 The mutual broadcasting system in cooperation with Family Theater Incorporated presents Little Boy Blue starring Robert Walker and Jean Crane. William Gargan is your host. More things are wrought by prayer than this world dreams of. You know if you stood on any street corner and asked a dozen people what they want most in life, you'd get a variety of answers. But a lot of them would add up to something like Brother, give me a million bucks and I'll be satisfied. Yes, some people got it figured out. They've got it figured that a million bucks will buy a new kind of home life, security, happiness. But here's something, a sure way to that new home life, that security, that happiness. Ever think about all the things you can do and have with God's help, with the help of prayer? You'll never know what prayer can do until you've tried praying. Sincerely, earnestly, putting your whole heart and soul into prayer. You'll never know what family prayer will mean in your home until you've tried praying together as a family. Maybe a million bucks will buy happiness and security. Maybe it will. But there's no doubt about the peace and joy, the security and happiness that comes into a home with the daily practice of family prayer. Family prayer means God is there in your home. That's lasting security. That's real happiness. William Gargan will be back following tonight's family theater story, Little Boy Blue, starring Gene Crane and Robert Walker. He wrote these words. God in his providence obscures the goal beyond this veil of sorrow and smiles at men in pity when they seek to penetrate the moral with faith that all is for the best. Let's bear what burdens are presented that we shall say, let come what may, we die as we have lived, contented. For you, Gene, feel the contented life was made up of these things, his faith in God, his friends, his sense of humor, his children, his beloved wife, Julia. St. Joseph, Missouri in the 70s. Along the board sidewalk of the main street, a young man with hat on the back of his head and necktie streaming away from his high collar, half runs, half walks through the late afternoon crowd. Oh, excuse me. Excuse me, please. Well, really? Excuse me. Gene, Gene Field, when did you get back? Oh, I have no time to talk now, Josh. Hey, Gene, wait a minute. Oh, oh, excuse me, please. Yes? Well, Mr. Field, I thought you were in Europe. Well, I was. Has her father left yet? Well, I think he was just going out the side door. Oh, good. Thanks. I'll try to catch him. Oh, I'm very sorry, sir. Let me help. Oh, Mr. Comstock. Field, I might have known. Are you all right? I was hurrying to see you. I just got back from Europe. And did you knock people down like that all the way over? Oh, no, sir. Sir, I've talked to Julia. I assumed. And I've got to talk to you, Mr. Comstock. We want to get married. So you informed me two years ago. And what was my answer? Well, you said we'd have to wait two years till Julia was 20. Correct. And what else did I say? You said I should be established in business. Well? Well, I've decided that the most important business I have to attend to right now is marrying Julia. Indeed. Young man, don't you realize Julia's still a girl? Oh, well, she'll outgrow that, sir. I'd be a fool to give my consent. Well? Oh, are you implying that I am a fool? Oh, no, sir. Well, as a matter of fact, I am. I would have been where Julia's concerned. Field, if you make that girl unhappy, I'll take it out of your hide. Julia. Yes, Jean. He said yes, Julia. Oh, Jean. Yeah, we'll be married next week. And a honeymoon in St. Louis. St. Louis? Oh, Julia. New York. Nothing but the biggest and the best for the wife of Eugene Field. That's the new elevated railway train, Julia. Just one of the sites of New York. You mean it runs way up there above the street? That's right. Oh, it's fabulous, Jean. Unbelievably so. Oh, you're beautiful, Mrs. Field. Unbelievably so. Waiter. Oh, waiter. Yes, sir? Uh, pigs feed Alla St. Joe for two, please. Pigs feed Alla St. Joe, sir? That's what I said. Well, now, surely an establishment as far famed as the Waldorf Astoria would wish to make two honeymooners from St. Joseph of Missouri feel at home. Oh, Jean. And tonight, tonight we see Frufru, Julie. Frufru? Musical comedy at the Fifth Avenue Theater. Oh, I didn't think there could be another theater in New York. Well, I guess this is the last one. Happy, Julia. I'm with you, Jean. A trip to Europe, a wedding, a honeymoon in New York. Undoubtedly a costly one. And now I'm home, Mr. Gray. Yes, and I presume broke again. You came to ask for another advance from your father's estate, is that correct, Jean? Well, I came primarily to see you, Mr. Gray, but I won't deny that some money would be welcome. Mm-hmm. Eugene, I think it's about time you and I had a serious talk. The estate your father left in my trust is not endless, you know. Mm-hmm, I know. Mind you, I'm not accusing you of squandering. I consider the trip to Europe a reasonable part of your education. Your marriage, and I suppose even an expense of honeymoon in New York can be justified. But you've got to settle down. Yeah, well, I... Yes, I suppose you're right, sir. You've got to think of a career. And I consider it my duty to force you to think of a career. Therefore... Uh, therefore no money. No money? Mm-hmm. Well, you know, I deserve that, sir. You're absolutely right. And I'm resolved right now to launch on a career, on the variety stage. Look, now see here. You're not going to talk about going on the stage again. Oh, yes, I am. I forbid it. But you just said I have to have a career, and my friends consider me very entertaining. Gene Field, you can't do this. A cheap entertainer. Think of the family name. Oh, I have, sir. Oh, I wouldn't think of using my own name, of course. Well, at least you show that much sense. Oh, no, I decided to use your name. What? Melville L. Gray, Banjo and Specialty Artist. What? Gene Field, you wouldn't dare. You wouldn't have the audacity to... Oh, yes, sir. This is another one of your preposterous jokes. Well, now, Mr. Gray, needing money is no joke, I assure you. Very well, very well. You'll get your money again. But I tell you, this is the last time. Positively the last time. Mr. Gray, you know, you're one of the most understanding men I've ever known. Someday I'm going to name one of my children after you. You get out of here. Take this check and get out before I change my mind. Thank you, Mr. Gray. Thank you again, and Julie would want me to thank you too. Oh, by the way, I forgot to tell you. What now? Well, I'm editor of the St. Joseph Gazette. You're what? I've got a job as an editor of the St. Joseph Gazette. Start tomorrow. You mean to tell me all this time you've had a job? You deliberately... Gene Field, you're impossible. Thanks for the check, Mr. Gray. Thanks indeed. If it weren't your own money, it would be robbery. I tell you if that wife of yours survives even a year of married life with you, I'll be amazed. Gene, your first pay envelope? Yes. Open it up. Not even a quarter out for a haircut. But the envelope, it's made out to me. Oh. Well, that's just an error, I guess. Oh, thank you for a very nice error, Gene. A Valentine. What a poem. Oh, Gene. When all these months we've been married, you've thought of me as just a newspaper man. You didn't know I was going to win fame and fortune as a poet, did you? Oh, it's a beautiful poem, Gene. Well, of course. It was written for a beautiful woman. What in heaven's name makes you so quiet, Gene? Well, working on a poem, of course. It's entitled to the new baby. Oh, the new baby. Our baby. Oh, it's so wonderful. I'm almost frightened. Wait a minute. Frightened? Never be frightened of the future, Julie. We'll make a wonderful family. And something else, Julie. What, dear? Well, while after the baby comes, I might take a trip down to St. Louis. I've heard tell they need a good man on the paper down there, and they might even be interested in someone like me. Oh, Gene. Well, here you are, Gene. Oh, thanks. Thanks for the lift for the station. You know, I just can't wait to tell Julie the good news. Ah, don't blame me for getting a good job in a big town like St. Louis. Yeah. Well, see you later. Oh, thanks. Oh, and give my regards to the family. Julie. Julie, I'm back. Julie, I... Hello, Gene. Well, Mr. Gray and Mr. Comstock. Gene, this is Dr. Mason. Doc? Julie. What's happened to Julie? Not Julia, Gene. I'm sorry, Mr. Field. The disease struck suddenly. I did all that could be done for him. The boy? We tried to send for you in St. Louis. We couldn't find you. Where's my wife? I want to see Julie. Julie. Gene. Oh, Gene. Julie, my beloved. We tried so hard to find you. I... I shouldn't have gone. I shouldn't have left you. Oh, don't say that. Gene. Oh, Gene. Now, I know why I've been frightened. It was so awful knowing I was powerless. Knowing there was... Oh, forgive me. Oh, cry, Julie. Why don't you cry? Oh, I don't know. We were too happy, Julie. You know, I've been a fool to think that happiness can be of our own making. I've been too much of a coward to accept reality. Gene, what are you saying? Oh, I don't know, Julie. I don't think you do. Oh, I'm not afraid of the future with you, Gene. Bless you, honey. The St. Louis General. Eugene Field, editorial writer. The Kansas City Times. Eugene Field, managing editor. Announces the birth of a daughter. The Denver Tribune. Eugene Field, managing editor and columnist. Celebrates the arrival of a son. Eugene Field. Oh, hello, Julie. What's the matter? Eugene Field, I want an explanation of this. Oh, mm-hmm. Yeah, I noticed you called me Eugene. Okay, what have I done now? We came out here to Manitou for a restful weekend. Is that right? Mm-hmm, that's right. To get a few days' vacation from the children. That's right. For the meeting of the Denver Press Club. Then would you please explain this poster? That? Oh, that? Well, it's self-explanatory, isn't it? Tonight, monster benefit show, Manitou Hotel Main Dining Room. Come one, come all, admission 50 cents. Isn't that clear enough? It's all too clear. Putting posters all over town, announcing a show, when you know very well there isn't any show, is bad enough. But to suggest you might charge admission. Well, how else can you raise money, honey, if you don't charge admission? It's for a worthy charity. Yes, what charity? Well, children need new shoes, and they could use some toys. What? Well, I've merely said that children... Oh, Jean, you wouldn't have the nerve to do a thing like that. What, what people might really come? Of course. But there isn't any show. Well, they can't just sit there. Junior, I'm surprised at you. They won't just sit there. If the people of Manitou will provide an audience, heaven will provide the entertainment. Jean, please, I'm serious. And so am I. Oh, and by the way, here's your free pass to the show. I'll probably be busy at the box office tonight, taking in the money. Hmm? I can't believe it, Kerry. He's really done it. Yes, and quite a turn-up, too. Looks like the whole town's here. What's he gonna do, Kerry? Taking money from these miners. But they might not like it. Yes, I know. Oh, hello, Evans. Good evening, Kerry. Hello, Mrs. Field. Evans, is there... Have any entertainers? No, Junior, no entertainers. There's nobody backstage at all. I hope Jean hasn't carried this joke too far. The crowd's getting a little important. Wait a minute. Wait. There he is getting up on the platform now. He's going to the piano. Oh, no. He's not going to try to play himself. But he is. Oh, this is awful. This is simply awful. Oh, Jean. How was I? Huh? Oh, well, I couldn't have been that bad. It was a miracle they liked you getting up there and entertaining for two hours all by yourself. Was it really two hours? It was. But that's not what I want to talk about. Jean, please listen to me because I mean it. I insist that you return every cent of that money. After working that hard, oh, not really, Junior. No, Jean. Listen to me. I'm not laughing. I don't think this was a funny joke. Oh, you really mean that, don't you? I do. Well, I guess you're right. I don't know exactly how I'll get in touch with all those people again, but... Oh, excuse me. Somebody at the door. Oh, come in, Mrs. Orsatti. Mr. Eiffield. I cannot. Mr. Eiffield. That was the most wonderful thing anyone has ever done for me. Oh, Mrs. Orsatti, this is my wife, too. Mrs. Orsatti, what? Jean, what? Well, you see, Mrs. Orsatti's husband was killed in the mines the other day, and she had several children. Of course, if you insist on sending the money back, Jean. Oh, no, Jean. Well, there's a little more than $200 in this envelope, Mrs. Orsatti. It's a gift from the people of Manitou. Oh, thank you. Thank you. I don't know how I'll... Oh, the people of Manitou don't expect any thanks, Mrs. Orsatti. Now, you go along to those kids of yours. You have an angel for a husband, Mrs. Eiffield. An angel? Jean, feel you're a devil. But she needed the money, Julia. And you let me think you were going to use the money? Well, all I said was that the children needed shoes, and they do. I told you that the money was for a worthy charity. Well, you didn't really doubt me, did you, Julia? Of course I doubted you. You don't know how many times I've doubted you. Really? But I won't anymore. I can promise you that. I'll never waste another second of my time doubting you. The success of two recent volumes of poems has brought Eugene Field, his wife Julia and their children, now four in number, to Chicago. Now it's a day in April, 1888. And at the modest flat on Diversey Boulevard, supper is being made especially festive by a treat of gooseberry tarts. No, sir, it's mine. You already had three. Didn't either. I only had two in a little old smidgy. Why, Junior Field, I saw two of you. Whoa, whoa, whoa. Wait a minute here. Mother, wasn't I under the impression that there were knives out in the kitchen? Well, there were last time I looked. Well, and it seems to me that this last tart could be cut up in four pieces? Hmm? Well, that is unless you all want me to eat it. Oh, my God! Mel, suppose you go and get the knife. Cut it. You don't either. I'm the oldest. Wait a minute. Mel. Huh? Oh, that's a beauty of a shiner. Come over here. Let me look. Oh, it don't hurt. Doesn't. All right, doesn't. See? Did you see this, Mel? Yes, I saw it. Don't tell me you got in a fight, Mel. Nope. Freddie just let his old rag dog in the stairs again. I only fell from the first landing. Yes, Freddie's always doing that, too. Father, I think you should speak to it. Yeah, maybe I should. Remind me to speak to you, Freddie. Uh-huh. And would you fix my soldier? He's busted. He's broken, Freddie. Uh-huh. And he's busted, too. Hey, when are we going to get the knife and cut this tar? I'm awful hungry. Oh, that's very nice, Mary Bravo. Your music's coming along. Fine. Oh, this is a life, Mother. Concert after dinner, huh? Well, I got another new piece I can play, too. Well, don't you think we'd better let Freddie play his piece for Daddy, dear? Oh, has Freddie got a piece, too? Uh-huh. He only plays with one finger. Well, just the same. I think we should hear it. But not at a concert like this one, honey. Come on, Freddie. All right. Ah, gee. Little boy blue, come blow your horn. The sheep's in the meadows, the cow's in the corn. Where is the boy that looks after the sheep? Rowdy's all in bed, Julia. Oh, at last. Tired. A little. You working? Well, I've... I've got pen and paper out, but no idea yet. Slason Thompson wants me to do a poem for the first issue of his new magazine, The America. Oh, well, that's nice. I won't bother you. No, wait, Julie. Don't go just yet. Oh, why, dear? Well, I just wanted to say that that's a wonderful family of yours. Ours, Jean. Mm-hmm. Grave Alice and Laughing Allegra and Edith with a golden hair. What's that? Children's hour. Long fella. About his family, I guess. But it might be about ours. How do you mean? I was noticing tonight. Grave Freddy, Laughing Mel, Penny with an appetite like a horse. To say nothing of our 11-year-old grown-up Mary. Oh, it's strange, isn't it? Are they each different, one from the other? Like snowflakes. They all look the same until you get them under a microscope. Jean. Yes? I wonder what the other one would have been like. Yes, Julie, I've often wondered about him, too. He would have been 14 in three months now. Almost a young man. On the football team, probably, huh? Having his first sweetheart. And different from all the rest. Yes. Well, this isn't getting your work done. No, I suppose not. I'll go then. Please don't stay up too late. Good night. Good night, Blue Eyes. Hey, dear and I, dear. Hey, Blue Eyes. Hey, Blue Eyes. I'll get a new idea. Jean. I'm about... Little boy blue. Little boy. Little boy blue. Yes. Little boy blue. The little toy dog is covered with dust. But, sturdy and staunch, he stands. Meal Oatmeal. Come on, hot oatmeal for everybody. Hey, Penny, what do you do with my skate key? Well, if you take better care of it, you wouldn't be losing it all the time. All right, all right. At the table, everybody. Come on, Freddie. It's your turn to say grace. And all that in our lives is good, but gives our hearts gratitude. Amen. Amen. Well, well, well. Oh, happy birthday. Oh, happy birthday. Good morning. Good morning. I'm a little boy blue-eyed. You'd better have a poem for us after working all night. Yes. I have, Julie. I have. Oh, have your daddy. Will you say it for us? Well, I... Everybody, daddy's got a poem. Yes, I have. Wow, chatty, chatty. How was it? Please. All right, now. Julie, I want you especially to listen. I think you'll know what it means. What does it got her name, daddy? Mm-hmm. I call it Little Boy Blue. And here it is. The little toy dog is covered with dust, but sturdy and staunch, he stands. Little toy soldier is red with rust and his musket molds in his hands. Time was when the little toy dog was new and the soldier was passing fair and that was the time when our little boy blew, kissed him, and put them there. Now don't you go till I come, he said, and don't you make any noise. And so, toddling off to his trundle-beddy drench of the pretty toys. And as he was dreaming, an angel song awakened. Our little boy blew. Oh, the years are many and the years are long but the little toy friends are true. I, faithful to little boy blue they stand, each in the same old place, awaiting the touch of a little hand, the smile of a little face. And they wonder, as waiting the long years through in the dust of that little chair, what has become of our little boy blue since he kissed them and put them there? Well, Julie, what do you think? I love you, Genefield. This is Bill Goggin again. You know, when you come right down to it, we're all looking for little romance in life. Isn't that true? Genefield's had a great idea in the romance of little things. The adventure we can find in simple daily living. I guess that's why we get a real lift out of beating someone who's enthusiastic about his work. Enthusiastic about his home, his family, his wife and children. It's nice to meet a guy who gets out of the humdrum way of seeing things. A guy who looks at the value of something before he starts worrying about the price of it. Because there are some things money just can't buy. They're too valuable. A happy home is one of them. God's blessing is another. And family prayer isn't too much to pay for a happy home. Yes, there's romance in loving God because love makes daily living a new adventure. There's romance in family prayer because it brings a purpose and enthusiasm into family life. And where there's adventure, romance, and enthusiasm in the simple things of family life, there's a lot of happiness in a home. That's why a family that prays together stays together. Before saying good night, I'd like to thank Robert Walker and Gene Crane for their performances this evening. Our thanks to Everett Tomlinson for writing tonight's play and to Max Tehr for his music. This production of Family Theater Incorporated was directed by David Young. Others who appeared in tonight's play were Virginia Gregg, Bob Purcell, Ralph Moody, Tony Diorzi, Alan Harris, Vic Parran, Gilbert Barnett, and Carol Lees. Our family theater stars will be Dan Durrier and Skippy Homeyer in Toledo, Smith. Your hostess will be Shirley Temple. This is Bill Goggin saying good night and God bless you. This series of the Family Theater broadcasts is made possible by the thousands of you who felt the need for this kind of program and by the mutual broadcasting system which has responded to this need. Be with us next week. Tony LaFranco speaking. This is the Mutual Broadcasting System. Thank you.