Generic Radio Workshop Script Library (BACK)

Series: Academy Award Theater
Show: Brief Encounter
Date: Nov 20 1946

CAST:
LAURA
ALEC
FRED
MARY
P. A./CONDUCTOR
NARRATOR
ANNOUNCER

MFX:

THEME ... IN BG

ANNOUNCER:

The House of Squibb presents "Academy Award"! Tonight, Greer Garson in "Brief Encounter"!

MFX:

THEME ... CONTINUES, THEN IN BG

ANNOUNCER:

Every week, Squibb brings you Hollywood's finest -- the great picture plays, the great actors and actresses, techniques and skills chosen from the honor roll of those who have won, or been nominated for, the famous golden "Oscar" of the Academy of Motion Picture Arts and Sciences!

MFX:

THEME ... UP AND OUT

ANNOUNCER:

For generations, the House of Squibb has been known for the high quality and unfailing dependability of its products -- each the result of a never-ending quest for perfection. Today, the great family of Squibb products reflects the tremendous advance of science in its contribution to human health and well-being. The name Squibb stands for progress through research. Squibb is a name you can trust.

MFX:

FILLS A PAUSE ... THEN IN BG

ANNOUNCER:

Tonight, Squibb brings you "Brief Encounter," the picture which, at the international film festival in Cannes, France, was voted as the best British motion picture shown. In "Brief Encounter," you will hear Greer Garson, the talented Hollywood screen actress who has six times been nominated for -- and in 1942, won -- the coveted Academy Award.

MFX:

FOR AN INTRO ... THEN IN BG

SFX:

TRAIN RUMBLES DOWN TRACK ... THEN OUT

NARRATOR:

Are you an arbiter of love affairs? Can you judge a man and a woman? Apply the yardstick of a moral code to their acts? Can you sit alone and aloof and view dispassionately? Well, then you are the judge and the jury. And this story -- of one man's wife and another woman's husband -- could never happen to you. For you've never lived a lifetime in one brief encounter.

MFX:

AN ACCENT ... CONTINUES IN BG

SFX:

TRAIN RUMBLES DOWN TRACK ... THEN OUT

NARRATOR:

This is the story of Alec Harvey and Laura Jesson and a life lived in the commuter section of a railway station.

MFX:

FILLS A PAUSE ... CONTINUES IN BG

SFX:

TRAIN RUMBLES DOWN TRACK ... THEN OUT

LAURA:

(NARRATES) This can't last. This misery can't last. I must remember that and try to control myself. I'm going home to Fred, my husband, and my family. Nothing lasts, really -- neither happiness nor despair. Not even life lasts very long. Someday I'll be able to look back and say -- quite peacefully and cheerfully -- how silly I was. No! No, I don't want that time to come, ever. I want to remember. Every minute. Always. Always, to the end of my days!

SFX:

TRAIN RUMBLES DOWN TRACK ... THEN OUT

CONDUCTOR:

Ketchworth!

MFX:

TO A CLIMAX ... A BRIDGE ... THEN OUT

SFX:

RUSTLE OF NEWSPAPERS

LAURA:

Fred?

FRED:

What's the matter, dear?

LAURA:

Nothing, it's - it's nothing.

FRED:

Darling, what's wrong? Tell me, please.

LAURA:

Really and truly, it's nothing. I'm just a little run down, that's all. I had a sort of fainting spell at the refreshment room at Milford.

FRED:

Oh. Would you like to go to bed?

LAURA:

No, Fred, really, no. I'll sit here by the fire.

FRED:

All right, darling. Do you mind if I putter along with this crossword puzzle then?

LAURA:

Please go ahead. (BEAT) Would you mind if I played some music? Turn on the wireless?

FRED:

Oh, do, by all means.

SFX:

SWITCH CLICKS

MFX:

CLASSICAL PIECE ON THE RADIO ... RACHMANINOFF'S PIANO CONCERTO NO. 2 -- WHICH RECURS THROUGHOUT THE PLAY... THEN IN BG, OUT AT [X]

LAURA:

(NARRATES, FILTERED) Poor Fred. Dear Fred. I don't want you to be hurt. We're a happily married couple, we must never forget that. This is my home. You are my husband. And my - my children are upstairs in bed. I'm a happily married woman. Or was, until a few weeks ago. Oh, Fred, I've been so foolish. I've fallen in love. I'm an ordinary woman. I didn't think such violent things could happen to ordinary people. It all started on an ordinary day, in the most ordinary place in the world - the refreshment room at Milford Junction.

SFX:

TEA CUPS CLINKING [X]

LAURA:

(NARRATES, NO FILTER) I was having a cup of tea. I looked up and saw a man come in from the platform. He turned and I saw his face.

SFX:

TRAIN STATION BACKGROUND

LAURA:

(NARRATES) It was rather a nice face. And then I gathered up my things and started out.

SFX:

DOOR OPENS ... TRAIN RUMBLES BY NOISILY, THEN FADES DURING FOLLOWING

LAURA:

(NARRATES) And suddenly something got in my eye. It was a terrible nuisance, it really did bother me. And then - he was there.

ALEC:

May I help you?

LAURA:

Oh! Oh, thank you. It - it's only something in my eye.

ALEC:

Oh, let me look, please. I happen to be a doctor.

LAURA:

Oh, it's very kind of you.

ALEC:

Turn 'round to the light, please. Now, look up. Now, look down.

LAURA:

(NERVOUS CHUCKLE)

ALEC:

No, keep still. I see it. There!

LAURA:

Oh, what a relief! It was agonising.

ALEC:

Mm, looks like a bit of grit.

LAURA:

Yes, it was when the Express went through. Thank you very much indeed.

P. A.:

(FILTERED) The train now arriving on Platform Three for Churley, Lea Green and Manchester!

LAURA:

(LAUGHS) Lucky for me that you happened to be there.

ALEC:

Anybody could have done it.

LAURA:

Oh, never mind; you did, and I'm really most grateful.

ALEC:

Well, eh, there's my train. I must go. Goodbye.

LAURA:

Goodbye.

MFX:

ROMANTIC BRIDGE, THEN IN BG, OUT AT [X]

LAURA:

(NARRATES) That's how it all began, just through me getting a little piece of grit in my eye. I completely forgot the whole incident -- at least, I - I thought that I had. But the next Thursday, I met him again. [X]

SFX:

TRAIN STATION BACKGROUND ... FOOTSTEPS

ALEC:

Oh, good morning.

LAURA:

Oh, good morning.

ALEC:

How's the eye?

LAURA:

Oh, perfectly all right. How kind it was of you to take so much trouble.

ALEC:

Oh, it's nothing at all. Ah, it's clearing up, I think.

LAURA:

Yes. Yes, it's going to be nice.

ALEC:

Well, I must be getting along to the hospital.

LAURA:

Well, I must be getting along to the grocer's.

ALEC:

What exciting lives we lead, don't we?

LAURA:

(LAUGHS)

ALEC:

Goodbye.

LAURA:

Goodbye.

MFX:

ROMANTIC BRIDGE, OUT AT [X]

LAURA:

(NARRATES) There was another morning -- coincidence, I told myself. I was having lunch at the Kardomah Cafe. He came in; it was crowded, and he sat at my table. I happened to say that I was going to the pictures as usual that afternoon and he asked if he could go with me. It seemed so - so silly to say no. So he did. [X]

SFX:

FOOTSTEPS ON SIDEWALK, TRAFFIC NOISE IN BG

LAURA:

(NARRATES) Walking back to the station, he put his hand under my arm. I didn't notice it then. But I remember it now. (AFTER A PAUSE, TO ALEC) What's she like, your wife?

ALEC:

Er, Madeleine? Oh, uh, small, dark, rather delicate.

LAURA:

How funny. I should have thought she'd have been fairer.

ALEC:

And, uh, your husband? What's he like?

LAURA:

Medium height, brown hair, kindly, unemotional -- and not delicate at all! (LAUGHS)

ALEC:

(LAUGHS) I believe you said that proudly.

LAURA:

Did I? Uh, we've got time for a cup of tea before our trains go.

ALEC:

Oh, wonderful.

MFX:

BRIEF BRIDGE

SFX:

TEA CUPS CLINKING

LAURA:

Is tea bad for one?

ALEC:

Eh, if this is a professional interview, my fee is a guinea. (LAUGHS)

LAURA:

(LAUGHS) Why did you become a doctor?

ALEC:

Oh, that's a long story. Perhaps - because I'm a bit of an idealist.

LAURA:

Oh, I think all doctors should have ideals, otherwise their work would be unbearable.

ALEC:

Oh, now, surely you're not encouraging me to talk shop.

LAURA:

Well, why shouldn't you talk shop?

ALEC:

I am terribly ambitious really. Not for myself so much, but for my special pigeon.

LAURA:

What is your special pigeon?

ALEC:

Preventive medicine.

LAURA:

Oh. Oh, I see.

ALEC:

(CHUCKLES) I'm afraid you don't.

LAURA:

Well, I was-- I'm just trying to sound intelligent.

ALEC:

You see, most good doctors, especially when they're young, have private dreams -- that's the best part of them. Sometimes though, those get overprofessionalised and strangulated. Uh, am I boring you?

LAURA:

I don't quite understand. But you're not boring me.

ALEC:

What I mean is this. All good doctors must primarily be enthusiastic, must have a sense of vocation -- a deep-rooted, unsentimental desire to do good.

LAURA:

Yes. Yes, I see that.

ALEC:

Well, obviously preventing disease is worth fifty ways of curing it. It's concerned with living conditions and hygiene. For instance, my speciality is pneumoconiosis.

LAURA:

Oh, dear.

ALEC:

Well, don't be alarmed, it's simpler than it sounds. It's nothing but a slow process of fibrosis of the lung due to the inhalation of particles of dust.

LAURA:

You suddenly look much younger.

ALEC:

(BROUGHT UP SHORT) Do I?

LAURA:

Almost like a little boy.

ALEC:

What made you say that?

LAURA:

I don't know-- Yes. Yes I do.

ALEC:

(GENTLY) Tell me.

LAURA:

(NERVOUS) Oh no. No, I couldn't really. (EVASIVE) You were saying something about inhaling dust?

ALEC:

(UNNERVED) Oh, yes, uh-- The inhalation of coal dust. That's one specific form of the disease -- it's called anthracosis.

LAURA:

(HYPNOTIZED) What are the others?

ALEC:

Chalicosis, that comes from metal dust. Er, steel works, you know.

LAURA:

Yes. Yes, of course. Steel works.

ALEC:

And silicosis -- that's stone dust -- gold mines.

LAURA:

I see.

SFX:

BELL RINGS GENTLY

LAURA:

Oh, there's your train.

ALEC:

Yes.

LAURA:

You mustn't miss it.

ALEC:

No.

LAURA:

(NERVOUS) What's the matter?

ALEC:

(STAMMERS) Nothing. Nothing at all, really.

LAURA:

It's been very nice -- I've enjoyed my afternoon enormously.

ALEC:

I'm so glad. So have I. I apologise for boring you with these long medical terms.

LAURA:

Oh, I feel dull and stupid not being able to understand more.

ALEC:

Shall I see you again?

LAURA:

Your train is the other platform, isn't it? You'll have to run.

ALEC:

Shall I see you again?

LAURA:

Yes, of course. Perhaps you'd come over to Ketchworth one Sunday. We'd be delighted to--

ALEC:

Please, please.

LAURA:

What is it?

ALEC:

Next Thursday -- the same time.

LAURA:

No. No, I couldn't possibly--

ALEC:

Please. I ask you most humbly.

SFX:

TRAIN WHISTLE

LAURA:

You'll miss your train.

ALEC:

All right.

LAURA:

Run.

ALEC:

Goodbye.

SFX:

HIS FOOTSTEPS AWAY AS TRAIN STARTS TO PULL OUT

LAURA:

(SUDDENLY) I'll be there.

ALEC:

(OFF) Oh, thank you, my dear.

SFX:

TRAINS CHUGS AWAY, WHISTLE BLOWS

LAURA:

(NARRATES) I stood there watching the red light of his train disappear.

MFX:

SNEAKS IN

LAURA:

(NARRATES) Something clutched at my heart, and a chill of fear passed around me.

MFX:

TOPS EVERYTHING FOR A CLIMAX ... THEN IN BG

LAURA:

Fred?

FRED:

Yes, dear?

LAURA:

Fred, I had lunch with a strange man today. He took me to the movies.

FRED:

Oh, good for you.

LAURA:

He's awfully nice. He's a doctor.

FRED:

Fine. I say, darling. It was Richard the Third who said "my kingdom for a horse," wasn't it?

LAURA:

Yes, darling.

FRED:

I wish he hadn't. He spoiled my whole crossword puzzle.

MFX:

ACCENT ... BRIEF BRIDGE ... THEN IN BG, OUT AT [X]

LAURA:

(NARRATES) He was waiting early Thursday morning when I arrived. We went to the movies again. And, afterward, to the park and the lake. It was a-- It was a mad, a - a wonderful afternoon! I felt like a young girl again. And then later, we were walking back to the station, hand in hand, for tea. [X]

SFX:

POURS MILK, ADDS SUGAR ... TEA CUPS CLINK IN AGREEMENT WITH FOLLOWING

LAURA:

Milk -- and sugar.

ALEC:

Thank you. You know what's happened, don't you?

LAURA:

Yes. Yes I do.

ALEC:

I've fallen in love with you.

LAURA:

Yes, I know.

ALEC:

Tell me honestly -- please tell me honestly -- what I believe is true.

LAURA:

What do you believe?

ALEC:

That it's the same with you. That you've fallen in love, too.

LAURA:

It - it sounds so silly.

ALEC:

Why?

LAURA:

I know you so little.

ALEC:

It is true, though, isn't it?

LAURA:

Yes, it's true.

ALEC:

(RELIEVED) Oh, Laura.

LAURA:

No, Alec, please. Please. We must be sensible. Please help me to be sensible. We must forget we've said what we've said.

ALEC:

Not yet. Not quite yet.

LAURA:

But we must. Don't you see?

ALEC:

Listen, it's too late now to be sensible as all that. It's too late to forget what we've said, because we know. We've both of us known for a long time.

LAURA:

How can you say that? I've only known you for four weeks. We only talked for the first time - last Thursday week.

ALEC:

Last Thursday week? Has it been a long time for you since then? Answer me truly.

LAURA:

Yes.

ALEC:

How - how often did you decide that you were never going to see me again?

LAURA:

Several times a day.

ALEC:

So did I.

LAURA:

Oh, Alec!

ALEC:

I love you. I love your wide eyes, the way you smile -- and your shyness. The way you laugh at my jokes.

LAURA:

Please, don't.

ALEC:

I love you, I love you, you love me, too. It's no use pretending that it hasn't happened, because it has.

LAURA:

Yes, it has. But it must stop here. We're, neither of us, free - to love each other. Too much in the way. There's still time, if we control ourselves and behave like sensible human beings-- There's still time to--

ALEC:

There's no time at all.

SFX:

BELL RINGS GENTLY

LAURA:

There's your train.

ALEC:

Yes.

LAURA:

I'll come over to the platform with you.

ALEC:

Oh, Laura--

LAURA:

No, Alec, not here, someone will see.

ALEC:

I love you so.

LAURA:

Goodbye.

MFX:

BRIDGE .. THEN IN BG

SFX:

TRAIN RUMBLES DOWN TRACK ... THEN OUT

LAURA:

(NARRATES) I stared out of the railway carriage window into the dark and watched the dim trees, the telegraph posts sliding by. And through them I saw Alec and Me. Alec and me! Just a little younger than we are now. But just as much in love, and with nothing in the way. I saw us in Paris, in a box at the opera. And then we were in Venice, drifting along the Grand Canal in a gondola, to the sound of mandolins, coming across the waters. I saw us looking over the side of a ship, at the sea and the stars -- standing on a tropical beach in the moonlight, with palm trees sighing over us. And then-- And then the palm trees changed into those pollarded willows by the canal just before the level crossing -- and all the silly dreams disappeared. And I got out at Ketchworth and walked home. Quiet, soberly, and without wings. (WEEPS) Without any wings at all.

MFX:

TO A FINISH ... THEN OUT

SFX:

APPLAUSE

(MIDDLE COMMERCIAL)

 

ANNOUNCER:

Before continuing with Part Two of Academy Award, we wish to announce that Greer Garson appears by arrangement with Metro-Goldwyn-Mayer, producers of the Technicolor production "The Yearling," starring Gregory Peck and Jane Wyman.

MFX: THEME ... THEN IN BG

ANNOUNCER:

And now the House of Squibb presents Part Two of Academy Award, starring Greer Garson in "Brief Encounter," with Carl Harbord as Alec.

MFX:

FOR AN INTRO ... THEN IN BG, OUT AT [X]

LAURA:

(NARRATES, FILTERED) Fred, my dear, that week was misery. I went through it in a sort of trance. How odd of you not to have noticed that you were living with a stranger in the house. Thursday came at last, I'd arranged to meet Alec outside the hospital at twelve-thirty. [X]

SFX:

TRAFFIC NOISE, IN BG

ALEC:

Hello.

LAURA:

Hello.

ALEC:

I thought you wouldn't come. I've been thinking all week that you wouldn't come.

LAURA:

I didn't mean to really, but here I am.

MFX:

FILLS A PAUSE ... THEN IN BG, OUT AT [X]

LAURA:

(NARRATES, NO FILTER) We went to the Royal Hotel for lunch. It all seemed very grand. He actually ordered a bottle of champagne and when I protested, he said we were only middle-aged once. As we were going out together, he said that he had a surprise for me and, if I could wait in the lounge for five minutes, he'd show me what it was. Suddenly, out of the dining room, came that rich, made-up Mary Norton. She must have been in the dining room all the time -- and seen Alec and me and the champagne and everything! [X]

SFX:

MARY'S FOOTSTEPS APPROACH

MARY:

Laura! So it was you after all! I peered and peered and just couldn't be sure.

LAURA:

I never saw you at all. How awful of me. I expect it was the champagne. I can't drink champagne at all, but Alec insisted.

MARY:

Alec? Alec who, dear?

LAURA:

Alec Harvey, of course. Doctor Harvey. Well, surely you remember the Harveys? Why, I've known them for years.

MARY:

No, I don't think I have--

LAURA:

Well, he'll be back in a moment. You'll probably recognise him if you peer very closely.

SFX:

ALEC'S FOOTSTEPS APPROACH

LAURA:

Here he is now. (POINTED) Alec, you remember Mrs. Norton, don't you?

ALEC:

Uh, I'm afraid I don't.

MARY:

It's no use, Laura. We've never seen each other before in our lives. (AMUSED) I'm sure we haven't.

LAURA:

Oh, how absurd. Well, I made certain that he and Madeleine were there when you dined with us just before Christmas last year.

MARY:

(NOT CONVINCED) Oh. Perhaps. Well, I must be going. Goodbye, Doctor Harvey.

ALEC:

Goodbye.

MARY:

Goodbye, my dear. (SLYLY) I do so envy you your - champagne.

SFX:

MARY'S FOOTSTEPS AWAY

LAURA:

(DISMAYED) That was awful.

ALEC:

Oh, never mind.

LAURA:

She'd been watching us all through lunch. Oh, dear.

ALEC:

Oh, forget it. Come out and look at the surprise.

LAURA:

No. No, Alec, I'm going home.

ALEC:

Oh, but you can't. I've got a little car out there. We'll go for a drive.

LAURA:

No, Alec, no. Let me go. I've got to go. I've got to.

SFX:

LAURA'S FOOTSTEPS AWAY

ALEC:

Laura!

MFX:

BRIDGE

SFX:

TRAIN STATION BACKGROUND ... ALEC'S FOOTSTEPS APPROACH

ALEC:

Darling! I've been looking for you everywhere.

LAURA:

Please go away. Please go away.

ALEC:

I've watched every train. I can't let you go like this.

LAURA:

You must. It'll be better -- really it will.

ALEC:

Laura. Could you really say goodbye and never see me again?

LAURA:

Yes. If you'd help me.

SFX:

TRAIN RUMBLES PAST, FILLING A PAUSE

ALEC:

I love you, Laura. I shall always love you until the end of my life. I can't look at you now because I know something. I know that this is the beginning of the end. Not the end of my loving you, but the end of our being together. (PLEADS) But not quite yet, darling. Not quite yet.

LAURA:

No, darling. Not quite yet.

ALEC:

I know about the strain of our different lives. Our lives apart from each other. And the feeling of guilt -- doing wrong -- is too strong, isn't it? Too great a price to pay for the happiness we'd have together. I know all this. It's the same for me, too.

LAURA:

You can look at me now. I'll be all right.

ALEC:

Let's be very careful. Let's prepare ourselves. A sudden break now, however brave and admirable, would be too cruel. We can't do such violence to our hearts and minds.

LAURA:

Very well.

ALEC:

I'm going away.

LAURA:

I see.

ALEC:

But not quite yet.

LAURA:

Please -- not quite yet.

ALEC:

I want you to promise me something.

LAURA:

What is it?

ALEC:

Promise me, that however unhappy you are, and however much you think things over, you'll meet me again next Thursday.

LAURA:

Where?

ALEC:

Outside the hospital. Twelve-thirty.

LAURA:

All right, I promise.

P. A.:

(FILTERED) Train for Ketchworth is now arriving on Platform Three!

ALEC:

You're not angry with me, are you?

LAURA:

No, I'm not angry. I don't think I'm anything really. I just - I just feel tired.

ALEC:

Forgive me?

LAURA:

Forgive you? For what?

ALEC:

For everything. For meeting you in the first place.

SFX:

TRAIN WHISTLE BLOWS

ALEC:

For taking a bit of grit out of your eye. For loving you. For bringing you so much misery.

ALEC:

I'll forgive you -- if you'll forgive me.

SFX:

LAURA'S TRAIN PULLS AWAY

ALEC:

(CALLS AFTER HER) Thursday? Thursday?!

MFX:

BRIDGE ... THEN IN BG, OUT AT [X]

LAURA:

(NARRATES) All that week -- "Thursday! Thursday!" And now today, our very last together in all our lives. I met him. We drove out through the country. And we didn't talk much. I felt numb, sort of, and hardly alive. And then we were back, walking through the station, and my mind was saying "This is the last time with Alec. The last time. The last time." [X]

SFX:

TEA CUPS CLINKING

ALEC:

Are - are you all right, darling?

LAURA:

Yes, I'm all right.

ALEC:

(EXHALES) I wish I could think of something to say.

LAURA:

Oh, it doesn't matter. Not anything. I mean--

ALEC:

I'll miss my train and wait to see you into yours.

LAURA:

No, no, please don't. I'll come over to your platform with you. I'd rather.

ALEC:

All right.

LAURA:

Do you think - do you think we shall ever see each other again?

ALEC:

I don't know. Not for years anyhow. I'm going to South Africa.

LAURA:

(PAUSE) Oh. Funny. Your children will be all grown up. Mine, too. I wonder if they'll ever meet, and know each other.

ALEC:

Couldn't I write to you, just - just once in a while?

LAURA:

No, Alec, please. You know, we promised.

ALEC:

All right, dear. I love you so terribly. I love you with all my heart and soul.

LAURA:

I want to die. If only I could die.

ALEC:

If you die, you'd forget me. I want to be remembered.

LAURA:

We still have a few minutes.

SFX:

TRAIN WHISTLE BLOWS, TRAIN STATION BACKGROUND ... MARY'S FOOTSTEPS APPROACH

MARY:

Why, Laura! What a lovely surprise, my dear. Oh, I've been shopping till I'm dropping. My feet are nearly falling off and my throat's parched.

LAURA:

Mary, you remember Doctor Harvey?

MARY:

Oh! Yes, of course.

ALEC:

How do you do?

SFX:

BELL RINGS GENTLY

LAURA:

There's your train.

ALEC:

Yes. I - I know.

MARY:

Aren't you coming with us?

ALEC:

No. I - go in the opposite direction. Uh, my practice is in Churley.

MARY:

Oh, I see.

ALEC:

I'm a general practitioner at the moment.

LAURA:

Doctor Harvey's going to Africa next week.

MARY:

Oh, how thrilling.

P. A.:

(FILTERED) Train now arriving on Platform Four, the Five-Thirty-Four for Churley, Lea Green and Langdon.

ALEC:

I must go.

LAURA:

Yes, you must go. Goodbye.

MFX:

BRIDGE ... THEN IN BG, OUT AT [X]

LAURA:

(NARRATES, DISTRESSED) I felt the touch of his hand on my shoulder for a moment. Then he walked away -- away -- out of my life forever. I prayed he'd come back, pretending he'd forgotten something, anything. I wanted to see him again, just for an instant. The minutes went by. Then - then I thought I wouldn't be able to bear it another moment.

SFX:

TRAIN APPROACHES

LAURA:

(NARRATES, CRAZED, SUICIDAL) I thought, all I had to do was to - to walk in front of the train and keep my eyes up!

SFX:

TRAIN ROARS PAST

LAURA:

(PAUSE, NARRATES) I meant to do it, Fred! I really meant to! I stood there trembling, right on the edge. (SOBERLY) But I - I turned and went back to where Mary was finishing her tea. And then I nearly fainted.

MFX:

BRIDGE ... CONTINUES IN BG

FRED:

Laura? Laura?

LAURA:

(AWAKENS) Yes, Fred dear?

FRED:

Whatever your dream was, it wasn't a very happy one, was it?

LAURA:

No.

FRED:

Is there anything - I can do to help?

LAURA:

You always help.

FRED:

You've been a long time away. Thank you for coming back to me.

LAURA:

Oh, Fred. Fred! (BREAKS DOWN AND WEEPS)

MFX:

TO A FINISH ... THEN OUT

SFX:

APPLAUSE

ANNOUNCER:

Remember -- for a fresh, alive, fit-as-a-fiddle feeling, switch tomorrow to Squibb Dental Cream. For Squibb Dental Cream is not only a safe, pure, effective dentifrice, it's Refreshment in a Tube! Enjoy its fragrant, frosty tang of mint. Let the brisk, foaming action of Squibb Dental Cream tingle your whole mouth awake. And then, as you brush, you'll delight in the new sense of freshness Squibb Dental Cream brings to your entire mouth. Your mouth feels cleaner, because it is cleaner! Your smile grows brighter because Squibb Dental Cream sweeps away the dullness that hides the natural luster of your teeth. So, for wide-awake, new beauty -- for a wide-awake thrill of refreshment any time of day -- brush your teeth often with Squibb Dental Cream. Use it whenever you want to look your best, feel your best, and make the best impression. Remember to ask tomorrow for Squibb Dental Cream. TASTE, FEEL, and SEE the refreshing difference!

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THEME ... IN AND UNDER

ANNOUNCER:

Next Wednesday, another great story! The House of Squibb will present "Academy Award" starring Ronald Colman in "Lost Horizon"! We wish to thank J. Arthur Rank, the producer of "Brief Encounter," for making this story available. "Brief Encounter" is being released in this country by Universal-International whose current film is Nunnally Johnson's "The Dark Mirror," an International Picture.

This is Hugh Brundage bidding you good night until next Wednesday at the same time when you're invited to listen again to "Academy Award" -- presented by the House of Squibb, a name you can trust! This is CBS, the Columbia Broadcasting System!

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APPLAUSE CONTINUES TO END

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