Rooftops of The City 48-08-10 xxx Karen Curtis Returns to New York

Summary

Rooftops of The City 48-08-10 xxx Karen Curtis Returns to New York
Hosted by Harold's Old Time Radio
Release Date: March 23, 2025

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Introduction

"Rooftops of The City" presents a gripping narrative set against the bustling backdrop of New York City. In the episode titled "Karen Curtis Returns to New York," listeners are drawn into a poignant tale of love, regret, and the complexities of revisiting past relationships. The story masterfully captures the essence of the Golden Age of Radio, blending rich dialogues with evocative soundscapes to create an immersive experience.

Setting the Scene

The episode opens with a vivid description of the cityscape, painting New York as a labyrinth of streets and towering structures where countless lives intersect. This setting serves as a metaphor for the intertwined destinies of the characters.

"Here is the city. The sharp lights where the mobs push and pull. The dimmed out addresses where nobody goes. Welcome to the city."
— Narrator [00:50]

Characters and Their Reunion

Billy Wells and Karen Curtis are the central characters whose complex history forms the crux of the narrative. Their reunion in a nostalgic tavern sparks a cascade of emotions and unresolved tensions.

• Billy Wells: A man haunted by past memories, grappling with lost love and lingering regrets.

  "I love you, too."
  — Billy Wells [03:12]

• Karen Curtis: A woman returning to New York seeking closure yet entangled in her lingering feelings for Billy.

  "It's too hot and the music's too much like noise."
  — Karen Curtis [02:14]

Unraveling the Past

The dialogue between Billy and Karen reveals the depth of their past relationship and the reasons behind their separation. Karen's return to New York isn't merely for practical reasons but stems from a desire to confront unfinished business.

"I thought after a year I'd look at you and say to myself, what did I ever see in him?"
— Karen Curtis [03:13]

Billy's response underscores his lingering affection and the emotional turmoil he faces.

"I love you, too."
— Billy Wells [03:12]

Conflict and Emotional Climax

As the conversation progresses, the tension between them escalates, bringing buried emotions to the surface. Their attempt to reconnect through dancing symbolizes their struggle to revive what once was.

"I want to dance with you."
— Billy Wells [05:16]

Karen's reluctance highlights her internal conflict between moving forward and holding on to the past.

"I'm afraid to start. Besides, I'll miss my train."
— Karen Curtis [05:29]

The emotional climax is reached when Billy confronts his pent-up frustrations, leading to an intense exchange of hurtful words.

"I never hated anyone as much as I hate you at this moment."
— Billy Wells [12:59]

Interruption of the Storyline: Norman Kellalay's Entrance

Midway through the episode, Norman Kellalay, Karen’s impending fiancé from Cleveland, introduces a new layer of conflict. His arrival serves to complicate the dynamics between Billy and Karen, emphasizing the crossroads at which Karen stands.

"You know, you're not a bad sort of fella, Billy Wells."
— Norman Kellalay [16:34]

Norman's presence challenges Billy's place in Karen's life, adding tension and urgency to their interactions.

Resolution: Final Goodbyes

The narrative builds towards a heart-wrenching resolution as Karen and Billy confront the impossibility of rekindling their romance. Their final exchanges are laden with sorrow and acceptance, marking the end of their tumultuous relationship.

"Goodbye, Billy. I love you."
— Karen Curtis [27:32]

Billy's introspection post-separation underscores his profound sense of loss and the lingering impact of their relationship.

"I never particularly liked the name Katherine anyway. Neither did I. That's why I named her Karen."
— Billy Wells [27:33]

Conclusion

"Rooftops of The City" delivers a compelling story that delves deep into the human psyche, exploring themes of love, loss, and the inexorable passage of time. Through masterful storytelling and evocative dialogues, the episode captures the essence of relationships strained by circumstances and unhealed wounds. For listeners unfamiliar with the episode, it offers a rich, emotionally charged experience that reflects the timeless allure of classic radio dramas.

Notable Quotes with Timestamps

• Karen Curtis [02:14]: "It's too hot and the music's too much like noise."
• Billy Wells [03:12]: "I love you, too."
• Karen Curtis [03:13]: "I thought after a year I'd look at you and say to myself, what did I ever see in him?"
• Billy Wells [05:16]: "I want to dance with you."
• Billy Wells [12:59]: "I never hated anyone as much as I hate you at this moment."
• Karen Curtis [27:32]: "Goodbye, Billy. I love you."
• Billy Wells [27:33]: "I never particularly liked the name Katherine anyway. Neither did I. That's why I named her Karen."

Insights and Themes

• Nostalgia and Memory: The episode poignantly explores how past relationships and memories shape present emotions and decisions.

• Urban Isolation: Set in the vast expanse of New York City, the story highlights the paradox of loneliness amidst a bustling metropolis.

• Unresolved Emotions: Billy and Karen's interactions underscore the difficulty of letting go and the enduring impact of unfinished business in relationships.

Final Thoughts

"Karen Curtis Returns to New York" stands as a testament to the enduring power of radio dramas to convey deep emotional narratives. Through its richly developed characters and evocative storytelling, the episode not only entertains but also invites listeners to reflect on their own experiences of love and loss amidst the ceaseless rhythm of city life.

Transcript

[Billy Wells]

We interrupt this program to bring you an important Wayfair message. Wayfair's got style tips for every home. This is Nicole Byer helping you make those rooms Flyer today's style tip when it comes to making a statement, treat bold patterns like neutrals. Go wild like an untamed animal. Print area rug under a rustic farmhouse table. From wayfair.com Ooh. Fierce. This has been your Wayfarer style tip to keep those interiors superior. Wayfair. Every style, every home. CBS presents Rooftops of the City. This is the city. A web of streets and towering concrete, factory and manor house crowding together. Here is the city. The sharp lights where the mobs push and pull. The dimmed out addresses where nobody goes. Welcome to the city. But stand apart with me for a moment. Stand above the city and look down at the endless rooftops. And remember, under those jagged eaves lives every kind of people, each with a story that reflects a lifetime. Unnumbered dramas under the rooftops of the city. Look down at this little tavern, the kind you can find in any big city. One which features a kind of shabby gentility with a jukebox that plays hot, tired jazz and along with it, like standard equipment. A boy and a girl. Yep. The boy would have been me, Billy. And the girl would have been Karen. We'd be sitting there like we always used to, staring into our coffee cups as if it were our last act on earth. It was too, the last act.

[Karen Curtis]

Please, let's get out of here.

[Billy Wells]

Why?

[Karen Curtis]

It's too hot and the music's too much like noise.

[Billy Wells]

Maybe you need another cup of coffee.

[Karen Curtis]

I need to cry. Only I don't want to do it here. Please.

[Billy Wells]

Okay. Come on. I took Karen's arm and I felt it shiver a little under my fingers. I wanted to say something to her, something soft and full of meaning, because this. Well, this was gonna be the last time I'd ever see her. But all I said was, feel better?

[Karen Curtis]

I feel rotten.

[Billy Wells]

You still want to cry?

[Karen Curtis]

I don't know what I want.

[Billy Wells]

What'd you come back to New York for?

[Karen Curtis]

To see you. Norman thinks I came to buy my trousseau.

[Billy Wells]

Mmm. Good substantial name, that Norman. You know, it sounds like Friday Payday and Saturday Night Movie. What does he look like?

[Karen Curtis]

Like Friday Payday and Saturday Night Movie. I hate you.

[Billy Wells]

I love you, too.

[Karen Curtis]

I thought it'd be fun to see you again. I thought after a year I'd look at you and say to myself, what did I ever see in him? I thought I'd Spend five minutes with you and then be glad to get back to Norman.

[Billy Wells]

You think too much.

[Karen Curtis]

You still like me. You used to like me.

[Billy Wells]

I told you I loved you.

[Karen Curtis]

I asked if you still like me.

[Billy Wells]

I don't like a quitter.

[Karen Curtis]

A quitter is someone who has something to quit. I didn't leave anything behind, but a lot of shoes run down at the heels.

[Billy Wells]

What have you got now?

[Karen Curtis]

I've got peace of mind and a sense of security I never had when I knew you. And I have a pretty good idea of what I'll be and where I'll be when I'm 60.

[Billy Wells]

And I wouldn't like to be sure of where I'll be an hour from now.

[Karen Curtis]

There you have it, then. That's the basic difference between us. To me, it's a comforting thought.

[Billy Wells]

Karen Curtis in the comforting role of member of the local sewing circle. Karen Curtis winning the prize at the bazaar with a cake made from equal parts of flour, sugar and comforting thoughts. Very touching. And out of character.

[Karen Curtis]

Out of character for Karen Curtis, perhaps. Don't forget my real name is Kathryn Kupperman.

[Billy Wells]

You're a remarkable woman, Karen. You can change personalities with a twist of a name.

[Karen Curtis]

I envy you, Billy. I'm 25. I'll be 26 next month.

[Billy Wells]

So what?

[Karen Curtis]

So I'll be 28 and 30 and 45, too. And what'll I have? No. No. There are enough broken hearts in New York to flood the East River. It's a million to one shot that you or I or any of us would ever see our name in lights.

[Billy Wells]

The Chinese used to bind their feet, Karen. Are you gonna bind yours so they'll forget they ever knew how to dance?

[Karen Curtis]

What time is it? I have to catch the early train. Norman's meeting me. Yes.

[Billy Wells]

Remember when we used to dance together?

[Karen Curtis]

What time is it?

[Billy Wells]

Oh, we have an hour yet. Look where we are.

[Karen Curtis]

It's 14th Street. You used to live on 14th Street.

[Billy Wells]

I still do. You coming up?

[Karen Curtis]

What for?

[Billy Wells]

I want to dance with you.

[Karen Curtis]

Oh, Billy, really.

[Billy Wells]

I've been with you since 7 o'clock last evening and I haven't danced with you yet. Karen, I've been wondering if your ankles still have wings on them. Are you afraid to stop?

[Karen Curtis]

I'm afraid to start. Besides, I'll miss my train.

[Billy Wells]

Just a few minutes. Are you afraid to dance with me?

[Karen Curtis]

I. No.

[Billy Wells]

I think you are.

[Karen Curtis]

That's the horse, isn't it? 23.

[Billy Wells]

Yeah, that's it.

[Karen Curtis]

All these bronze stones look alike.

[Billy Wells]

Going up the stairs, I couldn't even hold her Arm because there was too much narrow a climb. But I didn't care. In a few minutes I was going to dance with her again. And then I'd get her back for good.

[Karen Curtis]

Oh, this room seems smaller than it used to. Why is it places always seem smaller when you go back to them after a long time?

[Billy Wells]

Well, it only seems that way because it's full of ghosts. They take up space.

[Karen Curtis]

Ghosts?

[Billy Wells]

You and me. Dozens of them.

[Karen Curtis]

I don't believe in ghosts.

[Billy Wells]

Ghosts are just another name for regrets.

[Karen Curtis]

I see the Degas prints are still on the wall.

[Billy Wells]

Yep. Frozen dancers for posterity. Say, Karen, what kind of pictures will you have on your wall in Cleveland? Still lives of fruit and vegetables.

[Karen Curtis]

Yep. And I'll become as dull and serene as the frame prints over the piano. Now let me alone.

[Billy Wells]

Oh no, Karen. You won't be dull or serene. I'm sorry for this, Norman, whoever he is. It's not going to be nice living with you.

[Karen Curtis]

Oh, Billy, don't you see? If I go back and marry Norman, this beautiful thing that we had, all those sweet dreams that climb to the top and dancing together on the bridge of the world's nose, they won't ever get sour. Billy. I wanted to save us.

[Billy Wells]

Thanks. I knew the day you left for Cleveland you were gone for good. A few weeks at first became a few months. Then on to the scene strode Norman the inevitable. Like William the Conqueror.

[Karen Curtis]

William the Conqueror saved me from setting my hair every night so I'd make pretty wall decorations in producers offices. Billy, I got sick of eating 25 cent spaghetti and reading the theater section of the Times to make myself feel important.

[Billy Wells]

Is that all those years meant to you?

[Karen Curtis]

I got sick of seeing you too. Sick inside of me. When we kept being turned on and you had to tell me. What did you put that record on for?

[Billy Wells]

Oh, suitable background music. Go on. What else are you sick of?

[Karen Curtis]

I'm sick of the words maybe and promise and tomorrow and sensational and big. Everything was always big. Going to be big. But it always fizzled out somehow.

[Billy Wells]

Well, I'm sorry you feel so bitter about your life among the audience.

[Karen Curtis]

What did you put that record on for?

[Billy Wells]

Remember it? Even the crack is still there. We used to dance to that. Remember the routine we worked out for our ballet? Oh, Karen, you were lovely when you danced. You should dance all the time for vanity's sake. You know, you never were really pretty except when you danced.

[Karen Curtis]

I was beautiful. I felt beautiful. No one was ever so beautiful as I used to feel at those times.

[Billy Wells]

Come on, dance with me. Now?

[Karen Curtis]

No.

[Billy Wells]

You afraid?

[Karen Curtis]

Oh, Billy, I've forgotten. It's been so long.

[Billy Wells]

Try. I took her hand then and lifted her to her feet. All her weight seemed to drop from her, and she became like a feather in my arms. I felt the muscles in the waist as we danced, and the hair fell against the back of my hand. This was my car. And we were together the way we were born to be. Dancing. She seemed to follow my steps instinctively, without being led. I. I think I stopped breathing because I was afraid I might blow the moment away. Turn slowly. And then bend back and around. And lift up. Up. And then I kissed her.

[Karen Curtis]

Turn it off, please. Turn it off. Turn that record off.

[Billy Wells]

What's the matter?

[Karen Curtis]

Why did you kiss me? That wasn't part of the act.

[Billy Wells]

I couldn't help.

[Karen Curtis]

It was mean, Billy. It was cruel. I'm not pretending I'll ever forget you. That's something that's dug right through me like a trench. But you shouldn't have kissed me.

[Billy Wells]

But you're great, Karen. Together we're great. We belong together. And we'll get there. Just stick with me.

[Karen Curtis]

Take me to the station, Billy. I'll miss my train.

[Billy Wells]

All right. Come on.

[Karen Curtis]

Well, I was just looking around the room. It's probably the last time I'll ever be here. I was saying goodbye to those ghosts.

[Billy Wells]

You don't have to. They'll crop up again in Cleveland. Come on. Now, just a minute. Hello. Did I wake you? Bell Joe late? No, I was up. What do you want? Rehearsals called early. Get down to the theater at 9, will you? Elon is getting itchy. Madam Queen's afraid her arteries will harden before this show. It's the boy. Okay, I'll be there. And, hey, Billy boy, do me a favor, will you? Yeah. Next time she takes that swan dive, just step back a few feet and let her bounce. What a dame. But be pronounced, you take it out of my hide. See ya. Okay.

[Karen Curtis]

Important.

[Billy Wells]

Our rehearsal's an hour early. I'll be in swell shape after being up all night.

[Karen Curtis]

Rehearsal for what?

[Billy Wells]

Or didn't I tell you that something big that was always going to happen hit me between the eyes last week. I'm going to be Ilona's dancing partner in her new musical when it opens next month.

[Karen Curtis]

Ilona, that's wonderful. Billy, why didn't you tell me?

[Billy Wells]

Oh, I didn't think that sort of thing interested you anymore. You ready?

[Karen Curtis]

Yes, I'm ready.

[Billy Wells]

Mary, Queen of Scots on her way to the chopping block. You know what?

[Karen Curtis]

No, what?

[Billy Wells]

You've stopped being Beautiful again. I must be crazy, but I still love you. Grand Central Station is a big clock, and the people. The people are little second hands running around it. And the world inside Grand Central Station lives by a time schedule. Hundreds of people were probably leaving New York that morning for all points in the conference. But it seemed to me that everyone else was arriving and only Karen was leaving.

[Karen Curtis]

Have you my hat box, too? The little one?

[Billy Wells]

Yeah, I got everything. Hatbox, suitcase, two women's home magazines and a ticket one way to Cleveland.

[Karen Curtis]

You'd like Cleveland.

[Billy Wells]

Maybe I'll come visit sometime and I'd like that. You're a liar. You'd hate it.

[Karen Curtis]

I hope the show is a success. I know you'll be.

[Billy Wells]

I intend to be.

[Karen Curtis]

Billy, you're making it very difficult to talk.

[Billy Wells]

Well, goodbyes always make me edgy. I hope you have a nice trip.

[Karen Curtis]

Thank you.

[Billy Wells]

And try to get a seat near the window. It's more comfortable.

[Karen Curtis]

I will.

[Billy Wells]

And if you get hungry, go into the diner. You always did have a habit of forgetting to eat. And try not to lose anything between here and Cleveland.

[Karen Curtis]

Listen to me. We haven't got long.

[Billy Wells]

I've got a lifetime.

[Karen Curtis]

Billy. The train will leave in a few minutes. Let's say it now, in a rush. Get all the words out for good and leave them on the floor of Grand Central for people to walk on. Say them now, quick.

[Billy Wells]

All right. I love you. I loved you before I met you. No matter who I love, I'll always love you.

[Karen Curtis]

I love you. I won't ever forget you because I won't let myself. I won't even try.

[Billy Wells]

Can I have a few more words to throw into the collection? You want to hear them?

[Karen Curtis]

Oh, yes. Yes.

[Billy Wells]

I never hated anyone as much as I hate you at this moment. You're a coward and a quitter and you haven't the nerve to fight for what you want. I hope you have a miserable life, Karen.

[Karen Curtis]

Thanks. May I have my things, please?

[Billy Wells]

Sure. Here. Remember the first time I kissed you?

[Karen Curtis]

Hat box too, please.

[Billy Wells]

This will be the last time I'll kiss you.

[Karen Curtis]

No, don't.

[Billy Wells]

Don't you want me to? No. You mean that?

[Karen Curtis]

Yes, I mean that.

[Billy Wells]

All right, I won't. Goodbye.

[Karen Curtis]

Oh, Billy.

[Billy Wells]

Billy. What is it?

[Karen Curtis]

Please kiss me. Kiss me goodbye. Don't hate me, Billy.

[Billy Wells]

You got a train to catch. Solo. She looked at me for a long minute. Then she turned and disappeared into the crowd. Did you ever dream you wanted to run, but your legs were two pieces of dough stuck under you that wouldn't move? Well, that's the way I felt seeing her go. I called to her. I called to her, but she didn't answer and she didn't turn around. Then a man in a gray overcoat stepped in back of her, and a woman in a blue dress stepped in back of him. The crowd swallowed her up, and I couldn't see her anymore. So I turned and walked out of the station. I guess I walked home from there and all the way down to my room. It seemed as if someone was looking over my shoulder. It was Karen. The idea of Karen. The illusion of a girl who was gone. When I got home, the picture of Karen got me. So I put our record on. The music intensified my sense of loss and yet gave me a kind of comfort. Especially so when the needle would catch in the crack and play the same phrase over and over. You know, there are times in your life when you need a toothache or a hangover. Anything that's a drag and stops the world from going so fast. If you haven't got any of those things, then, well, you might as well have a crack record. I let it play until I heard a knock at the door. Is it. Is this where Billy Wells when you.

[Karen Curtis]

Start your college career at Heritage University, you're opening the door to something big.

[Billy Wells]

To a world of new experiences, to personal growth and academic discovery, to friendships that will last your entire life and the future you've always dreamed of. You're opening the door to your best life. And the best part is, it won't stop here.

[Karen Curtis]

Heritage University Operation Best Life. Learn more at Heritage. Edu BestLife.

[Billy Wells]

Find your American Express card and start earning rewards with cash back and bonus points on your everyday purchases, like dining in or eating out, shopping at your favorite retail stores or picking up groceries. You can earn rewards when you use Amex. See if you pre qualify with no impact on your credit score. Learn more about our [e-mail] check for offers. Your credit score may be impacted if you submit an application. Terms apply. Yeah. Who wants him? I'm a friend of Catherine Sulphone. Open the door. Did you say you were a friend of Karen's? Yes. My name is Norman Kellalay from Cleveland. Oh, so you're Norman. What's his name? Just thinking about you. Come in. Is Katherine here? No. Why? Do you think she'd be here? Oh, I don't know. Just thought she would be. She wasn't at a hotel. You've seen her since she came to town, haven't you? Is that why you're here? To find out What? Catherine. I mean Karen. What she's doing in New York. You come to check up and see that she doesn't visit any of her old boyfriends? You make it sound rather sordid. As a matter of fact, I was supposed to meet her in New York. Spend a day here together. And then back to Cleveland for our wedding. And you're gonna have to make that return trip alone. She's already returned to Cleveland. Then you did see her. Yes, I saw her. That's what I thought. That's why I let her come on alone, so she'd have a chance to see you. I guess she saw what she wanted. If she'd already gone back home. Yes, I guess I was a big disappointment to her. Frankly, I hoped you would be. Well, don't worry. I was lousy. She took one look at me, and the past was dead. You won't have to worry about that. You know, you're not a bad sort of fella, Billy Wells. Thanks. I always thought I'd despise you. Especially after all the talking Katherine's done about you. But I don't. I can understand what you're up against in the theater business. Just by looking around this room and seeing how you live. It ain't much. It never will be. Naturally, you don't have much to offer a girl like Katherine. Okay, Norman. But you don't have to rub it in. I'm sorry. So that's the end of it? You go back to Cleveland. Just forget about me. Thank you. Just one thing. If you should see Katherine again, don't tell her I was here. Sure. I'll do you the favor if you'll do one for me. Of course. Stop calling her Katherine. Call her Karen. And keep on calling her Karen. Just so she'll never forget that she once was beautiful. That seems easy enough. I never particularly liked the name Katherine anyway. Neither did I. That's why I named her Karen. Well, there wasn't much more to be said. And in a little while, Norman what's his name was gone. I was glad I'd seen him. Just to confirm what I'd known all along. Norman what's his name, was just what I would have been. If I hadn't been bitten by the theater bug. For some reason, it struck me funny, and I started to laugh at myself. But I wasn't really amused. Because maybe it wouldn't be so bad to be Norman Killally of Cleveland, Ohio. With a girl like Karen coming home loaded down with her trousseau. I noticed then that the sun was beating into the room. And in the morning light the place looked more shabby and dirty than ever. The flicker of the leaves outside the window like tiny dancers, their gentle swaying movement. And they filled me with hopelessness. I rushed from the house. Hey, bartender. Bartender. Give me another one. Billy. Huh? Billy, I've been looking all over blazes for you. Lucky fella. Now you found me. Yeah, very funny. Only Joe Lake sent me. Yeah, Joe. Somebody always sends somebody out. Alona's been having kittens for the past hour. Good, good. Look, you nuts or something? You want to muff this? I'd give my right arm for the break you've got. Oh, cut it, Marty. My head. Well, drinking this early, I don't wonder it hurts. Ah, Billy, this isn't like you. Rehearsal was called for 9am not p.m. oh, lemme. Alona. Look, you've got a good thing Alona's developed a soft spot for you. But you can't stretch a good thing too far. I'll buy you a drink. You can buy me breakfast after rehearsal. Now come on. Huh? You bother. Look, it's Alona you're holding up. Can you get that through your thick skull? Alona. She'll be the biggest name in the country after her show opens. She dances like an angel. Sure, sure, sure she does. She's beautiful when she dances. No one was ever as beautiful as she is when she dances. Yeah, that's right, that's right. Elona's great stuff. Now, come on. Hello, Alona. Who's talking about that circus horse? I'm talking about Karen. Karen? Yeah. Oh, now I get it. When did you see her, Marty? I kissed her goodbye at Grand Central at 28 and a half minutes past 7:00 in the morning. You know why I kissed her? She asked me to. Why doesn't she let you alone? What'd she want? Well, she's gonna marry Norman. Do you know Norman? He's a swell guy. Don't you know Norman? That's funny. Everybody ought to know Norman. Yeah, maybe she'd send the kids to dancing school. You chump. Huh? You prize chump. What a. She walked out on you, didn't she? Because she didn't think you'd ever get anywhere. Well, what are you gonna do? Prove it to her. Marty, you talk too much. Yeah, sure, sit around and cry in your beer or whatever the stuff is. She'd like that. She's the type I'll take and no give. Hey, what's the matter here? What's going on? Nothing. Nothing, Nothing. I'm Okay. Marty, I. I didn't mean that. I. I'm sorry. All right, all right, forget it. Let's grab a cab. Marty, listen, I didn't. Look, it sobered you up a little, didn't it? We'll skip it then. It was worth it. I am sorry I'm late, Alona. I was held up.

[Karen Curtis]

It's not like you, Bill.

[Billy Wells]

I couldn't help it.

[Karen Curtis]

Something serious.

[Billy Wells]

Someone died.

[Karen Curtis]

Oh. Oh, I'm so sorry. Someone very close, Bill.

[Billy Wells]

Me. What? Marty. Places, everybody. All right, folks, take it from the top. August are ready. Let's go.

[Karen Curtis]

You dance well, Billy. Very nice. You know, this isn't like me. I never wait for anyone.

[Billy Wells]

Yeah, I know.

[Karen Curtis]

But I waited for you.

[Billy Wells]

Thanks.

[Karen Curtis]

Oh, Billy, you are a good dancer. You know, Ilona thinks you are very beautiful.

[Billy Wells]

Well, it's too bad I can't say the same for you.

[Karen Curtis]

What?

[Billy Wells]

You got the wrong boy. Alone. Why, Billy, you'll hurt me. Hey, Marty, stop the music. Hurt the music. Hey. Hey, what's going on? What are you doing, dream boy? I can't dance with her.

[Karen Curtis]

She's drunk.

[Billy Wells]

What do you mean you can't dance with her? She's a circus horse. Circus horse? Yeah, she's got two feet. Moos em around. But she doesn't dance.

[Karen Curtis]

You're drunk.

[Billy Wells]

Yeah, maybe you're right.

[Karen Curtis]

You're impudent. You dare to speak to me like that? Get out of here.

[Billy Wells]

Get out. Don't push. I'm going.

[Karen Curtis]

Get out.

[Billy Wells]

Get out, miss. Alone. He doesn't know what he's saying.

[Karen Curtis]

He's a drunkard. He says I can't dance. He should be selling tickets in the box office, and I give him a chance.

[Billy Wells]

Okay, okay, I said. I'm going. My first break. I threw it away from memory. As I wandered up and down the side streets off Broadway. I couldn't bring myself to care much at Holy of holies. A stage door had been slammed behind me and I was out on my ear. Yes, it'd be a long time before I get another chance like the one I walked out on. Think of what a dope you've been. I thought so, I thought. And the only thing in my mind was, I wonder how much closer to Cleveland she is now. I wonder if she's sitting at the window watching the trees fall away. I wonder if she'll ever think of me.

[Karen Curtis]

Hello, Billy? Yeah, I'm making coffee for those ghosts. You want some? But, Carol, I missed my train. I missed it on purpose, Billy.

[Billy Wells]

Yeah, I missed mine too. They threw me out.

[Karen Curtis]

I know Marty was here looking for you. He told me. There's some coffee over on the table for you.

[Billy Wells]

Yeah, thanks. I think I'll need it. Why'd you put that record on?

[Karen Curtis]

Suitable background music. Don't you like it?

[Billy Wells]

Like it? Sure. Why not? Let's have music and all the trimmings. And listen, when I kiss you, make sure your right profile shows at your best.

[Karen Curtis]

What are you trying to do to me, Billy?

[Billy Wells]

What are you trying to do to me? Karen, you walked out on me a year ago. You did it again tonight. Haven't you turned me inside out enough? My little affair is a crack in it, like the crack in that record.

[Karen Curtis]

You didn't talk like that a few hours ago. A few hours ago you said you loved me.

[Billy Wells]

Yeah. Temporary hangover, maybe. Temporary insanity.

[Karen Curtis]

I see.

[Billy Wells]

Yesterday I had a job. The first decent break yet, and you come back and get me so cockeyed I blow up and call the leading lady a circus horse.

[Karen Curtis]

Well, if she was, I'm glad you did.

[Billy Wells]

Oh, sure, you are a pair of great little idealists, the two of us. But alone, we're much more practical and far better off.

[Karen Curtis]

I'm willing to gamble this time, Billy.

[Billy Wells]

You mean if you've got a written guarantee that we make the grade? Ah, Karen, you weren't meant for this. Otherwise you'd never have left in the beginning. If you. Tomorrow or next week or next month, you'll be wondering if. Yes? If little Norman really meant it when he said he'd buy you a fur coat and a fall.

[Karen Curtis]

Maybe I'd better turn that record off. It sounds off key somehow. I wanted to dance with you. That sounds silly now, doesn't it?

[Billy Wells]

What did you think I had to offer you all of a sudden? Besides 25 cents spaghetti?

[Karen Curtis]

Billy, I'm vain. I know I'm vain. But you said I was beautiful when I danced. Please dance with me, Billy. Put the record on again.

[Billy Wells]

Sure. Sure, I will.

[Karen Curtis]

Billy.

[Billy Wells]

I said I was sick of it and I meant it.

[Karen Curtis]

And sick of me, too, maybe.

[Billy Wells]

Sure, you're beautiful when you dance. But you can't dance all the time. And you know what you look like the rest of the time, don't you? You look like Mrs. Norman. What's his name? Furk? Holt? Norl. All right, Ken, get back to where you belong. My girl died a year ago when she left New York, when she quit. And that record I just broke marked the end of the mourning period. I'm so glad you could come. She was a nice kid, and I'm glad we Gave her a proper send off.

[Karen Curtis]

Yeah, so am I. Look, do something for me, will you?

[Billy Wells]

What?

[Karen Curtis]

Put a notice to that effect in the obituary column of Variety. Tell them Karen Curtis died of slow poison in a city that never really wanted her in the first place. And I'll put a notice in the marriage column of the Cleveland Home News. It'll say that Kathryn Kuppelman's going to marry Norman what's his name? And that she's going to make him an awfully good wife. At least she's going to try her best. Goodbye, Billy. I love you.

[Billy Wells]

Short and sweet, huh? Didn't take me long to talk her into getting back on that train, did it? So maybe that's what she really wanted to do all along. Me? What difference does it make? I'll be around. I'll get over. Maybe in a hundred years or so. Joe Lake. Billy. Okay, okay. Calm down, will ya? Okay, so I'm a jerk. Look, is Ilona still at the theater? Yeah. I want to apologize. Nah. Not that the job means anything. I can get others. But the goodwill, you know, that sort of thing. The six, huh? Oh, thanks, Joe. Oh, and Joe, Does a lady like gardenias? Come away from the city. Now return with me to our vantage point high above the rooftops. See how the lights blink on and off, how the crowds come and go. See yourself living, hoping, succeeding, failing. Know that this is man's greatest creation, the city. And you are part of it. Like all who live beneath the rooftops of the city. CBS has brought you Rooftops of the City, a new series of dramatic programs featuring stories about people who daily enact the exciting adventure of life under the rooftops of the city. Our story tonight was written by Winifred Wolf. The music was conducted by Alfredo Antognini. Paul Potter was heard as Billy. Karen was played by Joan Allison. Rooftops of the City was directed by Edward Ray Downs. Rooftops of the City will not be heard next week. On August 17, from 10 to 11pm Eastern Time over most of these same stations, the Columbia Broadcasting System will present Crusade for Children, a special one hour broadcast. General Eisenhower will interrupt his vacation to speak to you. Rosalind Russell, Madeline Carroll, Edward R. Murrow and others will participate in an entertaining variety program with Arthur Godfrey as master of ceremonies. Rooftops of the City will be heard again the following Tuesday at its scheduled time. This is Lee Vines. And this is cbs, the Columbia Broadcasting System. Check engine light on. Take the guesswork out of your Check engine light with O'Reilly. Veriscan. It's free. Ask for O'Reilly Variscan today. Oh, oh, oh. O'Reilly Auto Parts.