so he said "That's all
right. I'll wait in his office," and he barged right by me and
made himself at home.

4h

In ry office?

.nat could I do, an“?

(Tro moor to Sas's or; fies nouns
and TJ._:J\..'F‘LI.ID 1'; :1) :‘fi‘q 8+- C3733 out.
IE8 is Dunn, Bout two'gj-o"ht,
bosoocaaclod, Rani 'flnssol of

a brixht s 113. L18 bl )1d
hair is cut snort aufi stick out
of n13 SCHfll) like porcupino -ood«
303. H3 is wourin: a llfiht
cnoc Grad no .t and 10nd tie.

Eo's not at all the Madison
Avonuo storootjoo.)

MEHWIN
(Oisrflowing with frlandolip)
You did JL st tho rL;nt thing, 3153.
(He turns to sax.)

Loo 1rd Forwin is t.Lo moms, Fr. Fowler. Iponard Morrin.
(Ila tfrusts out F13 hnrJ for a
l.‘a "(38 .QL} 34' :f), a1111 SJ“ ‘1": 10$ -LLCC- :'&.,1.;-; ]_y
sna :08 it. )

\ 11'
SI’LJL

(Wearily, as if sorry he's boon

HL)w do you do.

‘1‘ ~ '1‘ rt?
All.) Lh’ L .1

Well, it COLQhLLl! is a bwi t, choorv morninx isn't it,
sir? Saall to top into your office sod got down to t :3
old brass tscts'.

Look, I'm very 503*}, bollo 0J9 ..6, but so at in: unoxpocted

has some up. I'm afraid 1'11 have to cancel oar sogtmnr
for t Ode. :4 o

I!

Cowo, cowo, gr. For or. .An a raintnont is an appoint ant.

45

Here it 13 o o o in black and white.

(He takes out his aprointmcnt
beck, Opens it up and reads.)

Ten A.fi. Sam Fowler, room 66h.
{He thrusts the book at Sgfi.)
Here it 13, sir.
r= av.
with
(Unimpresacd by his actions)

Joan, look through my book. See if I have any avail? his
time later in the week, please

JOHH

Well let's see. You'rc pr tty well tied up this week . . 0
Contract meetinL‘ s, bud at conferences.

12.35%: 9 I};
(Eloquently)

Grant me my stated appointment, and it will be the bright
spot in your week of financial druflgery.

(SEE looks at JOAN as if to say,
"Where did this guy coma from?"
and JOHN replies with an "I don‘t
know" lock.)

pr

6? I'. 1
ohm

All richt. All right. I supgose 1t 13 my duty to hear

Lw‘

what the “agency" has to say. Hold all calls, Joan.

(He motions 2.3'LN into his inner
office. After they enter, he
abuts the door and leans back

on it.)

Well, Eerwin, what's the lowdown . . . what have they got
in atore for old Sam Fowler?

‘91 UV: *3?
I. ilJisMLaJ

Now, now! You're rushing me, Hr. Fowler. I don't come to
that line for twenty-five minutes yet.

:3: «.1

Look, I've had a trying day today, and I've still got a lot

£6

to do, so if yau'fl . . . .
3’1}?

Try and 3--0 it £303 n; g3:lnt of View, sir. T73 3'3"37 »?V63
m6 3 lliuxl M) {1.0 343; that :filwgld take tnnnw?7-?TV3 35311L33.

Haw ;oos 1L 1003 ii I tell 333 110 33310 bit 11 five rinutfis?
Patianoa, please, fir. Foulgr. ?at132331

as :5
033.311

You wean I've

1 listsw t) ';o. for t333ty- fEVB 3:33:03
33f3r0.1..913w w: 3 '

(3021.1 73L: 1".‘3 i"'t3'.-“B for!

El; ;; , but I ca rt't go back to
10:45, and I rually hate t3 3111
1

a J r. 1..-
. 0 1L ur‘ C3333 .d 33 a.
9‘? a 0!“
1.41.1.2".

O
y
9.)
O
O
t
L
H
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T
)
m
u
9
B
CD
a.
13
1
f b
m
,- b
m
J
i...)
f
(
£3
1
p 1
H

1.‘ " .. I .‘0I1
1 ~ .
3 \ipitHJ.1‘?

Come now. Let's not wagta 1 m3
now, I'll mwka it brief. hull 33 $3, I 7111.

I 1.1.
1
o
f-q
1-4
1'4
g":
1' 3
{'1‘
c}
('1
r.
i)
*3
cf

0 5 u
U-‘ 0-3-5

have 3'12 5'31; tin) 313333.313» 13:) 81”?”-

‘ ~' ref
5.01..” _. ,1

(Ho pie :3 s an attac.a .3,3 33
3&3'3 dos: awfl 0pe33 1% no. It
co.tai s a 3 all sta'1 03 ‘uiCh

33 a 333’33 of £113 .“xrts, Ho
E1123 Lgo 11:53 ciart. )

DISCO) I'ZI'O F~7'1.1Uro VOW 1"?01‘3, 1001": at;

r
(a)
0

If. . .r
h}, 5 .'.'

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2:22 2
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This chart 3L3m 813% “331.3110 Drain cantrol 333-t Er-J 3f

Ego nan—Trascviptian ma set.
33 why don't you say it? Wuat’s with tha paa3r?
" “51‘.- T 2:?
(fixasn3ratefl)

2:)

D3 F232;} t7...‘?.111{ I'd 233113.21? '7

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but
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nave to? Do you?

"A

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1‘0 my? 5.. g 13.23 J: -14.. : 1 3 t! J 2213} DC}; it

Now On 132.3 chirt, VB. Fowler, thi

123222.211; it 85'37.21.‘.8 . rig}: 53-22-3232) 52:31:33 are 1.23;) 2;,2- 1.23. {gm}? -.‘2, 2-3331
spray is up p3.nt fl. 5, 31325 3:b is 33 30133 1.53,a 3224 311. 3
agwirln :3 fivwn 33113 0235, v a aSFZPin is £333, E32321,5413'a
2.332.: 332:: q2‘r222‘“! 02;- ”2,3233'232’1 15: I213; "1;: 2":1'2133'1'27.

a bar wraps. Lfink a;
1

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7236,11 6-3th 1.2) 12.2"? v (223 2 .‘ .2‘2? r. w a”
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( 231300 3.1113. )

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SA 1‘
(30 3u*“*n,1y

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L'm 833?}. So what 3133 “avg you go» L.Lro!

ThiS'QIJ 233 h. Tgis tin gr32h, ?3. Parlor, s 333 ms t“at
-.C‘v—012_..2t 5:01" 002‘31; of 13123 0.2117 1.2720 buy 1.1'1111111‘313'10 L2.“ 18

630 over tun ago 3f twe~ty~one. N33 . . . 11 aithy-ui at

per cent ara over taouay—ona, tale 33a23 tgat only twciva

.' . . " J..." .. --.- - . ’ - -3...“
‘ o .. - . v3_ \ “$fi - , 2”. 1 ‘ :2
$113.23 1.23-3.1 1.3.2.1 11 121.1. .1...- ..21.,.---.2-_:a. R...,2w:
C‘ ‘ Y!
in. ink

R .. {2... It 0

And Lf only twelve per 301t are U3 3r tuad22-ono, t“i
that -

6’}
E. 2
P.
r

[.1

SAM
(Becomes antaionistic)

Adults are sEcxgr thaw kifls.

You co 3331313 have a road? wit, s‘r. . . a rea3; wit . . .
Now, “51:15 does this tell us? Ah, 103 “a arH :3? o . . It
tells us meat ktda aren't buyin4 Health 10 prodvcts. R’v2t?

C.‘ \ ER
LJLLAN

v ybo they don't R303 tuay not h337“31333"2
'ififiIN
(Forces a lau h)

tfir q . “1" 'w 3? ”i" -.A v 2‘ _ 3- ’
1.21-1 - 12-2, dos. 1.02.1, 1.12.81128 t0 LEI-7

3
Burr; “43kg has 3332 233 11 at ail is
1102213 1:10 teen-.1551: co 1.,- J' , :27.

.u. 1.11) 2” 8. 1"} ' (”13 A' V: “b CY,
01.; all 7ut to brim”

' '2‘ ' .' ‘ " " ‘3 ‘ ‘c.-" i ' 1‘. '3. . ‘4'- 2- -9'. — ’
Amihaabrms1nv.qu-tuu--Jo 33.1mwa2umf

£9

MERWIN
Very Simple. Mrs FOWler e e e pimples.
(As he says this last word, he
flips to a chart with a photo of

a teenager with a horrible com-
plexion.)

SAM
Pimples?
MERWIH

Right. Heelthgle will hsve a neW'complexion cream on the
market in ten days.

Sim
Is that what you came here to tell me?
MERWIN
‘Mr. Fowler, do you have to be so antagonistic toward me? An
I trying to put anything over on you? Am I wearing a Brooks
Brothers suit . . . do I stand before you in black Italian

shoes? No! I'm just plain old down-to-earth Leonard
Mervin. So why the antagonism? Why?

SAM
How does Staley and Ross ever come to hire nuts like you?
MERNIN
Usually they don't, but I saved Staley's daughter from drown-
i2%sd8X§u2§uJS?eie853°2032’§§£“§?83232§2£. Em 31““ the“
SAM
(With disbelief)
You couldn't have been a lifeguard!
MERWIN

Ho. Believe it or not, I worked in a boardwalk concession,
selling sliced pisse.

SAM

well, now that you're dealing in all thisfancy research,
you've sort of moved from one counter to another, huh?

SO

. " ‘ "f. - . .,‘ 1, ‘ .1 re" " ’\-‘ v" t‘ “ ‘ ‘1‘
'm ai‘I‘hlu #- ’.'s._‘!..'t h.tlu(;1$‘flvuat.fll "also“: ark-'.1 e o e

C: '1 ‘33
u.-“.“ I
v '- 1- "U r. l‘ ‘ V- . ‘ 1" ' ' 'r ‘ ’1 L .- .‘ I z 7 ‘ g '. - a -Q'
Horses it. .ur so it LOJu, let's out was the Prat m1 t.
J

L ‘3
., 3. p .- . n .. '.3. ,1. ..r 1-1..
a oUSLness? unit's 11; uJP-a nhflt's
I

I
maLnfimy an? at LJRIL
1101111111. all 10 ;:*~:.rts and over;€:,111.;'1.'_;‘:

This 1.3 it, Mr Fww or. We've Eat to 1311 cofiwioxlon cream,
and L03111.L21fi s scold . t 1 , '1fioo if to?
you; eat son to a a matrrcvclo jacket in a1 iron lunz.

So they're yelh: to :znuege the 1regrd1 to h

‘ ‘ .11 'IT

'.I £1.30

T1.at's it.

C‘.’ We
5.): ~'

But Hurry? ark's stuf has been selling. Why should he unit
when he’s ahead?

”V15 a tly You don't kuow tee size of tE11 t9ana~g grog: 3?.

Fox 1~r. Tgore's thouss‘is of tho1. “‘3? swarm hone aft r

scl1o 41. T~ef rocus.ure toe i' sot.. They turn up t1e
i

sound . . . ever sody. Hi n.1n an oftht mile radius can hear
the pr0,f;:'."a:-.. 713; rm 1 13301.1-

T. ..v- - 1 ’1' ~v e '~ g
(.93 saunas .113 um!) OIL 1.71 an

A whole homeohold, fro: children to ""a‘t'qre is, say Lurod for
noultnzlo!

0
D
0

And you wast do yJu t ml of the chance, Kerwin:

Think? w10 b-1nus? I wouldn't Elave been 3911?”” #1634'3
when I was twon-J-RLV3 i.f I ever t.H ou‘nt. I'm .Wa 3 pgii to
deliver Lne f1.uccs, -r. Peeler . . . Just the fijcrcs.

51

SAM

Ehh, it's so easy for a guy like you. You don't think of
people. Everything is Just a number, a pie graph. I'm
different, I guess. I become involved. Sure, to some
Leslie Jennings seems like nothing, but to others she's not.
Here, look at today's mail. It's full of letters addressed
to Leslie . . . look.

(He holds up a fist full of letters.
Then he pulls one out, rips it,
open and unhesitatingly reads it.)

"Dear Leslie,

Please don't give up hope now. I have faith that
Jimmy..."

(He looks up for a moment)
That's Leslie's son.
(He resumes reading)

. . . will regain his vision. My boy was stricken with
blindness when he was nine and will soon have an operation to
partially restore his sight. We are praying for you and
jimmy too.! Signed Mrs. Joseph Monato . . o Is that such a

o e?

MBRWIN

Oh, there's always a thousand of those crackpot letters
coming into every program.

SAM
(Genuinely hurt by Nerwin's remark)
Crackpot? Here . . . here is another.
"Dear Leslie,

A million times I've tried to sit down and write to
you and this is the first time I've ever been able to do it.
Your son is very sick, and I know what a terrible thing this
is for you. I hope that his sickness, unlike mine, will
not drain the life from him. I hope each day that he gets
better and that such a lovely woman like you will be happy
again. Please don't think I‘m silly for writing to you
like this, but it was something I felt I should do. Sincerely
yours, Selma Fow . . .

(The color seems to drain from
Sam’s face. He repeats the name

S.lma . . . 3Alma1

Well, V?. , Lar,

anymore, will 3c;

wan't

yo1

13, sir. It'll all
J '1'1‘1'"i "1'38 ‘3'":

001.111,... on 01361111.

01701? in a 110.41” 1132‘.
ll be P-11ac d by a 1wne ad

‘ '3 I
w b-‘VA 11 . r .-
A L‘wL-L't ‘11 2).. L’ J -.-’

4‘ . 3 . .
1' -» J
-L‘:t J'Q'I . )

in a
.‘L
J

:9 lottup and

: in his pa Hat.
'83 Lluhaly aHoai, aAd
c1333 on deaf ears.)

LO W P“? abjgfi U3

2 3 awhiles u10ad31¢§£fl
oaks at him, va~o1uq for a reply,
} own

an uWk.an1W a :1w0r3 Ala
tuxa lamwmilauqhs)

flsion
dear 0L3 Lee 110

"...1‘1 :1 {A a tuDG Of

31%

What . . . what's t..":_at‘1‘

I said, fafigot it.

O‘J’Bi”.

IVA ‘lt’
nus-t.

o 311 I.:it9

That's right.

Yes, boys aAd wirls,
actually r0113 0A.

In a 1100K Leslie L

{3311'}
+1 1-". "‘~“ A L's" a '1 \“e 1 n".'n'f 3’
£41 .0 ~14. L “LL93 C(31) hols ‘J._" LUK-i BJHay

("a loshs at "1931? blank 3,
. .~A A..- ‘.--
son ..imt 111 a 9'219...i-:1~;d Swain).

AAIn 5 will b3 all

u 2“.

'You don't have to rub it 1A.

5's?iud t a?
A08
711$? back

“a.

s

t _ .a

n3 most ‘fouqhtx ‘.8§;fi
1" ‘9 1

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1.1.: ._ 1.1.3. 4.1.4 1 4

.

:3. ';'

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n Li 1 C .
1'»- v - 1‘- ', “4 vr '- c A
Mi“; l‘JS US$41.53. 2. “ll 112.3 1’. ”(387.3 . l‘t
'13 - ,- 0- ‘sh w ,
i 1 N Of 2'. (Latin; Ar: 1.11:. 1:31 {is . )

to uh it ii.
iAto a salesman's putcn)

first comfilasion CTQAA that

.q

your 339

¢y 0f," -’ u I‘-
(LL) 1331.; :
araiiln" 3
bamolv 133

Look, MJ. 3(3rVing $15330 I'd .aJTm’ 3"atm it
1 -‘~ '3 I.) J" .4 ‘ -‘ "Q
:13 at 3313 3.1;; 3333, 33‘33 tomorrow .

. W . [‘2f 7!

(L0 333 at

F- ‘1- A.‘ '0 .—-. 0‘ '4' ‘ “f. - <‘ 1"

W l

tug‘t n, tux: £311., ‘Hnws's :33 ‘u-
in}, at 11..O3 A.i Luuxa'll Lo a y‘uv
finality 3.31;.- 2:)3’f3i11’51’T-tg’7 1. 131" 3 A"
the 33',€3T1'3 53.3-3531, u. i tlmy'd 111:?)

t: fl “_'
t“! 1. us

(3“iu

Wlat tifls was that?
3‘; s 1' t:

9
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C)

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k

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Hora, why 4

WE

II

aufo
“an an

3 t
1 1:3 23331:.)
Wednasflay, 11:80 A.fi. , , . Stain? ad”
°_w
33”.};
(Bittorly
W100 of tue in to lot 20 in 31 it 33 333

at” 11 g

y».

t’:5 ,~at's a

4.-

33 fWOI
to 1 ave.)

("

V ., 4-, u a W~ 'h‘ ,7
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1.3”}

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T"... .' .3” L"
“}-- - .. -ll 0:1 1.5-4.3
Tomfifraw mira-
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1 12' 1:16: E- .3 L.
“I _ -. ’ .. " i ,
13 b3 wngu a.

guff- J. ‘3 a

031 y raacfie3 for
:«ad C’-

"’ $2.311

i- -L :5.

G73.

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3033303

"33,2333 LA if; band.)

\B
p

a any
n w.
\ ‘\I

(I)

’8‘ r‘.‘ 5‘. r7
(_Am:qmr13)

Toxorrow . . . 11:03.

Look, 3?. Foulor. J) 1 -
if a faw prefilo d3 n;ss baa taxng ' , i
with you. You’ll ova? moat an? a: taosn m;sfit3 anygox.

(gaufiha softlv awfl ironically)

mar . -. ~ .. ., ., ., 1, ~.. :x... ,, ..s .. ,. -
Sure. Jhat contacn flaws a »$4 in my bguJflegs .ava vmbh pwaple
11 km {3:121 t

O“ ..-_ 1-0—7- “T
‘5 '; 1.”).
"v /‘ .., .‘ .'.".., .1‘ . -_
(alt-3 3470sz LILY.) u DUI".

Well, till fiorurrow . . .

T'~ nocv- . 1.\4'A “‘2‘-
(Mu h»*s3 aid .n.uS.)

'0
37" {-
Vf‘ -v‘ ryq-my , p . 1:1 Q 9 9. ,,
(is :m w¢h eths, ”J1 pleas up
a . V . a
fisifia's :ictsro from hLB desk
. .3 '. .
azu SL&POS at it.

Till . . . tororrow.

55

(The living room of Harry Mark's
lavish apertmcnt. It is late
afternoun. HALhY, a mindle-aged
man with a rather soft, benevolent
face is putting golf balls across
the thickly carpeted floor into

a small ring. HAnEILT, the negro
maid, is standing beside him.)

HARRY

All right, Herriet. Let's try it. Now pretend you're in the
gallery at the tournament.

(He strikes his putting position.)
0.K. Try and rattle me.
HauRILT
But, Mister Marks, ah ain't never been to any golf tournament.
HAM". Y
(Exasperated)

Harriet, the club championship is important to me. The only thing
that licked me last year was nerves.

HARRIET
Well, all right.
(HARRY prepares to putt, and she
yells out like a baseball fan in
the center field bleachers.)

Lookzout there, Mr. {arks . . . Heey, watch it there! Look out
baby

(He 10 ks up completely stertled.)

That's nice, Harriet, but on a golf course it’s a little more
subdued. Like . . . you know . . . soft whispers and shuffling
feet. .

Yes, sir.

{3

I wonder 1L
Lookit hon h

1‘ L11

pl.-

0

6’3

w:

don'tlnmmu

Exnnso me

Oh, you Know a
13:) )OL’ZCP 37m]
13':

offio be tlflt nu

+! (r.

U-qu‘

C") 303:2».3

After

tel;

He certainl‘

1.?!

:1 '53

Q‘- g n ..u .
i

3.5.9.; L‘-\~.L.I'}$

i-a-w :wr .. . .
( 131...; .L HELLLEL-A)
..J. r ‘7'7: ."1
8.1" 3-1!). 1:“... ”J. S
A' ..‘. . 0.
tis) in a v 1
.. .,-‘:.— -_. .‘ . ..__-_ ‘ . .
:ar.s is LOL“' to an-e t»
. . Q , . . A
hr ‘.cod over t nre 3:; ~1

‘u "

. TVA
a . 43.nL.

a
no rin s a:
tim r: i e la D; f

‘A.
nut, s-r.
','. -_ J“! 2‘ .'
(ad: 141 62L:
r’ ‘- ”fifi'r
iii-'1 LL11.
" .. u. 3" 0- ~ ,. 1" ;o_A ..‘1
n'vfigfi? se;d ell has rel

1“ “ "‘ i
. ‘
1- 'I‘. lz‘i - .31
(1‘ (ft-{l ‘z_,",‘ ' ' .11?)
.. w ...‘w v. 1. 9" ‘w .3,
v-ul;fil' .»0 chap. 3‘ vaaLafi. and .i".:‘«) 0
'1‘.‘ '7=!*:\1f
33.12. .H.

(EL) briviWéais

4.”...
1.).LLL} I") 7?", )

‘1'

have

3‘ I '3
”3135:?
. - ~- «I ‘-~ .- «- ~ 3 . .
a 133:; u; 3&3 [PG ”‘31."?! '3‘?) S ."-
I. ’, .1,“ y‘ ‘ 3,..._ .l- ‘ ..
l.‘ 2v.}U 1!. a l.’ t: -LJ. .'. , L" ,4.) 1.». ' .) 1'
~.. . I. T'! 3... ‘ , , "a.
tame i us.nys 01
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".9
Q
"(in 131,1".7
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..' ‘ ‘ , ‘i 7",” _l,_ "
til? Hiub, Sam. we :LCQ

you been

U!

n "1 ’ 4-! 'b ' - 5* ..g. 7 w. v n ‘\ r‘ ‘” :. ’1 "'fif’x
K) MILO AJ’xuvhil .| £44143 .3. (p...'.’
vi". '9— H - -¢' .7 F It .. r
bin—.143, a.) 01.3. it. -\- V1 0 3-5-1 a
. :2). o I
'1. H -r\‘tz fil’"'\”'
:4 w {3 3:22.43.

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a (3“; as n uaendl' .

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tte tie uJOf~

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t. J. ft“ “‘28

a}:

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-~ . v V ' ‘M
(1 If D g > ‘ I‘M ‘ .I‘ ' 5
51-3‘.‘ - L a W l

'5.

juht fave it to me.

57

'1; +,-.~ - 40. - ~‘ , *
(L0 “'12:” 3 bad: 01:30 Ln.:amd 33.1353.)

:33 12-}

From Vfiuat I lawn": ab'3’j'3 Calf, it lmffim waofi.

Watch this one.

(He putta awd twist“ as the ball
just mIssea the 4 “ -

MI"), {21:21.3 6:: rn 1v... 3' 3‘12231
:51. i

‘. T -; .V-v- ’ '~ - 5‘ '- ' ' '
£ooc,khagr%! % rually man't have mien time, 333 it's a bit
..vtzgaozwanu. 3a . . .

.71 owrawu vva ‘7 .).
VJ , ..‘\‘-.kAA)t;) ii), 03..st I
1‘)

:70 t 3!“) d a}; r} 32.? $314:ij 7.ng 33-3) 5:1 137-3. r~ -«
, w ' ~~ ‘ "" ~ . 3.1.14:
I can't broax away. by L a

“33 way, how's fialma fiuut1n~ alo:"?

"-‘-~'!€\ J‘ ".J 3 F '-
“fiv'a Luv azlmo as al‘Jajs. No cnahga

7w“, "”‘\T
. l s” |rt
4L}... :1.

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p": 7')! r“ 31, llm..., U «111:3 " ,3 7...

WA 1'!
unfit:
P1? .2
1-113 1329124113
'1' firs}:
minaf

Look, 3am, I tried to L-

1
O
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A
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C
L y
a—J
(we.
3.;
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I

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u.
.
i»
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(3.:
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may tak it off, Harry? Why?

"3!! ‘9; xi
OM‘A‘I

if (7-? 7-7 \H‘ Ht ,.:_- +‘. tn . 1‘
3:" “LL, km {388} mars at .L 0-. :mld d’)?
I“: _ . n: 4" . ,-'- mi 7 .“I
‘ud $obad3LS. Mbo .y v.111 1m>301 tra thi
L yQLa. It’s a dud. It 105 GS liwbeIeps.

.3} H
C,
«:4
{D
:1

$3 cf
*2?
:4-
0

[773 ~,- I - 3 -. .~ "m . fw-
“at you re 301133;, L Iry. Zia foods are “avinfl,

1'
~
-0
1
‘N

80 the goods are movinf. We've n.t fiistribW‘eon. 40 a3-
vertise in ma3uuL-v3 afifl fl3hspfi>nzso

O . ~ r ' .‘ ' '1‘.'-‘. J'\- "I *0 3 a - V‘~ ‘n ‘- h
And now yum “an: to ”r40 139 teenagers W1L3 toLo 12-3“, hum:
"‘i‘fifiif
4. 4.3.),

\

You understand tho problem. Look, San, I love tn; show.

After all, whoso idea waz Leslie Jennings in the first place?

It was youra.
If 1.1st

It wua nd m3, 313 now it's avup. fihat 3am I a0? jam in
businuss.

\ 1 1*
3.3.5“
. o '4. .- .3-.. - a... _. .,,.,..'... 2-”?! ,3 .. ., .fl
Larry, b311033 “0, 13's more tnan Jdnu bngtass, it's pGDyIQ.
”3"? ' In; f. 1 “p55 . ’ 'f «I ‘l ”1111‘" 71-3 ‘r‘ 7---n "~ MT ' I'VLI ’-""- 33 3*«1‘ ‘- '5
4.11.6 5’61-5LB tux) .7 J .3. 1,1...‘11'4vuLl 013-311 :3- .H—w; L ‘).L ‘1 91-511 5 a

9 Saw, I don’t vant to a scuss it“ B013 eve m3 \.rha‘
r 1 km W be“ you feel. “at i};-mpe's n3;.1w: no he d333,

0“

. . ., T _.';l."‘ ."
1'23 ha. km .321 1.6“.

r' .- “7113-1,
Not: ‘ 5L‘J.

Hold it a Saccnfi. I Wfifit to t~1 l ’133 ' as you're hnru.

(H Wa 1:3 Us 1311”. afid yells

.g-IMJLljxl. )
- - - ,, 1". 1..., . . ., .. .
30333663 Banu1cel uau‘s “are. G'Nna 13 for a smcond.
5" .1. I. - . .. ‘— 43! C‘ “ “:3.
( .36 .. 3.1 “..3 178.133.. 33314113513 2.2.“..3- . )

1 v .. . .. #- ‘-, :- ‘ -4, , ”3.1.1- ,.-.._-.~..~ ,- ;._
Daj a d mi an 8.3 putuars ar1.1n& u133 033733133 azd 03133
and guouns“3 unous hflfit 0153.

x?" ‘5 ’3
U.L-:-"

Could n‘t wa *uah pmnd a f w min tea to 3iscuss

59

1rr73r33r
1:4“111~ 1.L
’1 o 1 . -._v . =- ‘1 -, 1 3.)" 3 ‘ 3 ' . 4. -
(4W.~“1-Lm tali._ , fo1n. .0 «gap
1‘ ‘a y l‘ 9‘ J t H .t ‘.
and lJ L .L L. -13 51.1 )J’jc U 0)

Y

Gish, it's b;un so long sinca I‘va amen "on. 1 do wish
You d coma over once aqd a while. ixu'ro still my brohha?~
1

. l-,-~ '4.“
\2.¥-‘ l..f1‘-‘3'r .

133 enters frfiw :50 hallway.
rt, a 1:351@ on t

auyjt 33c ' is hmavflv gwado
up, and La; ha;r is a aLado of
dyed blacx. 31a 13 extyovely
3611 3-0.“?! .)

f? '1‘
‘ '~ ..I Ja'icl
no . ‘ V ,, ,. '9, , 3,. r
‘IQJ. , :v‘. 3’ ‘5': mt b11115" :33” 53.321136?
(2 1‘ "
UJ‘N-

Just a little business with Harry You' vs lookinj 'ooi,
Barwico. L03“ 3 little we1”};t, 1 830.

A little. I don't suphusc ”on br3z¢2t S Wa 31th you.

r-w
hi» I .."u

SEG'S Still 310k. L£;”3 GOP I'L {HE bUtL“P so fast.

vixWWW?
£3... -_LU 3,;

Why don't 1;? on {'13 up “1:3 80f JU sistaz.’ once and a wit? la?

I've bnon s3 busy. 'Esu ktow briflqo clizhs and charitias.

:3- " . ,. . 1 ' .. . ,.. .-- _,. {3:0 j“ ‘ .?
333's upmat Docu35u 333113 Junnln.s is Ruin“ 031 tug a.r.
h ..‘.- ‘l ..
L?- . r L'xj-J

. ,. . f“ ‘ ‘ y m '5'" fl ‘ . I “ ' 9 ‘ 4 ' . \' d ' A \ .~ -" 3 J‘ t “ . v "
Really, Omfl. 1;ab rqu -5 33 3351 . 43 raaLO lu ans “ll
9 r ‘- ' . - . L "1"":
r;gxu, out ea .J . . .

See what I mean?

All rL ht. All r
1.1116 1111117144, .9 I (Lid
I have sonethin; t

EXCHSQ 171‘?) 8. 3r'33 333..“ ,
sunper.
.qrfi'1cn plea-3L3.

w :Lat I -ave to 3&1
please, 13? a snug

WEstaver

815111] 7, Iri-JJ. ‘ 'I‘F:

Barr 1031

Wall, Sam, what is

”I‘m 1:210” W1 :at tile-
ovar tha past few

33.4., 11:.
listen.

you're

d- m
0 5’:
0 d'
0
H0
Ci"

yau'rc do

Yu'ra t’.<
thing isn't just r!

J. - .D .. u
e:~.r\) J. J.1~3

60

21- q ““‘5'
-.L. qulLi

ha public thinks it's jgnk tcway.

SAM
“ht. Lfit's n“* “at in a3 ar*””.rt over
't co-u rare LI) ary~a. 1 ca.- 0 use 130
313, 39n1.313- to cat off my chest.

1 IE

31m. I'va yet a few thtnva to do be? 310

SAM

I Vnow we haven't knew a 0103, fa"11y, but
opinnts us all, 1.n n ore mars t1a21 one. »o

.d, sit mgrn.

111.!“ WVY
no—O‘-.§o'

(TO Bernice)

’3

:33 can wait!

first

one t3 Inllnr mac-:3 ave-0"-
:ht arv'ifl hare.
tn *3?“
-ux1 Lil
(Turns to 31%“
it?
3.1.7.1
Me: 3113 J3dninis Show has 33133 to pnapla
0 O
I' ‘_ '17)
EU 2.1.
to start that azain, I don't want to

3:1. -41

'mxov 1,1t'3. . .

(J
f—J

it's, 8

61

Y?-|1\V‘J‘\"
§uk' ~&§.a.

Chi"!

Please, try anfl undarstaxd fihis. 83333 b33.ives in the Show.
To her, Lealie Jennings and 13p 13731" are r331 poopIa

So what? After the ahow‘s 03f the air, 333111 forgst absut
L ;.‘-.-3 I11 3

Tnat’s vhat I usud ta tmIlI Haw 03:1 actfrb on a twane§~ono

~
'."~'. .' ' 'F'.“' . ‘ r , -— 93 a 2:— ".V’J" Y,- 3‘ a.
.L:{ $421 SCI‘GOK! :2 Jail. (Ll-IV“ '.‘-~L:‘:’-.L:- DO 21. 3:, J'J‘AJ’ Q Q Q L) J U ‘1.“(14’ (1‘3.

‘Y 5‘ Vm-g‘s‘"
. J". - Ln ‘3...

(1.3.3 L; JLIJ. at: 3’1):

.' t \ -..\, "f", ’I.‘ r‘ ‘3 4"“2‘ ‘, [v.7 r~ I! {V . 1” I‘ v "
£031,170 LIME} ..Jr'uxl11"0.».’ UL unis) 31.33133, 3.11%.... F1)

P cryirnzivat 103$,
it szlould b3 easy cugugh far 333 to 3311 her.

if:

at

Ton years 3303 maybe I cauld have. In thasa days I Ln Ufht
it was funny. H333 I 331 333133133 3 show and my own mire
too: the 1013 j thing 31:;3IQIJ . . . so I hu 0301 her. 313
was sick. T 31 . . . 3333 I ha an t3 309 inat Luisa poople

. ‘ . .1 ,I, . , - 4 3.1..- -. .. '-. 1-1
roally Juafi 59333I_nfi be “up.

It's still absurd, 33m. ioooiy is really fiakaw in by a
803' 033 1°11 o

Nobody'a taxgn in huh? T0112223, wxat 0133 was thera far hor.
SAG 333 a cripfil”, living in a 13.131y nyartn3nt. Who could
she meet? W210 (37d :3 :3 33:31.3? :1; 133215 :10 113313310113 t“'".at

the world be 33:19 L331fi.3 Jslnings t was n't so ward, but? JVG

L
If" a
r g “n“ r
at: ';‘{1

3nd you never told her:

I )a could have bean théro 313 ninhta I'd 3333 hawo aid
liStGfl to 333 nrnbluta th-t L331i3 had. flirht 3i SO? 31 ht,

J
a
35411?" 1'3“?” 113133535 J:"*’~.nin.:i?:3 fatally Were :31" (+3“! "’7“-""h

J. .1... at.)

and blood. H.w coull I tell her otysruiso? It gave her

(1 \~4‘-"L“>"“"N {a "L-D ‘ : “~’. ". 'l' ’
u -L,Jq 41":‘1.’ no a...) Q Q n. U1 U 5--.; L.k .4 I.
1 “P '1 V
~00 J-'-..I..-l

. - ‘ . , _. -,, ‘- -.,. . L . 1-1“ .-, -, ..1,. "f ‘ $
To think szti T43 may .3 KGHL has up L v99 an LL- _ :nrtn
.. ~A‘n. ~1(-.- ‘ . ~_- Kr J‘:~v'-. '- I‘
floor it's no 'w;.u.vr Sdu LaJ .Juh1n, '

3H0 Wankel to qtay
me, haw wary t 3
in the 21818 t 1.3"} 2." w 99.158 4"

I N. ‘9 1‘ ' ‘\ 0 ‘ .. .uu " ‘r * - § ‘ ' .1 r' ‘1‘ i ‘3' .I‘
in z flu VirtJCuL. 111 dfluh they. 1011
1 1 .. , , ...., .1. ..1 .2 .1. .. .q 1 .. 1 . .2 1
3a muem U3 Lo 1 :;~ .1.h 19c? SLSLOP

1-5-
I

-L‘C
I \-

‘86} it?) Saar-3 11.01'. 3111.21 "aft?! $11-13 £1. 73. I ,0 UT.) than) 12'7“.qu
Llnst 3316 s cm; 1'11 Fae F’1U3L:l't aJILJS 311.1% 1 a):?3or?

s"

:3; ‘1
us. .1.

1'. m1. . 1-..‘- 4.1.. 1" ..1 .. 1 11- -1 1...r 1
fi'l Lnut's L10 f11~r LL131J.3 BfwP uwfifli"w'81.ut unfit
.. ‘I - ~
Ou’d CVGfi.tPLflU E» see her.

a v ‘ J“ .. n ‘1. ~ v v . y , ’ 4- 4 ' . V' . . ,1 ‘ (A t ’ ,0 yo. ,- _.‘
Lure I axed. .3 .L's 1“»? a") .1 $132.03. {the ...91116 '1. Lt
allow_ng ms 11 txat romp.

The norva of her! Af,er Ltafi vou did!

Sam, Lloa 38. It's been thirteen yiars. Tducs‘s ho need
33 11Lo L113.

L’L‘. 'A
‘. . - J, M' 1 .. .,.J - .,., . - . 1 , '-
Talrtaen yuaral 111rtoen yuars I'va koLL it inuiflo me. Do
, .. ,, ,. _,z.. "'.« 1.. 11 f 1., ..g. _,. J... 1: J _ a
you AHOR WHLU JJJ a_q .3 traa houufi, $03 icar

t was he?

2.’
’—
Q
{a
£3
m
M

J"-
ul1J ma?
‘Vs'N
I..'1LLI‘,Y
, Y t: ‘v . . h ,1. ' ° 1.. ,. J , Q 1.1." 1 3“.
Lao&, LaJ, wfiau L098 tJLS Java to do ugu t.n "JL'?

VH‘JX

5"r3 nvt tal:i~r a31.h Lao nkcw W 1 .L “a
. Y. 4. " . .. . . ,- '- . ' . . ."~- - ‘- " - - _ ,. ' o
ifs. we’re ua1rlnfi 1L.Ji LEG dag Mgr fat or ULU' a”‘ 11ft

63

the store to his two daughters.
BERNICE

It was my privilege to do anything I wanted with my half of
the property!

SAM

Sure, it was your privilege. So why couldn’t you have sold
it to me? Why a stranger?

BERHICE

The war had just ended. You'd just gotten out of the army.
What money did you have?

3 1'3"":
It would have taken a few years. I would have paid you.
BERNICE
It was my half. I could do anything I wanted with it.
SAM
It just about killed your sister when that . . . that
"straneer" walked in.and took half of the_store . o . your own
father a store. It was like taking away half of his memory
. . . his life. Do you know what that did to your sister,
Bernice? Do you?
BERNICE

If you're trying to say that it was that that crippled her
legs, you're crazy, Sam! Any doctor can tell you that!

SAM

I've had every specialist in the city look at her legs, and
they can't tell me a thing. They can't tell me why a per~
fectly healthy woman should lose the use of her legs one week
after her sister sells the store to a stranger!

BERNICE
It had nothing to do with it, Sam!
3 [Li-l
It had plenty to do with it! She didn't want to see that
store anymore. Can't you understand that? That store was

her life. She wanted to remember it the way it was, so she
left one day and never went back!

6k

BERNICE
If my selling had that effect on her, whet hepwened when you and the

"stranger" as you call him, ran the place into bankruptcy one year
later?

:5 £131
Nothing.
BLRHICE

Nothing? You mean she didn't care that the store was lost
completely?

SAM

She never knew. It wasn't difficult to keep it a secret from
her. The lawyers understood, thank God.

HARRY
You mean she thinks you still have the store?
SAM
Yes.
HARRY
All these years?
BERNICE
How could you do such a thing?
SAM
How could I do it? How'couldn't I do it? She was my wife. I
loved the woman. Could I see her destroyed because of a lousy
store? Wasn't it enough that she lost the use of her legs?
HARRY

But Sam when I got you the job at the network . . . you could
have told her . . . the would have understood.

SAM

What Job, Harry? I work in the store from nine to five every
day, except Friday, of course, when we're open till eight.

HARRY

And when you come home at night?

0 ~ 1'
of}. ..‘e

I talk; )J“' the store.

.. ~.~ ‘ - .- Lu. - ....--.. 3493.
My God, that you've none to uzet ~nnew'e 1..3.

‘ .....

\. ‘ - 'F "\ “ v " "' .v‘ ‘1‘. K” ' I .I' ‘ ’-.‘,‘~ " v'. r'!-‘ ' ‘, l 1 J ‘ “ ‘1’ ‘.

NLat I've 03mm! I'Uu .nuo L0? 3 93/} a; n-» ao9nd ever 00
'_ ..., 49:} .u’, . 1' ,-'. w ‘.."-,.-.. 'I.*p_ ,.,j,_ ~.-. 31-

11.1 Ida's? C J LL-Z L 0.1.0:.) 0 J.- ' V0 1’;.1-V"3 ,1 L.KJ:‘ ~: t. J L.) .... ‘2' .L.L. A '42 u . J 31 $21 ‘ .1 3 In

.- .. -. a. .1 I L} 1,13,"), .3.
.2. "1 8.10321235- -3\ C .111! C“: {LL} 6;} ‘ I):

a" .- #3,, .. . v.1'.....'1. ..,, - *‘. ,J;t‘,.J.."
1‘4 u1.d yox?re fidul ; m93“d in s3 n.300uxon 1“ re ard to
'W - v a - a *7 . . -‘~ 73-) . 9‘ ‘ ,. u ' y _ } u'. v- . 1'
J .) .I .3. 'b ‘JI"S UK) 3'13 .1. a“ :71}. 3'5“.» 301113;};‘393L1'll L1 1.40.134) 1:13.. 1.1 1].:
e .w, . .....:- ,. 2.1,..4. s 2 1.2.2-. ...-
fi's;mod¢uh.tu e :eu ari. 3r> ”Janeen rm,€nat

1 .9 I. '-. . -. - -~-- ‘ w .' ‘

3‘1”! '3'30 {38 0 1 1: T-Lil".:-7{;_- 8.9.1‘Jt‘ 3’3 x- L 1.11:, i6 3». 0.5 A: 3.". ($41", 13.2"0.
v, V r. -q -’ ' o - ,..... -.. c _--‘.‘W '. g .- p. f v n- ‘- 0 g - f 0.: - , u. I O.
that ' .911; 1.2.6.3 ..J..-.:r1:;._r:.,.o 90$- )3 0:"; hnvin, t.}-1f)3,z__:s Law-.31 15.23.; . 1.x. 33,
Yr \vw‘n.
4.x}; Lida}...

w.‘ .. .. .'~ : i .f. ‘u‘ “"_'_ - :3 4.~. l.““' _ .4.- I‘wu. - e'a- “an', . . "_
3.3L] ”L" a?) 157') .L’ 1‘0 LLJLLK: [HZ LUZ) Quid}: La.) 5-1.“) 53". '3! Lyra-u ‘-~‘3C8‘ 39

rug” *1. - '_"- '7' ‘~.
()1. L).- -: 2‘ .. J'- ...3. a o o u.

-' . . -. n.» -. ”.- . ,- T ,. at. J_.,g. _.., ,.
l. ' ...n TIL-It aS¢.I:.J.11L'J ’ 1.211.}:3 3 fl .3. ‘ .3 ‘3‘. 1:: 1.: 1.11,: 3 ‘.)\1 Q

'r'.- *w\‘.v~r 3171
.L)'-' Ann... :3.)

an 'd "1 lsogething also to become etta m-d t3 if Jenni
loit than air.

q

a 11?: aka? frou nor.
c ‘ 1m eon a,=“u in?

9...

Once 31"”htj "oj've tuL31 a family at.
Do I hav- to go Enron n the fixer? of

E9

‘1'. ,xrfi‘f-

Mtzi 51‘s.}:

Sum I want Tau to rcaW‘?0 eccethrnr. RSWOL“6? $303 xxn ware
’ . L a
Rims how we were alue eye 1

3.
c?- E
D
L
:5

a. . . 1 . . W l» w ‘- " '1" \ ' , ., r . h u ‘- 3-1.. J- V“ a‘ ‘ . .v. ’8, “.0
l" L210 LL21 11.30 :1. i.- 1.) S A US .’. .L i“ i) 1. ‘3I’L3 ail“) u - Z‘ 1;.) a ,‘L'J . .-'_ J: ' J. L

o ' a " '1' I“ ‘ “‘ ' '1 " ‘ "A -1 ‘ \".' ‘~ 8 :17. "avt'k . 3 ‘
[’ve never .. utbe . ._u;. ways, Sam, ego Lhfll u: uLCO LOIJ

66

her half of the store, I knew it wasn't the preper thing to
do to you. I never felt right about it.

17"" I??? f‘ 1"
u.x.1..‘..;fi um

Proper thing! You took the money quick enough. It built
your business.

HAEU’i

I took the money because you wouldn't leave me alone till I
did . . . You wanted to be the bi; manipulator behind
Healthglo's success.

l“!“‘“

BLIRNI on.
You were nothing till you had that money!

An you think that a few thousand bucks made us one of the
nation's biggest drug firms? I'm sorry I ever saw that
money. It's been on my conscience ever since.

332N103
I'll bet it has.
HARRY

on. e 'e e le. fl' anrs we e 'e'. ne' I sue is
”in, b 11 v n ‘y h _J r ti d I k w how r h tb
plece meant to you and Selma, but there was nothing I could
do . . . . . . later when I saw a chance to hel. you out

’ 3
I did. I got you the job.

BQRKICE
This is the thanks you get for doing him a favor!
HARRY

Bernice, please! But times have changed, Sam. Ten years
ago Healthglo was a small company, remember? he sold a ew
cough drone and some aspirins and that was it. But we've
grown. You've seen it. Sure I‘m the president, but I

can't call the shots just like that anymore. so have stock~
holders, a board. I just don't run around making decisions.
There's college boys working for me . . . research me . . .
advertising men . . . accountants. 'hoy tell me what to do
and I do it. If I don't, I look like a fool.

You mean you . . . Harry harks, the president of Healthglo,
can't make a simple decision?

67

V74 Y') fir
1.3.Ldlbi.‘L

Sam, for crying out loud, I toll you ore . . . tne vote) k
nauldn't 105 US. an tW-, . . . we've got a new on :umor
rzup to hit. '

§‘I
(.0
re
{—10
;J
r Q

You mi,Lt as wall face it, San, Leslie Jinninqs szod.

L"
f‘.-,

0411-:

Finished. I eish I C011: toll yns how “d”? ‘ijos I've x1shod
that darrm show was finis‘faed . . , but :zrwolrm, or: on I'trs
had the fooling that once Leslie Jannin s wont, ovor~fi £25m:

\"'L~':.'il.3 Cl‘u?.13:;-l.0. T :at Sticfi‘loffi ;:3._.1"a would first out a‘WJJJ: t a
share, and about mo. I don‘t has: shat I fe‘t teat may, by
I ,5: st '11.;1J to Ems; hot-r f:l&}2_-’""5". I had to hoes 2".“1‘ in her on-

(Frustrated and beaten)
What on I do to tune you understa d? Wfiat does it take?

in his 0. not and
3 out a cr'“;;cd 1.3tt Mg.)

.~1, . «-_ .. H... .. .... ._.-
IY'JiS-1 I (1;.(1 ‘., t Z MCQLU‘J) 'u‘.) 5.1 J‘fi' LI?" ,7}. :1 .330 I .- Meals ’15,}.3 f‘G'S r3)
neodi’or511do KH“WU]0

(Elie ‘ anus the letter to 1133?.
830.218 tau-£3 letter 3.L»t:i";Lljf at
, 'hen stares unhe isvinj at
so .i"a.vwe. When he loozs up,
“013 the. {if-”.STJC‘,’ of
31* s pllth for the Tirst tine.)

‘~ I v‘vq—r

“a... UL... ‘

o . . 3a”. taore’ no road Var t is. I'll us has: nitn
you Eff. flo’il toil Aer tun truth. It t}n't be as bad as

68

(B -33 :Tabs tEQ lctfior from
(V

Lila 'o hood goo boriro to road
it.)

(‘0‘!
L)£%.

v.4 ' L 1 '- r. . 1,. w ,.v.. n... ._,I .i , ,
ud'll LoII no? moth n3 . 1 “Duh“: “as huffiGLOd yot.

'.“;I \rfi“
wlg’L‘LLiI

.1 .' g- ,N .v ‘w __ .., _ . -‘ W .. 1 r - .- . II..-" .

Tomorrow at 11:00, we’re loouiufi at bgn max 343“, “gab
3 -..,. r . P ,. - ,fl‘,‘ , M
031163.. 0V4. 1o ”CG do but) .1uod:

13 ‘

a a ‘f’
a .
Q1].

I Iran. I 3:323:17. Brat I Cil‘l't 133 15.6%) it "got. God only
knows wnat will haAn J . . . mav*a . . .

“an...

13".‘1v
5)!.1.[ \LJ

(175.215.855.72 3: 5

5
Jt

.9 1:33 1381'?)
Maybe you’ll cons to yuor senses.
(SL6 waves tho lotto? at SAX.)
Allowing this to haoooo to yoar own wife. It's disgraceful.
SAM
(Boaten, ho progafios to leave.)

erbe) this and "'ay‘o: that . . . who Rams? halo 1.»: was that
a lifo woulfi ever cofio to something 111:3 Lhis .

'7! 7:1 ”fir
O ‘IJQK‘v-‘v‘v‘flr

You'll be there tomorrow at llgLQ, won’t you? I tolfi GosLlor
ami 3538.183 b.9211; I YJaL'Ltod. you)? 0, 7.. on t: '.«-':- tiling; baffle“ it
wont throolt.

f" H ‘D

L). s. :1;
,. . . . n, '- n ., -. ‘. ,~;1¢~ ‘rTg‘ an) ~01 ‘
A courtesy tavaard no, no“, uaiPJ?

. .7‘ . " ~ I .-\ ‘. ‘ r W . 1.. “J. _ “-2
ttfl . . . yornags Ln: cw 344: «111 be scoo-

1'3 ' a?
.4. 3:13.

1. .. _ .L. -_ 9 .2 .. 2 V 4;; .» ‘1 ..- 2,. 9 ..'_ .2. 1-22.”. ,2 .
Sne'll E&bd$ L5 wfim, my $23 ngsu Lu 4: «ago “MAL elga

4.x .. .. ’6... - . ". J.‘
udmfie 14? “G? La u.£

‘: I ' . --~ .- - - , v» . 3.. ~ ,. . ,.“ - -
uxim o o o 0231:.“ .LU u . '0 .r, J 2 L "911 T"; Tn: TH.) l: ' 13 {J - ’ ’8. - “12071
'. 1.- .- ' e . .., f .., ‘, a, ~
Li‘-..3 L: 1—1.: \ J- ‘5’ . . . J. 1" v “-1.204 3 £:—‘ - - fl

1" 4-. -"-. ..9. ,v- ‘-
(nosuru;gin~ Him

7' . U- ..,. ,-‘A .. '. . .. 9 J.
-. ._' . «. v _ a‘ n- : 5 ,v.
( I-L -3 oz\' Re {.1103 L ¢ .5 "’3 ~ '- t-J ‘L) A, U I) L“ )

.4“. .. ~.-' 0

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...

If it won't upsvt 30?.

Sam?

($12 only make salovw

|...A
‘1'...

I
v

Goodbye, Harrv.

".1. v 4 232..-
(3‘ LUIS "..J 3 ‘-‘_{.g}." :_\ )

(no
' 3

g

 

n a so

(aflfl woacily

‘.,,.L A ‘, 'l .0
{3-1011} 3 14.3.5

Ha hangs up his coat add stands

f3?

0 ' 'I ‘ '
L) -1 MAHLL‘L

Sam, is that you?
ng
Ya. It's m3.

1- xx:

('2
s)

.. AJrAh
Did you bring a paper?

C” '1'.’

UI‘Lih

I fgrgot.

c2 ‘r‘m
LJ-JLJ-h-‘JL

'You 3030 homo late and on top of

(‘0 9 ‘ . , .
(um Qatar
(1 A I).

Lasiiu

I’m Bulieva m0.
8 ' :T; :3.
(Asfi nishad)

'23—. ..L. . _.
£U.A&u'3 wrong 0 o

. your face!

r1 2. ",v
nae-23.1
3.7 <1«1.-,i . x, . :3
n0un-ߤ'3 Wx3n4.
-~ V‘s»
:1. “2.241

.‘ .'.‘, -
haggeneq at due

3 533 3012911,
tvylnfl to rolleva the day'3

that you forgot

, _ 9
rapbanfi

the livit; raon.)

his

70

apartwont.

71

‘i‘!’ ""2.' II .' fi‘ I-a
.oxo. Nfiuhlfi"8 “ran .

U!
r h

Nothing baggaged at tho

.1

as
P

i.‘ txl‘
A I'O '

You don'c Havo to $011.

C3 “ ‘v‘
UALJ?

That darn tolovision is on so loud; who can hear ht self 5 cat!

30 turn it off now. YOu'ro hooo. We'll talk.

(3A1 walks over aoi shut Off
137113 803 0)

So tall mo, what nogpeflod?

f1?

9; L 15

Nothing at all. Rothin . t was jzst an ordifiary Coy . . .
an ordinary day.

Q 91:0;

I put a couyle of cglozon pies im,tho ovon. thoy'ro pvo~
baoly Warm now.

5‘ A r7
”35.4

You Shouldo't havo bothofod. I cauld have @353 it.

$011, you were so late, I t
got Rowe.

3332337111: you'd be 3.31123 7?}; 2213.021 you

Your logs fool stron or?
SIZ”A
'Ya. A little.

‘3‘!!

1 . .
Lfinsluz

(he woos to t.o ono and takes
out too chicken “128.)

A

I think gqoy're done now.

I
f

‘3';
(w!
' 735
. w
ci"
0 -1

¥—d.

(lo corrio. than to t;o .-
room table, and than ;oos

~13: 13:23:35; mom to :- .159 :3 3)

a

1 IWHHVUL 3133 a medvzon you. 33333 9,2

O
g.
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PUD”) 513.54.; S .33; $33 .2.-.031" . I. :51 .3 3.13 5."th 3
2 ;w) cilvo333 333 333 3933'

I

a...)
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They never h3V3 3331"%.5333~3 n: in th.333 thinfs. By the
v1: Ely, ISLE-LU” \) Old ii k; ‘ LL].- 16 C0 \J'fil ISA-.3: Q

Called no? Haroli 330?

Hot you. K3 c.1113 d £33113 Jonniuvs, 1is wife. Ho had a
3

fl ._ . I‘: .‘v 2'; v -,n " ‘ "3 ‘ "I “‘ I” .' ‘
1.3011(1) {.33- 3,: J‘dif?‘ LLS 151.331” 13.14 13

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P121333, 3.31.331. D.) I .413: 3..) 3132.3? 3.371211; i...a.t 3.3 :11 our,
izt‘?

Sam, sflxo 3 in t13.313.

,3
if“
1.:
w
M
O
H

Ploaso, not tonight, door . . .

!

LOOK’ doar, L*3113 feflfiih s is an actrafls Ho? §pobloms
are just wade up. It's a 31 “H .

. , _,..-1.. . '2..-°.. .. . .- “'1 ,
So, how :3 " gu)p13‘3 prooLmns aoan’c flaws up?

73

SAM
That . o . that's not the point.
SELMA
Today, Sam, she was waiting at home. She knew Jimmy was being
operated on . o . and then the call. What can she say to Harold?
How can she keep a secret from him?
SAM

It's Just a story!

(She becomes emotional)

But if she only had a little happiness in her life, instead of
one thing after another. Just a little happiness.

SAM

If she makes you so miserable, why watch her? There's other
programs on.

SEIEA
(Almost sobbing)
I can't ... I can't . . .
83M
(Almost hollering)
I don't want to have to say this again, Selma. She's not
real . e . the whole thing's a fake. It's Just there to
sell sspirins!
SELMA
Why do yon have to yell at me like that, Sam? What else do
I have to do all day? You're at the store. I'm along, so
she's my companion. What's so wrong?
SAM
It's wrong for you to be attached to her.
3131133 I

She's in trouble . . o I have a little sympathy for her, that's
all.

7h

(Bl-urtg out R.'L‘Jl°~':3 13".)?TT'I'3 l‘GaliZEfi:
1L; )

And you 33 nd 33? lettmro.

('1 fi:‘ urn.
u--‘-s..a, ..‘L

)

How do you know?

'vv--

‘5}: L E".

"1.“. 1" {MV‘
”~40 l.)_'n't

3.3131 3.3 you .2133?

(2‘ ‘ 13’

I.‘ .1 1.);

I can't help it . . . I can't holy it, 33% a . . that‘s jua“
“be way I am.

V

(She crys 333113333 “1y to 3333319.
33% is ovoroz 1t 3211 unowo'fiort3bls,
"no" 11 331th himself 3:33" 3 3:12:73. 3 ERIC":
lemme up an: at; toss to re.»;zin

" 131's“. She 313130311}; LS a
13.)

('3
Q:

_a .

“- I, V. :.'-3' I" -I In ,...)-.| 'v’ ,1“). .. . .- uu~ . .3 v - h., . v..- . , '3 w .
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V
1 3 1"
a o o 13:18 1351.1." “1.3. 5.3-1.1. h f

..

f

T710 138-1331312333 . . . 1m

(Ho I-:3 to ovoroo e b' hzs ”03:113-
tin: emotions to angmcr, £3 throws
dow1 his fork 333 hnvr vflly leaves
the table.)

‘H‘I- .. .. ,1: .. ...
HJQI‘G al’U T,“ Li $91.31-". a

3 Lo 9 A 7 :’ ‘<‘3 .. ~ \
B.) u jJ- ..I’ :2 3.1-).‘1’1” .

I'll be back.

0 3 ”’5‘.
534.3-

(1 ‘ q. -o.
L7 -. 3.; x
f" .1 ‘f!’

A
p.
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330?.)

75

76

§CENE VII (A room just outside of the Staley
and Ross Television Studio. Seated
around a TV set are ED STanY, an
immaculately dressed man with a
very gracious air about him; HAREY
MJRKS and Gfianb GLupLLh. LfiuflahD
rags-51;: enters .)

MERWIN

Barlow says he'll be ready to take it right at 11:00, Mr. Staley.

STKLEY
Fine . . . Fine.

(MZhuIN exists and STHLEY turns to
BAX. ”LYC)

Well, Harry, I think we‘ve got a real winner for you . . . a real
Winner.

(He pats him on the knee.)
Wait and see.
GESSLER

We're behind it a hundred per cent, Ed . . . a good pOpular music
show is just what the Doctor ordered.

HARRY
I'm sure it'll be fine.
(He leeks around anxiously.)
I wonder where Sam is? He know it was to be at 11:00.
5 TARLEY
He'll be right along. He's always punctual . . . always.
GESSLER

Well, if he doesn't make it, we can roll it without him. I'm sure
he'd go along with any selection we made.

r.
In $151.2.
"’ h’. n 0“”. -.- qw-_ n ‘
he'll wait ion ugm. Ls'li CO “-L
GZUJL.1

'yl’s up
‘30

77

.~ w w,. L L» +w Y. . J L . ? «r ‘ ~nm
Lcmc, marry, you'le L)-Utuj sell set ., 1.9-J m i a .3;-J'u’
.. ...fl, r"
aren’t Jon:
77“"0‘”,
aft.“ 13‘...
T 1' t-‘r tti ”“I c‘! ”“1 1 ‘13:? t ‘\ r'- P‘» »~ "5'!" at”: '1 Ii- v~r~ '9 "
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,V -.j :1 -~‘ 1t 77;
“.T..1'\.)~J' v.13;
hen a“? tno concern over youlcr's Presence?
‘:‘::"E.(}:Y
3;. r 1 40 -- L." , \ ~‘ "-'- r e a ~:- Iv“. 3-. ~>, n -._~_ - , ‘v‘ .. - , .0
Boo 188 tdo man's too: CQLHwCoOd MLLJ as LL‘ a low, is»,
tirat's all.
(“7“.1‘ ".7
1.44:1. 14.1..
, f. . -_ .1 . L
.And go's dOlu a «Lbn it job, Loo.
uiwfiuni
- . N. 4.x. ,‘...,.,...- ,, . . n, '13.. :_, .e J .\ “I ~!_
BUG I15_.L11J £3055 0 N3 V 4.3 0-3.171: :53 all .L‘uLu {-2.3 i. .-G ‘t .LI.:T3
"l 4 “.5' L ...r 1‘ .. - . r)
H13 iioa 01 Luis c? a;1we , . . -dz't so:
(4"“1‘1' Tr
L).L;L 1 .1.
.‘(in 1. 1. a. x 'I' .- ~. 5: r 'l"~, - I ‘L r. - o 1" 1 .q‘. , -: l
we all KQUJ he Was yat-er attae ed to tLe some ejtor all,

it was ton years of £13 walk.
Gd - IR
I don't know. It jest soums
wont OVCP a business transao‘t Lion.
taenz

I want Sam's decision. It's lW
o "i i“ 3:1;

But suvposo Lo ea”s no. If }

1"” 9 “" ~‘ug‘, I" .
mailLi.’ Dds--8.“ 13. 001 (the Le 10
C_ 1"? F “if
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C! 'r. L T‘: “ ‘ ' 8'7 9 "_ ' ‘ I"
as“ b0 'aLe a dooLelon, goat‘s a1

Strange

orta

to have all

:rt.

4‘

tasked to is Jounines

GJ;LZ.E
A 1d “ou’ll a330 2L the s“>w iv o LPG? 0? fit?

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p7 ‘ . r ‘. ‘.r< ‘?
irk‘) DU - “LII 1 -.;..-LI‘.’: 0

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Loom rho I ldflfld 0LL3.20.
nr'zr-v'*§r
oJJ- 1.4)..
av ,-.- ‘ .-_ '-,-- '3-
Saml Glad you Cjulfl pang 1U.
C‘l‘,

'..J."..

(Rar.er 3)

6.."

Good morninfi, 3d.

‘1' - ". ’g-i ..
(i 103' c.1a as 1.3.v19
,.. .. "r .‘ {i " f‘ " f)
l‘JU-‘LS 8.5 ‘J—J "-L H.

VMOII GOJP30, I Cid 'L Oznnct tq 309 you Lara,
1.1". ;‘;n:c'a;‘.?.?1j: W111 ‘, huh?

1:17")?

00 0d jox _ -131

I‘d drop 11 . . . 13-‘93 to Lacy on top

'5" fl 3?
0.111'.‘L

flurry .

Ttan )0

117503 $.31“

t?)

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0:. *. 1.; it“s, Wm
1“ ‘ . q M. 0' v ’F 2.. . -.| V “

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79

‘ w *3 77v

AB >11..-

Quietly)

Sam . . . I . . . Yau than ht it over didn't you . . . our

CAM
.‘d‘p

Don't w rry, iarry.

uQ-'>I-.'v!

~ :“““-‘-..A

Well, there's Just 0“? n.1nut3 to 23 . . . if a 333%? has to.

. x‘

5‘.) L2-“

Please, L omard, we'll dis 101“” xvi-4.:1 the sEndio warmup toJay.

Just tryinfl to adfi a lffl‘ lo auspic;uasnass t3 the occasion.

"-"5 x v “'1
4311.11].

A

32d 100m
.9 o: era.)

(L.a 2533 0 03?: 2scd1r
arould 2v=VJas2 at

‘ -~'¢ " >-*' -“ 4" ‘v P '. .‘X "’ \ t'a .. ’3' ' ' '. 'f‘t' 1-“.W'r.‘
Saved w; figuJ2433's 1210, 331 xuon . . . Jun or.ul bu):

LoaLs 11's taav're stalti n:-

r- 3“'"'{f

L34 ’1‘.) .54.-
Hi ht you are, Gaorga. Kill tnvsa llnxts over there, Leonard.

(“no 1: E? s to off and only the
V103 I‘r02 t.:3 screen illuminates
their faces.)

bait t; l yea '00 the naartat thafi we've rot t3 oven the Show
with. Great entortainurs . . . ‘fi"‘ great.

“I v'*'-4 ~ .~" ~- ', "‘3' ~45 ,r‘ v r‘\'
(3.38 53.1131"! 130. .- 5::3, a.1d w, u aunuuncam‘s

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5

112-”: , 31.12;)?!1.
The 73°‘-r.-‘I:s_rzi-e is 32m: €3.11 m1 ‘0; {sur
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(;.he 011313 pulls b -3 revnal

C:
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£11.
6. 140(1' i‘d 0:? {31:3 "5.7.9 '1?ng 13. ”CPS
pacxed t013t a? :3 tic 311
studio urea, doing a varied assort-
want of 33 called da“00 8‘338.
T110 quar We now loosly 01333 tinir
m1 3Lds as they 70 i'io {*1’r fiha

0'”
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slfckhnirod .3n 13 L i 339 t>u5ton
gult, barjas hssu h th L3 dancars
3nd than n03cha =ntly "cps
1;2';:*C‘JL;"‘-1'L the quartet. A Farm,

smearinj 3: r8 SflPTaHS

81

ucfioss his face as he waves to
the TV 3'319109.)

Well, now, Glow everybody, glow, ad welcome to LA Taafiaxe
TJ”.L-U&3.L8 8; our.

(Tinro's a bnwst LT LTL
viii. "tlL rm and “0115. mg. )

7.. 'v‘ * 4‘
-l n1
~ .

’

Tiis is y3cr old B.J., 1"‘0ddia lTetch, b7. foiU” Tau thirty
mars big ainutes of all 2&3 taps in 9393, t mnfia to Lnat
wanaarful nmw complexion cream . . . Glow. Ball on Glow,
and Roll away somplvxlon cares. And now let's gat rolling
ourselves with the number ten platter all across L19 vat?on
andayt It's the Four “3 1:33 a~.d t e: :waxtn; of "La-La

ii: :19... "

The music bursts out agd *h- 1:193
‘0? n da c‘nf at a f? VOTiP,1
pace. The ca“ Pa. tafas difforoa*
Shwts 01 the ufilq’ haircuts, the
girls' tight sharts and Lb?
T1333,~eyailovshirda lost in aach
0L:3rs arms. T a camera than

1 'l

catg back L3 343 viowinq room.)

..

V

c' 1‘ 1- rv
Qa-éaLJ-ono

That Freddie rro $1 can really 5011 it, huh, Georg“?
GESSZUR
Great uwtcrtainor . . . Great.

rys far an fastant *hfin.we
533-39 0f :1“”1'3 face.

ad with il'nnm~pt.

He looks at Lug oLiors nevvatsly.
Th< pfcture cut 3 back to Pfioddlo
i‘ranch, who is now 1.50rVABWLn;
L.o teena"czs. They nervaualy

sh f‘t an gaLK at the ca-Tra as

ho 151.1. ..d it?» ‘3'331';‘:.‘??.

(30 firl)

And what's yaur nah , pica:

'64P

Patric la Do:33van.

var} Q',. 3‘ c1\+’ ~v' ‘ \ I " z ‘n.’ v“ J 2. I“) 7‘ 7‘ ‘fir‘fi T'.‘f "1 I z ’ ‘7
1‘4 1% $l;-aU b. .1.‘ 3-- v J 1'1“ “1 3-1-- 0') n-.u..$;;: .12. ”J_.: 4'. .. ' \ 1”an 4L4 t -‘\--&1J ?

I dunno, I ruoss ta dance on TV or Sflfiflihi '.
And how abuut you, yazn; fella?

(Stares solemnly at the floor)

I dunno, ta dance, I JDLSS.

(Fryin: to (ad the disnal irfop-

.am their Chance to danze n W as

Ah, hah, wall let' a rive t5
ith the C”mi 103 P0 Lcovflin; of "gum orita."

they load it off .

"CJ
;-
6

'CL
ram
w

‘acera swarm aruLzrzd them as
10 starts. ?30 ca :era
the face of Guo$J R.
res 3.03 ‘3 b1a¢k..fiftor a

moment, it 0‘3t3 baa; to PR )QCS

who is now km lfiing a fiube of

J 10W. ) .

firn‘ . .' _‘\ .~‘
it o -1 ..vi I ~-‘

30 don't axond any r036 Gatalasa waste d3, A11 y )up pro-
blems can be solved b? Merely $011113031.0W anfl rallin,

away care. Live 13kg tile r0116 anara no a 6 do it m=ibn glow.

. . . how, Number isree this waek, 3mm ;Jlaces u) on the charts.

.*' 1‘. ,' n- .2 - _'
O O O 1.-.;0 :lOt A:.)L13 add '2‘) . 3:1.) 58.0.3r'"

c aid t§e nawcinfi starts.
. L .. . . .4” F1"- "‘
:1 ours in) face nu.£3hauh§

..- ‘ J- '
Ho tuo L rt sally 32023 and
unin‘ggjrss 4"(3 by {15.1.23 ' P03 30' .‘T‘ j.
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guru-1:13 ....a;;»'»ilf_un‘r)d :1. 3 +2 ‘3 x) -"‘OI)SO

. c
After a finfinnt, the cafara cuts
has” to Fradile who is fiwT staWQ a;
with a qrartet. T'rno of them
stand tncre rat er b r33 at it all,
walls the fvurth twys to e» t t;‘ e
gnu-r 0512-213. 'C-y 067.113 UTIGLI’fi 2"".3‘1‘).
2;;mn:: -.his intarv*o a'221t11 Lzan'Ne.)

33

V ., ...- i . ,.~JT ,- r . 1‘...“ 3“,,
And yo w.?vo heel 353$.nc LQwCUJU? {or n33 10””?

i“I
_.
K. I

W311, 3h, I'fl say man on an' off fir, ah, absu eight manths

01° 80 that we been gingin' tJ'dL.3T as a gvnup.

31.. wt“. . :1
J.‘ . .'.&~'«)av‘.‘- ..‘1

And "Drive—In’fiolly" has been the first 033 to really out
for you, ruin?

{3‘

o firings Laval,

.(33, ab, 1'3 337 Vh3. "Drive-In Dolly" on t
103 so far to ”are.

has been our moss p? fiiwant 331 a? 53 31:

O,K., kids, let's listen to The Pidyaens as thay do "Drive-
in D0113“. N

(as the P13 70033 so into their
mbar tan ca era cuts to a 31030-
up of SAM. H‘3 3%3 3 snows di 3-
11133 ion ant , he? lderxont and
31:03t $3318. 3:0 pgctare than

V

.3

A

1‘”“'T"'

oust 3 D305 to in“ ..

So make it bac‘5 acain tomorrow at this 8333 time. X7’1.1 have
73*]

m)xe platters, matter and dancing, all f‘sr you on the ?33?133

'77 .
1‘ 14.14—1J; hi..'-!?

(The cafldra 20073 out 37d with

this thn vrc:53y q avtat jrgs back

on stare 313 in iront of :73 3377133

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BrJubLt 37 go; by 3173
1- T" '1'”, 7. , 7:)
53-06 «36—- 3’; ”fib- =.-L'Ez-L:GO

Fur the rock ’n roll SOHnds
It's the o O O

(u) uflk.fi" steps f) ward ard shuta
oIf tna set. The li_L33 i7 tie
room 5750 on.)

I anew 104'
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VIC 11 o o 9
boys?

I‘ I",

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& love

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t:..;3~.- _) , .J'. fif‘L

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(T LITI .13 t) ;..“.-'.£".Y.)
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It I

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(D9 3-90L17)

111 d) .35; fine.
3

~‘- “‘1 "*1?
«2.1‘kro ‘_.‘..
("’T£*U ta 1D, 13' no one listens.)
was just atlrritj today . . . sLxrringI

1:; n. '1. in;

J-‘Oufiub t-

(Zia turns to 8.1177.)

{T 029‘s silence in the rwom.)

'7‘!
Mir-in-

(If-.111 ..ua‘fla dly)

“LOb fiarry. Vu y nqc“

'. ‘I-fiQ‘f.
I-I-I1.Ҥޣi
"I F‘ .0 1
(313193 a1: ”a? IrLSuQ)

. . I guess US have a hit on our banas, ~...uh,
(Ho 8'211103 .)
I1 #3:" I“;

1.11.33" 01;}.33', 1,31: Riva rill cat 13‘ is thivu 13.111: up. A
PO‘” '* 3011 340% hLSHIL r;uu14 yat.

- %. . .‘t ..2. ...‘ .‘5‘? . n: - '.':...".. A- .. 2:.
En: a02;uL 2"0“31n_ Mean to my 021230 A)? a lLut2u 30433?
or V‘, -.. '-._ ".2 <. ' '2"-~.‘.- a. 1 -« u -'r- 'O 3’ .' .2.-- .v ‘- \- m
F220 - 2:9 1:21]. to 221 “2,2223. .~~:.--.2..3'21 32:2‘22 1122.22 2.2 .2322 “2:33.

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2-- .- - -. 2 ~2'2~- 2-. :2 -_
no 202dg out in L244 .99 :43 SJQ ar pLJO’a.
Q} j;
C‘IL .2)‘

I'll got right to it.

.,
al

C‘mon on.

.'
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"-.‘1 02 :12 tim 2:172)? 1:2 1‘ and
taLLkiyrj. ‘Iii?" b

thcm. 2w“; 2 ousstillztuiim
room, calls to him.)

—+
fi
H
223

‘..“-I

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1", ‘3‘ _“.‘ . ._ . . 9 ‘ f‘ . ' ‘ .1 E V .
marry . . . .23223’, 2:22.221: 212:} 5.0.1 1.213.212: 03. it ?

(HG shrUfif his shouliors.)
m 1- 2 2m. . . .o
u 10 $2.3.)2a‘ ? u’..=.’ 3 03-12121 I dOL

33351 R ro-ontors, luovn at 31%
susn2v2> sly anl tM rn elavs H RY
on tau has q.)

C'mod, ”‘"r“, 01% Day. vasr tar” dnuw a fvoo driflL, avan
if it 13 c Hu2u0u to [>ur can 333cm: 2t.
(ffiIII lvokfl sua22hinf1
for a 2231 at, than exit
252 2210-222.

End Of “chneSeven

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why the 1.133u33“_ on?

3..)
(3'
rd

.. ‘. u. ‘. «unpu— '
. ‘I £;CL‘1,-J‘j . bu-C)

Oh, just talkinfi, that's all.

I

H311, finattya kfiaw. I Puens you're rwxwfi ta 19953 a fpi Rd
Loose a fviemd?

Yap. L13 to:1 to qut Jimfiy ALA: may 0 in hfis TV colu.;.
""03." t .0 first tit-.223 in ten 32:43:23 132;. she her-
pot mall? tP3uclOd hoxsnvlfe, will no- 3n saun or heard on

the aiww“!cs. Star ’flx this arrfwy, I 's oldust soap
C".:'Q?a Vii 11 DC?

ro>':cod b7 non t03“2n0 roc'c 'n P011 narty.
T110 new 232:7M'33‘.’, T....L:. 5.11:. I“... ..-2, 1‘111 1323 IT.-i3.'d 133302322013

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to net..:3 ofiilcidla 33 no ”,0; ,aco Vina VH3 gunlflc'a
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a. r 4. 1" r. d 5 4‘ ‘ V
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(79 'ots un afid brim s the
pa v30; it? jib-P.)

T... , .3 , 5‘ ' e. 1,. ..- n
£2-36 . o o 1001‘ o a o Ivan-1‘4 -;.(I 1)? ),.I’SJ .3.

7r, -1,. . any -‘.-. ’ ~3~ 2 .. 2 ‘-
(43 tdrusus the fluyCP a» her.)

Sam, p"::;se. I don't 322.7321: to cum
YO! E"T‘-."2.13':: it a o o

.I-A AM. 1"‘2rn 3-'. ..,,-§--‘)

(an:

031 n
Go on believing juefi what you want to awd ‘0thfl7 6130..
You'ra talkinw era y, $17.

8 :1 ‘9‘

I'm talkin: crazy. ‘You're Pifiht . . . I'va baon talking
crazy for tdn FuHTSo It's all calnfi to nvd now!

SSLZA

Calm down, Sam. The nul'hcors . . .

You're 30#in; with ”O, Sulfia. We're fldlfi" out.
(He nrasps her rau“hly by the

arms and tries to lift her
from the chair.)

Out where? What ara yo; toinfi?
ug'ra ;*ing downstairs . . . Qutside . . . you'll onjoy it.

.1. «v; ‘5... .. . ... '2' a
Ry 1033, p34 . . . you rate bar Baa last tha I tried it
. . . my 1953!

3 .1 :2:

That wag eight years 870. You’ra atWOdéor wow . . . *3
won'a fall. ” J

You're hurtln: fie.

’1 V
3) 4- '1
We've P9“ to a n2 ° ' n
. l U ' ‘ ‘l I, t; ..l. 4..
T “
'n'J 4‘.

filly ?

EEC LPG-)1 ' ' ' ’37

'I’l.’
h

I knaw at

£1 OH:

I.

-'- '3
uUA.

It

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"m crippled.

4. :-
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to sway mar by T3 301 )
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"Li ,VO ' at 3‘7")“ V9. V ”5'0 O o 0 mafia 370;}
4-m — a- w . ..
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’3 can do.

ra

it's not. T‘at scream iS”'t lifa,

awd that 2<*37~“u& ixx't life, and mm spaxkin: no vJu tsa't
1159. F01 a life you hava t: 1173, 3:0, £33 , fiauch,
exwvriwaco. '

:9 " _

(1-5:.11
L'm sick not but I can ruwowbor.

82M
You can re umber your Jaguar a;i 33v? thTor n~w_i tia taro,
arid JU-i’Ltlt'S gill . o o {Q'Ut tiflt' CV“)? o o 0 $2."? “'1" F0 .1-30L3

. they've been
tflat?

Uflderstafifl

E]
01“
4.1.

fihosts for teen yaara, can't yfiu

‘Ilv‘T
tblj J! fi't

. [I .. .2.. ‘__ ,. ' , .IA.‘_. I ,,. .3 g
I Can't «'Jf'_.‘~)t 13-1030 {.i(*3.‘:’S. THUG." “217°C t/r‘:a.3'u_f..ll o a o
'14., _. ‘ «-9 ‘1 '-
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T30" 5” 1 ‘P V3 ~’ ~~3 3L P8» use ova luck huat's all
. M ' '1’ \ s ‘9
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91

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i '1?! I") U Q o I n(’t . ()1 ' ‘J o } uL ' 3 r0113 . o . Iii}. . . Q the
amily. I uon't nafic to 503 it . . . n33 aéyfiaye. As

long ’ ‘ ” ‘ add Tsu'?e ncrkin , 1'3 hz::3y.

P4
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(H9 frabs ho? Lv EH6 shoulders
and tuxvna hsr taward him.)

Solrwa, 1.00 at re. Pleasa look at is. Bollo.re m:at
L'm «fix: to tollgfinx. . . balhucaitl iflu: flora I
d; iaru t not. ;; re's been more caangoa thaw you t=

.1'1‘: .

(T are is a loud k“0ikifif at
L a door. 33% freezes.)

It's Suqiay. 5A0 cauld be here on Sunflay?

.‘1 .ur ‘r;

Qua—J..-

I {Eon't knew.

'hdp‘.) is it!

V . _ ll _ 9 N "“u . _O ' C‘ ‘ In

(1 anuccxn ;ar313 3. dug
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(iiarz :v.FL Ln) Lgy} ?3or° a“u

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1" 1') a.
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l'm “03', to Ljuuar you, “4,, Lat evgr deLu iha mafia ;'v0
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loLt so gilt}, Aorqun 304 into a NSLIL.OV Llu‘ taut.
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h:;13 aunt Bernice

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(Attempt n; t3 cvvor no the
slip)
Sarry abjut the Guatyo in tha Sbvre. Wlat's it Tot to
do wi,f gnu?

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abaut it when yam cane 1n.

I dsn't Ilka to mafia chunros;y3u Know how nice the stare
was . . . it makes “a srvcus t" tall 3 l?&.

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HAM!
The war . . . the army . . . it changed a lot of 980018.
$131.14};

'He works now. Just like Pa. Pa would be so pTOUG of you, Som.
So proud.

(She turns to HahLY.)
You remember Mrs. Morris, don't you, Harry?
Hn'...}..Y
Mrs. Morris, the woman who lived two floors above me?
SELMA

She's living in Florida now. Sam tells me her boy was in the
other day for some slacks.

HARRY
Lennie? I thought in the war he was . . .
32.3.1
(Interrugts Hn LY)
He was wounded.
thfiY
(Shaken)
lea . . . yes, he was wounded.
SELEA
I always likod that boy so much. daybe he'll come to visit someday.
HAhHY
That would be nice. I . . . I've got to be going now. Bernice is
making lunch. It . . . it was so nice to see you again, Selma, so
nice.
SELXh

You know, we've had our differences, Harry, but somehow I've always
thought of you as a g ntleman. It was nice sooing you again.

V)
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1"”. "~I"\‘-‘v
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Tafiflfl you, oana. JOOumJU.

(To turns quickl7 awd hoafis fLr
tho door. SJ‘JM follows hif.
Be. oforo lanLrg, VLJHI tuPnS to

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S Lat.

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If! “3'10 brothor-in-Jows and what do wo kwow of os3h othor?

In ‘ T'Y‘ws’ ‘7' ,5.’ 11- ‘ .I r‘. - ‘ 3 . 'IV' r"
834 . . . cm, I don't Tmfiw $3“ to 3J7 ‘ Jo to VJU. over
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35.3mm tun. snou- b..'1"J otmm dry J'vo had 131:3 ole 521.):ng it to
-- an : ‘rr J'11“ 'k
nusoJJ, osz. I look Jd at qut ”JV so Jroon

a3d I saw taJso
ddzoors and that music - that noise - and I snLd to ”Gnli,
“T3at's that I staod for. After fifty-t1roo nos M33 oi‘ m7
llfs, that's ~Juo H w1r7 {arms stanfis for." But, Coo, try
and understood. TJGTG'S n):E11n3 I can do. I'm not oven
Eorr7 Parks aanJTO. l'm healtholo. I'm a fi“uro on tHo
SZJC‘ roJJst . . . Low do ;ou th'nk I fol: 1233 I saw :“ot
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Ami what finds it worse was that I drsotod 73m alon' viLH Mo.
If You walked away from #0 now and move? 23020 to mo 37 JLW

«3
you'd be right in doinx it, Sam.

7‘“ n.
t ’K 3:3
JJZ L ;'.‘.

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c:

Koopiw; Jennings on wouldn't have doqo an7 wood, Karr7. T3

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Jyo, tJis La] to 3070 ior uulma, and God owl; kuCHS Lou man

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. . i3n7'wo p30 J13. i’m humilin 313' 11723 mi
winn' t noon solo to handle my own . . . or my fo7i17's.

via.
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(3031' ‘5

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SAM
Maybe this time it'll be differentfi Harry. Maybe she'll
e

realize what Leslie Jennings is. rhaps it'll be the be-
ginning. I nape it 13 . . . Oh, God, I hope it 13.

MW

98

99

(A 31133 used as a eta ion romo,
raafiina "Xaxt in 5; ht", is seen
0:1 1:11;: 5.1116133.)

Next; in. 137-137;.t 03 321131.213]. P211100, 3 10
13.13.1133; .1..'.,'" Stav tmmd.

(The
3510?}
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1n roll w:
“1

$1.12]

2 a '1 -"- 7 '1

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ult the new roll on 3013133103 0.
1. .
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aziifil

2’) a :1 )V‘!

rows to black and

e that
Rock
Tet up in

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oozes u3 on a 3111
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(The :M tur:133ts ta tin 3P3asy
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quartet uh 03 L3 5331? 30: .)
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(T‘e picture 33ts t3 the eo‘trol
roan. 31: 13 starfitn: quietly
irliaps bask majhfl i 3:331:311-
fiors. Cut back to 3333.
FfiBDDIE is my? on etaro and
after H3 brief 3: 313: Jib, he
is star3)3“ €31 s;3n.
F‘ ‘3
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T's .3019 starts, 33% the kids
1.11: ":13 1:. 3 (:1; . c3 . 120 cut back
to a closup or. J;Y. T39 31310
bees as loud and Izeuae filo.

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cnatte

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3 not1n
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m2333 ma ily t3 3 3123
(2.21231 13‘ :5-.-1.:311:L:3f'7 121...- "2

FoSler 1m! 713 r003. LMA is
seated aitn trsr back t2 23rd the

ca10:a. T13 T€ -ilgh. Shaw
saat 3rs t.‘ o stillness of the
room. T33 320:313 cats back

to the whirllnp daccers, 7133
to 177119114110 17"I’a‘tc...)

,,Tgrvg_u 23v v.“ry'"
» ..l 9 ..I... ,. . ’ -- u D
V‘u want to E20333 a wonder
2t 3336 f331 name, adi-
329 Club, care of the

P For that quarter

a ”rnfl”7e *rench
“Hal h3®2l.b.3?
liN‘ l1st. SO do
d it, Lho Drifters

Yea. Tfiat was the Calcuttas 3
Say, (7 on't farfiet, kifis . . .
of L33 FPGJHLG Fra3ch 33133 C
r333 arid 3.39, a10"‘1 7' will} 55: .25"
eta ion to 2.. . 1you are now 11
you'll jut an an Mo ”13313 mawaersai
tnrbton, a fkhza subs ri'xti-on t3 r33?
:133 a 3:203331 placs 01 33: L303 SCB!6
2 non. ”3-261 03: t3 73 wags, yam me
and "0321130."

{2,- :33.

(Music and da2cinx bflfili . W3
out to 13.712 2231.; 01 1:23:11. 3.73.3.
100mg r1--5UduUL3_Lu.Llf bib L119

multars avd pv‘3330 .0 léave.
113 steps be 1.2.1213 1,1312 Di.‘,1,;:_;_;}cfr:;t:5
ah3ulder.)

You did a nice job tofiay. It looked fine . . . fine.‘
‘DZGiCTJR

(Twists halfway aroun3 in his
seat)

m‘

T.ank5, X1. F02;l2r. Are you loavirg alrea2y.

Sill.
Evorythin:s under control, I guess. We'll talk it over in

the morninv, 0.1.?

Got it!

(He twists back 33% P832308

vorqu 31“ looks abdut,
tr'in* 33 fl2t33”133 which may
to leave. 033 of 233 staff in

t30 control roam not7ces SA?'J
pliaht.)

131
Why don't you out aorJSS taa stulio, sir? T33 :Ycu V111 be
over in a minute, I '5 the dwiclcst may 03;.

T' 51“.]:3 o n o It ’ S ..
kind 0: Confusing -

(-0-
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8*“

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(Points t) ofit)

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(3%? leave. Lin adfifirol raom.

H0 entars $53 studio. The

music fills th.o air. He slowly
makes his way across t. 0 ca blo
filled flaur. Snid3vly m3 store
an? becomes iV1.a m333t$d in
the :sow 01030 up. ma wa
{oruxzd a d eta ls besi ';‘e
intent y matching 3T0 str 8
Spectacle. The waste 0:63.)

1:1! """“}"‘:“,'1?

“9
Well, that's it, Elle. Don't ?ovmnt - Glow br1373 tau the

‘ ” ”"'T “LS Elva tings a week. So defi't #153 it - and
910W Q;tu@?. TUFQHin 9€CVV Tgplo gwfi tfig
H..:.1..3.‘.3(3ts 13111“ a air. batch of.’ ~13 re‘wau’aa. 30 1:32. on 3"‘.£1‘.'2d.
T111 ihon, this is F'«r3-d ch'm.3 sa grin' . . .

(So ’Gts a Siva frcw t3 W330?

Hui-I. “a :‘FEI‘. )

1‘,“- ’_at ' S t}. :at ‘; yfq (:4‘ t O I “.L') H.",'j1"ne ‘7‘"! :WEJt‘B ? ‘3::)'.":! .:.':—..-{1 l‘. t
3V“ tho 101‘3 at ”0”” a shot A? Our crew here. Pi
a11,th3re's Ggfirlio Frgflpic}s on CAUUra 033.

:39
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(?E8 ULCt”?e 0 ;LS t) a shot Cf
a ca-ara max wavinf.)

Ami qure's 01% Bill 1311 ow camera ?w3.

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1 .
of 319 TV set, 5t ;;
gTvflnasque aim 0021..
cawera cuts back f , ,
realizes tWat ha has suroly b

(3‘1?!
seen by Swlma. Ho breathlq3siy

monies he? acid 3% $3393. Iderc's
a cut to a ClOBfi-H? a? “uTJY

fflnin. Pie, too, rializca n
has havye "0d. )

l?!xf¥f¥3§

(31t1 cOflcqzw)

v
a?

(fin; ca era cuus bani: t
“‘Ot of Lb; SKUJ o. S}? infirs
so rush amt. T39 :1J9’c c0103
Up uri blaras lowily Hg the‘
shov is 30min? t3 an' nfld.
FW063* Wrifich ca.bar01v t3
L aWd ta lkf.n‘ ova? tWe din.

EM blirle rushes throw h fho
ervwws of tCO“&§Gl s '
p 3111 in}: 071' tbs: 3 2t. 37'; firiazlly
barrels h-s may oat ’
‘1‘.:ere 1.5 a cut. it») ~32 quarto:
who 81:11.2 10nd}? {ti-’1 J}s31_;"1:~‘t'3v3..L:-;.
The yictsre Splat r‘nnd 3*d wound
a“d in and ;ut of Enema. TLLS
“13391vw to a r n! g~¢ 910p

flag..-

' " r «r V -“ ' f‘ " 9‘0 .. ' "' “'1 ' ' "‘- ‘
to .331}: 3.44.1“, unto ULJ ---.FSL3 .31. a}

(Yalls, but a ifl t cut: icunly at
Virst.)

321 a? 3:1ma1
(Ea r3033 i"ffi3? \) livin T00”h
It 59 ‘rJSfi ard uuficfiu. I B
i

imluvisiun 3&3 is 31f.)

(V
wu'
b.‘ . I (i:

133

(he runs to the kitchen)
Selma, where are you?

(He opens the bedroom door.)
Where are you?

(He is startled as the phone
rings. He lunges at it.)

Hello, yes, yes, this is fir. Fo.1er. She's at . . . at the
store! But ho.v'could she get there. She can't . . . There's
no need for the police. H01 She'll quiet down when I r.et
tdpre, 3:1". CléiY o o o I said She'll on.

(He looks angrily at the receiver
as if to damn the man on the
other end, and then not bother-
ing to finish the sentence, he
slams it down on the hook. He
stands for a moment, stunned

with disbelief.)

Who t have I done! What have I done!

(He heads for the door. There's
a dissolve to the exterior of

a clothing store. A noisy

crowd has iormed outside. 81?
approaches and fights his vw y
through to the doorway. The

store owner, LI. Clay, spots him.)

CLAY
Fowler, what the devil is your wife trying to do kill my

business? Look at my customers out there. They‘ll think
this is a nut house.

'1" "'.‘
OH.» 1
Where is she?
(An OLD U04AH grasps at 335's
sleeve.)
$3023.!

I tried to quiet her down, 33m . . . she didn't remember me.
I tried 0 o 0

SAN

(Pulling himself away from her
and the crowd.)

103

Then? as, firs. hoover.

(as .ou31as his way into too
S‘SJI”3. 3‘ :3 noise from the
13,H1uo 3)u3 237 dieinishos.
adj L 3.3 in tfle roar oi the
ovoty s_ore. She 8U?y0ft3
he1se1f M tn the counters as
see roves across t:e zlosr.)

II) .3 SI :33.
(Screeching plaintivoly)

Pat-3&1 Papa! 13‘”. :OZ‘G are ' 470‘)? I :0 ' S “I 3-“ 33;. r o I 0 Y 731' 1‘6
3 ‘" I
.L

Y
may: Zherecrl..oneay . . . a1£;;;, Pa _a1
(There is a quick out to the

interior of a taxi cab in viich
dAHJY fAJLS is ridinr.)

1'7““va
(if: v. 1_

(TO cnbdrivgr)

She lives one block west of here. Tr? nod stoo on it.
3‘? __-._ ?
.loase.

How much faster d'ya t ink t‘ s bu uxgy can .'. .
(”'“"Y 1001 :3 out the mindow and
soe's 3.ho crowd in front of tee
M e )
ILLI‘; RY
We: t a miruto. Stop here!
CAJB‘S

Boy, it taVos all kinds.

(Tee brakes screeoh as tat; cone

to a halt. N3PRI staffs a till

over tne CL:“3J'S shuuljor.)
FAIR?

Wait Kore. I may; be rim-Ht back.
(He quickly crosses the street

and cores to tks edge e“ the
crowd.)

.(:C~I~Py I

‘4'

... ‘ ‘6 ._ '.-j. u
cz~~._m.,:, W“. -1 3-‘3

105

u‘ I A." I (K
.. d . 3'
n f .1.
' '3 4".) t. #3

1rY . ”5” fl " ' "
g," 1“..."
“1‘1?! an?“
.. 4.... am a o
, . fl t~.\h .
3;? (1} . Lav .1

w.?in?n wwwa

.fial $3 “U;a.)

“a??'9i. T

(J. t .‘it fib‘hll

‘l’n’

v

. ..~ V"
"f v 4., .

3

t3

. 9

..
«b 1'

H'fin

' '75

3'»

ra¢ a»’»

“j u" . ‘ 1‘
.9; . . ,4

. i --.. .~ r”.~_\"&
‘1 ,. ‘a' ’V‘ ”3. 3

-7w . 'gvd

73" m @ OW
u “ r m 1" ‘ ‘h .' A,” 3
, , . o .

you do WU"

z.

3130 ' 11 21112.1}?

\I
q
o

.' 4— r tr. -1. ‘ .‘ ‘ 1 '
—"flb 13 3.3.21'U’ :dya. i

h? only way

#1..
1..
2
O
F:
33:)
cf
'-
m
\‘1"

oufl ~taUds directly bézind
nww. has rqflmct'gn :8 F
)1: m? be? ifi a Full 37
.hfl Wivror.)

-‘1"T'
L’L ‘1‘ .

alUJ'S 0

(3323A looks Up. Tia reflec-
tion of “ ” f ' ' , ‘ 1
3129 befara bar. 319 :races
herself a? :5“ Gaunt“? ané ‘hcn
lufinhes fnrrard in the mirror,
sobbing as Sffi figma so.)

i) “L ‘5.

"". ,- .. i , .L L‘. .~ ”-..“
L3.1U CPflSHL-S .Lff‘fL') ‘9..."1‘5 ;‘ FPOI‘,

1‘ n- . -- V. E» V .1 '4! I ' fl ' ‘ 4 N"
L ewes mac paLms a.aL‘u t¢e

(

c u ,
surface for a «own t did than
SinkS, SVChifi‘ t) t‘a €17:P.

sam 13 two sgriéton t3 wave.

T10 crjwd which has has: 3340t17
32.;r’;i*f_n"; 1" "WW “I‘d 17' 23 $332., mm
bursts arazvztv-Jwr“ thrm. A :2. 1M3!“
of a siren ’3 haa?fl in $33 ,ack-

~‘fl ' I (r .I“.. ‘ . u ’ i V w ‘ i. 0
ground. m'hv tdfififl rsard
W . . ‘ a

a fill PIPE; 31:35 .- , A. .-. . if;

.1.
' .
stares Canal? aheai.)

107

SJAL 3'3

(He pays *0 attOJfiEOW to YAZRY.
His V3109 Ea numb and ionotunous.)
333 ram t3 the mirror . . .to the mirror. I triad to do what
was Plfiht.. . . to "3i3 her happy. I Have mar ev“r"t3:nq

she wanted. . . t 3 1E.0 333 wantad, but mnen it “as 0Jer,all
she cad was . . . a r3513 t~ion. She ran to a Puflection.

I 1.3.3 ‘11’

(£3331 shakes SA”, trying t0
.
‘- I

maize 1;.,3.'-‘.; 17 star}. )
B t 333 . . . Sam! List33 to we! Dan't you see, she . . .
SAM
(Still in daze)
She ran to a . . .

(Sui-1132013: he awflas (3'33, a-’"a;:«:3d at
3.138)- ‘J a)

333 ram; 513 ran, didn't 353, Harry?

I.

" . , .- .E .E... .- v.0 , .
(fie becom3s a TLXuJfiQ a; aria
‘ 1 ‘1 ‘I
333 L33piness.)

-,,,., a. ., ..Li,‘ ‘-'
3‘3 Ewe eras . . . to 333 ELPEOr}
3 { LE 3!

I saw her . . . alt
IO Lam 33039 . . . to

ma:

(23VOIGW‘17)

(a .. .‘ g c? m .. “'1 _ . i‘ n 1' 9
03.20 0.3-61, W131 O a a L’.351’E'r‘:. \.«z<)‘..io ..D 3 (1.36..

(The cavora zan~3 333 t:
SEyat «of {£30 83Etn0. "
1-31;}:131' 39.1%: *3";- £330 fa11€;:“e, swiftly
333u1nt‘3’wre 35 n".i. SAT'knnols
0081(413 2‘91“. If" grasps :01? {53311512}
by thn aEnfllEufi" 3E3 lifts her

unhil 313 is 1303.?” (am. 823 13
"3,”:Ei't3t ‘t'f-‘TEW. 133‘.” G {3:5 in”? v1.

E11” L: Li;‘::s Evil {”3. 3  CrE t'ia NEV335.
Th3 an era cwts to a 'niiuw SPQt

of 3&7 and SJQTA. Sta is 3 E11

FJEE {, .HJE s?ce 8G"¥fl3 to str'iw
391 evafi 3 3133 >31'EE1'1_J @733 she
$33363 kw? 3301133 fififl 3333 L3?

x
3 -
L)"‘l. id.)

"‘O

hgfia,

3 1
hi...

.‘b.

108

:« u
. a“
13::
1 fl ‘ . 4. 1 , J. . 3!
(Ezzo ca-mra 03.3 EuceE 33 a 3133
3‘ _’ 1 .- "3" ‘ .. .,. , .. _ , ..
Swot. £3 «2 133~3 avur, 33d
.1... , .‘ .-’. ', E-nan ff‘.‘,,_ .9 n
UK" '31 qua)” ‘1“‘J1 I'. J, 3.4."?! I‘lt
3 . tn 1 4 , 3. .rx - ..1. .r'."
L; l JAE-{X {3.1377 If -. E) ;,§'_‘1-._‘ _5_ {.31 i.» o -.J ;G
9 3 . \ .- . I- '\.-5- .3.
.I. S S.-=.;1E‘.:y 1.051313 *2 a u , 3:: 3 tan!)

a
313333 10? 3P3 tiwoth
s- 0

"'3 f 9' ‘1
o.) i' I»)

adj h: Psalf.
or 37 L33 elaow, and
”10?“? stavt To 1:3
t

-'1-x "1... 11‘ J‘..—.,
'5 SILL-4-11.4.3 0’33, 2.33

14,53 , c!- '.0

E'.’ ‘ '3'»
J. ..L-u: .

110

In the 330331 *L'zritingj of the -3“ I 311033333133 311....-y
a few r331 3b3t3clcs. The f .st 333 being th3t of finding
a ch3r3ct3r whose life the 33313, 33353: Lwtl televis ian.
could 33 tht3. 3 normal Dchpfi would not fit tnis :3 It,
since there 30313 be tum :L3ny Cthur environs nt31 iufiuunc s

on him. Hunce the cre3ti3n of 33133, whose entire WJrLd

. But "Cxely

Iv
,.L‘
.I

existed right in the b333535133 3: hCr own 3
giving 33133 3 life that c33e out of 3 televisinn schCm
wculd not be enuugh. This would 3333 her a r313tively

empty 3nd 33331351333 entity. So, she 333 given a p33t,

3nd in th3t 9333 3:3 w33 given the notiV3tiwn to 3339 her the
type of woman that we encounter 3t the b ginning of the yl3y.

31L r writing the ch3z3ctC'r of 83L13, I 133 3 bit

0
c?
1‘
(a
(h
4
I

c213érizlod t; iin .3 tiut the 33:33 3n I h3d ar3u 3.3 a
a"CzL3LJ 33 11:33 at iirst 1 351363. FrOm r633 urcfl th3t
I have since acne, I find th3t $3133 303333333 many of the
characturistica'cammvn to wmmcn who baccma wraflped up in
"The World of the D3ytimo 833131."

These wsnan 3re enccuragod to View failures 35 kg: 01—
135 oniy t3 othur people 3n3 3re cozu ‘iP'M id in th3ir belief
C333 tteir sufiC ang is caus ed not by Lfemsclvcs, but by the
impurfectiun and villainy of others.1

Thoref3 20, if Selma's illnCss w33 brat gut on when

Bernice 3313 her share of tha store, t'cn t? is char 3ct ristic

 

.V—r v—v

lz-Lrfihic"? 97. (31.13., p. dbdo

«Lt, II

111

certainly fits.

H r203, 33 we pointed out in the first chapter, claimed

that tL.ou;;h thz: :rf.al3 lit tencrs learncdk -0" t2 LC c 19 re-
si;.ed t3 catastrophe. A: we saw int the 31% Smlra Wafi
p4353ctl" cagtent to remain in he: warld.

Banaaqe of her darp a: mkmcnt to Leslie Jonni.gs,
Selma cc 1111 y idar tificd vary closely with her. 1633t1¢
iicati3n, stutas nznh13m, g zuerally tends torard a pcraun of
more per Cctian who 13 odhcartwd, intalligant, virtuous,
and uh,3i.*11" attr1ctiv:.2 This desert 3:103, of course,
per c.ctly fits Jenain a.

39131 tso, becauafl of the fonfinaga she holds for her
youth, £3115 into Seldca’ descrijtion, 33 notcd in Chapter One,

of the p£;r33n the is nhocke d by the r1aliticn of afiult life.

9
3‘

This panama r330ut3 adh-?houd becau3a it ths not COTT33)
to tha pro 1333 made to her. fiance aha reject: it and
311393 to $33 3&n33tinna at youth.

33.34 L133 falls into the pattern described by the
psychinLrist, Slyna. She is comxlately pdanive 1n hr? autn
look. It is Conceivabl~, 33 Glynn nuz_: gents, that telavisisn
has taken over the re ther rele, and 13 emp31yifiher with
warmth, sound, constancy and availc'ability.

He can unfierstJnd Selma even have when we'r ad wfiat
anotharza‘vhlutr1at, Br. Eric .. H0959, statEs 1n Lib bozk,

The Congptfit of

.l _ I ._ ,_ ..—

23.01 "A! o

 

112

”Smmlimzsfm (331133 33133 33231-3: 3%: 333t- 331‘13'35" £133! in
a 31+? rfifi wLivn r&n Its fr3s a hr:.c f3iW113 313 033333133¢
$133,” 3333 a $3339. ".33 3 333113 3: 333333313,“ I13
C3..inbf*p "with thrir 3rr333333 and v3rual£3*ie flfif—Ctgffi.ffi.

3nd their (13:3rt3d fififfibf 3 3? r nlity 333 33 Frijhrnnwd

9

£333 tic; w;3f£ 333533 333333 13 3’31? 33-3-333 3:33 133; h
nuns 333 i3af:1;tirn 3333 33331~133t3 33:3 333 3‘3:‘ 3 fl 3333
31 h the r 32it133 333 33331333 33 ‘L51.'
.§.r?-’;=‘;.::T‘::‘ {"Z‘IJE‘IW": I 3333333333” 331;“:- ’:’.i at. 91:. :‘*r.?*'*-*'5!ri,r‘-.fj 132.65.
J33. 3333 333»: frafi $13 31?. 3333 333333, 3ft3r 31?, 3.33
alww}’a 333“3‘ to h3ve a s‘r”32 33333333 3333:333. I @333
'3. c:LI;I;;-;,.CQT' I-;',‘".€i'? 31:13.23? L335; SCj'iT‘JJ, {.9 $331391; {7}"? I‘dt-Lilwfr

.150. ' ~--'- 9. ‘ ‘ - -' a ~"‘. ~. -,-‘ "— g ' 7' Q {R 3-. ‘ ‘ .1' p-_ fi"~ . :1“ J
33.3 3333 -n Lh_t 333 33313333 333 13.1333. 3; itAEfi 33:3

flé‘lifixrfld. Etif’é‘fm". I” '5‘ I '3‘-

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33.7.3. 3:: 33.. .33 if 13 Ma 3323 3.31:! r 3:: 2.3 36:331. 31" :“~:‘~3-::“::3:1,
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KJt an y iJ the JWJRLnf: 3333 E333 t) 33 63333 313 33%
3ir sftcr +63 3:3"3 3; 333333”, but 3133 it L.3 t3 t3 tzhan
of: 3333133 ha 3533333'3 31333". Th3 31:33.1 3 which I
fatni 33* 133333333333 33:3 333 flay v33 13331333 by 3
313113? pr3Linm which ?3¢33 ”Tic V3133 3? Fir33tfiwu“ 3rrgram
£313 y33f.

T313 F rust :3: 9 C333?” 3.2:: 13:21.23: aframaaiz‘inf: "';"":c ":133 3:".

F.i1"33t<5-~€" 31': T3149: FM; ..r.-11 353:3z.a"c'..;:..._'ttl'.:z;

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113

1923, and an their television network since 1939. In 193;,
The Hitianal Broidcasting Company tegk away Firestone's
prog am time. ”firestane than tack its show to The American
Braadcasting Campany where it Pandiflmd until February of
1953, when The American Bruadcasting Campany togk anay their
time.

Senator Monroney of Oklahoma, fult that this swag W43

an extrarely intereating one, aspccialiy because cf its in-

vavament with the televifiion ruting systuflso In July of
195?, he sgoka before the SBfldta and it is this yortiun of

his rerirks that is of pirticulir interest to us.
Mr. President, the Monuay night ”Voice”
time was preempted by Kitinnal Eromfic;3t-

fl" Canua4y he (a Flraatone Official) said

he underatusd, bmcauna the “Voice” was
being cloubered by Arthur Gafifrey at 8:30,
and it was iwpUSIibla to 3911 the fol?owing
time pariod aesglte tha fact thgt not long
before Niti.nal Broudcaubing Canyany h¢d
urged continuance of “The Voice of Firestuue"
on the bagis thpt, although it woulc nwvcr
attain zigh r;tings, its quality audience and
its loyi} undicnce wer- gcad for both Firestuxe
&nd R530)

Other asyects 0f the drama did not pose a graat Cu&l of
difficulty in their creatign. The main characters, such
as Sam, the welldmeaning huub&nd and protuguniat; Harry, the
businessman whose posibiun in life via diminished beamuse of
the grawth of his own company; Bernice, his selfish wife;

and 663 lat, tfie hardboilcd orggnizitlon nan, all charted

...k

~£ .
$0.5. Cflnjrfsajvial figferfi, 9&th C agrees, lat Se3sion,
1959' V0.1. 153;, pC$I-t 14-3. 1,53th

 

11:,

their own destinies with relative case.

is a television production, he play does not 9039 any
serious obstacles. Only the staging of the rock and roll
show would require a great deal of ingenuity and skill in
order to bring out all the intended satire.

The only other comment that I, as the author, would
like to make regarding the production is that at the very
end, the Director shou1d not place to; much emphasis on the
fact that Selma can now walk. This is not a play in vhich
we are wgiting to see if the woman will ever walk again.

The imoortsnt fact here is tl1nt hsgr walking is onl y a sym tom,
an outward moniftstation of her new inner thoughts. he
emphasis belongs on the destruction of her hold, distorted
reality and the foundation which has bean born for a new life.

I hove tried to say many things in this play, both
about human communication and about broadcasting. Reiter-
sting them now would merely be rs oetitive, so I shall let
the play speak for itself. I would, however, like to
reiterate the has“ is premise upon which the play v as based,
that premise being: communiontion oftsn distorts the
realities of lie, and that in tilis (ay and n56, when so
many messcges are being aimed at us, we nus t be a are of the
effect the 656 ms ssoges can have.

We cannot lightly pass off sho 0111 to "L9. slie Jennings"
and ”The Teenage Turntable, ” because “h 58 are the productions
that are being watched daily by thousands of Americans. H9 ncs
the values that those shows )resent 0 ton help shove the

actions of their listeners.

115

If the peeple who are in charge of these groductions
realize the newer that they heve and use it to create some-
thing of usefulness, then these shows can be of a stimula-
ting; and valuable nature. If, on the other hcsild,fil€iy are
being created merely as vehicles to sell conclexion cream,
then they can very conceiVsbly constitute a danger.

Sam created a false world for Selma, end so did Leslie
Jennings. he cnnnot, however, confione SeLma's‘nniVLté, for
she pnecively allowed these distortions to take hold of her.
The word is not the thing, and we must all, always, renenber

t‘tat.

BIBLIOGRAPHY

Public Documents

 

U. S. Congressione Re ord, Vol. 105.

Bookg

Griffith, Thomas. The Weigg-Hiqg Culture. New York: Harper

and Brothers, 1959.

Lerner, Daniel. The Pas gigg of Tr1d1t1on1l Society. Glencoe,
New York: The Free Press, 1958.

  

Lippmann,«Walter. Publ oinim n. New York: The Naomillan

Company, 192 .

Moose, Eric P.. New York:

 

Overstreet, H. A. The Mature Migd. NeW'Iork: W. W. Norton'
and Company, Incorporated, l9h9.

Packard, Vance. The H;dden1PersuaCers. New York: David McKay
1957.

Publig Oaieion anri Prooa dfl1a. Edited by Daniel Kate, Darwin
Cartwrig;ht, Samuel Elders veld and Alfred McClung ’

Lee, New York: The Dryd en Press, 19Sh.

 

#3 in Socie . . . Edited by Eleanor Macoby,
Theodoxe m. h1wc01b, and Eugene L. Newcomb; and
Eug;ene L. H rtley. New York: Henry Holt and Company

1953.

Ruesch, Ju15en and Beteson, Gregory. Cormunic tion. New York:
W. w. Norton and 001911;, Incorp011zted, 1951.

 

Seldes, Gilbert. The Greet Audience. New York: The Viking
Press, 19)]...

 
 
 

. MP 1111 an Culture. Edited by William Y1
'lliot. ‘est Lansin.g, L1cn151n: Michigan State
University Press, 1’950.

Articlcg

Crosby, John. "Television,” The New York Herald Trgbune,
August 3, 1959.

116

:‘J‘A USE ONL{
Wt“- 1,-

‘J 333-1 .

 

 

 

 

”1:311 USE 0.111

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,, "' “~'-

 

 

 

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