 It presents Ruth Hussie and Frank Lovejoy which will network in cooperation with Family Theatre presents Old Friends starring Frank Lovejoy and now here is your hostess, Ruth Hussie. Thank you, Tony LaFranco. Family Theatre's only purpose is to bring to everyone's attention a practice that must become an important part of our lives if we are to win peace for ourselves, peace for our families and peace for the world. Family Theatre urges you to pray, pray together as a family and now to our transcribed drama Old Friends starring Frank Lovejoy as Bob. The only way you'll ever be able to see my point of view on this is by knowing what I was up against. You can kick around show business for a long time and get absolutely nowhere. In New York you can go sit in cobies and stretch a cup of coffee for over an hour or stand around the bar in one of those spaghetti joints near Shubert's Alley nursing a warm beer hoping you'll meet some big operator and you can do the same thing in Chicago or Hollywood. I wish I had half the money I've spent in spots like that buying lunch for the wrong people. The point is that for jobs and show business they don't run ads in the classified section of your local newspaper. You've got to go out and look for them. Well I knew this and Kenny knew it. This Kenny Lewis he was the one who taught me eight years ago so now I've got a little house in Glendale and I drive to work at the studio and afford convertible and things are looking up and then one night a few months ago the phone rings and Patty answers it and I get on the wire for a while and oh brother oh you bet yeah you bet Kenny so long kid holy cat is he out here he just got off the train an hour ago. Well I thought you said he was teaching dramatics in some little college in Michigan. Yeah he was but he quit oh boy oh boy. Does he have any prospects? Yeah me I'm his prospect. Oh Bob. Oh he saw the movie adaptation by Robert Ballinger he thinks I own the studio. Well you will. I'm not laughing. Why is he here? Oh the big chance you've read his letters. He still wants to act. He's got three hundred dollars he's going to give it six months. The funny thing is that he's good. He was very good and he helped me. Where's he staying? No way yet a hotel I'll stir him into a rooming house. Bob. He helped me baby. I know. Eight years ago he helped me. I can't pretend he's not here. I didn't get away from the studio until almost one the next afternoon. I played it a little big with Kenny I said I'd meet him in the Hollywood Derby. Outside in the parking lot I checked my wallet nine bucks and some change. That'd make it if we didn't go crazy. Kenny was waiting for me in one of the booths. He'd taken on a little wait. Who's the best writer and radio? Robert Ballinger the best actor? Kenneth H. Lewis. Oh you look great Robert. And hungry and ain't at the truth. How's Patty? Oh she's great and this time you'll meet her. I'm looking forward to it. You look fine really but where's the suntan? It's no place. That's a gag they have in this town. What's that? Well if you're brown you haven't been working. Really? Yeah. Well what about location? Everybody wears hats. Hey you look good. Oh I feel okay. But seriously is that bad having a suntan? Well I know one guy a director. He goes swimming every morning off Santa Monica. Winter, summer he goes swimming. Well? I think it's pennants. Is he brown? Yeah yeah but it doesn't hurt him. Everybody knows he's a director. That's the trick huh? That's the way it looks. You ordered yet? No no no I'm not very hungry. Kenny this is Bob. When I was strapped you bought the strudel. Well that was eight years ago. I got just as hungry then. Well we were kids. Oh everybody in this business is kids. An adult couldn't stand it. Now are we friends? I guess I sound like a jerk. Oh you sound fine now stop worrying. Look if it wasn't for you I'd still be knocking myself out trying to be a two-bit actor. You were good. I stunk. You were the guy who told me. Right. So thank you. Now what do you want a steak sandwich? Okay. I had a boy. Now stop worrying we'll get your work. Well are they pretty busy out at the studio? And it stays open. My uh well my deal is with just one producer but there's plenty going on. Merrill. Yeah. He's a fella that did that thing you saw my name on for the adaptation. Oh I thought it was great. Really? I mean seeing your name up on the screen. Oh that really did get a kick. How'd you like the picture? It was good. Good. I was a little surprised to see your name on a western but I guess there's a big demand for that formula stuff. Well I'd hardly call a western like Shane formula stuff. Let's face it Bob this wasn't Shane. Oh you guys from the campuses if it doesn't have English subtitles and a downbeat ending it's not odd. You're from the campus. Yeah a long time ago. And Shane didn't have English subtitles. You know I'll bet you didn't know whether to like it or not until you read the Saturday review. Oh. Oh now let me give you a little advice Kenny. You know most of the people out here think they're doing a pretty good job. I think most of them try to. Yeah okay. And they've heard of Escalas and Shaw but they're not in business to please the literary crowd. And the literary crowd is well aware of this. Hmm. Well that might have brought down the house at the last faculty dinner but out here it would lay an egg. Uh huh. It would lay an egg with you. Well we're not talking about me we're talking about someone who just blew into town with three hundred dollars and a gleam in his eye. All right but look do I have to pretend I think this is the cultural center of America. No no all you got to do is stop pretending you don't want what this town can give you. I'm not quite sure what it can give me. Well I can sum it up for you very quickly. Oh excuse me gentlemen have you decided what you want. Yeah two steak sandwiches. Well that was the way it began. I got Kenny signed with an agent and he started making the rounds. The first month it was absolute murder he got nowhere. He kept thinking his agent should get him work and I had to explain that agents aren't like that. You get the work and then they argue a little about price. As often as not they lose the argument but never the 10 percent. So agents. Well anyway about six weeks ago the man I worked for Billy Merrow bought the movie rights to a novel it was very hot. He told me to read it and start work on a screen treatment which I did. Also what I did was get a great idea. I sprung it on Billy at the next conference we had. Well as this guy got any film. No no he's brand new out here I met him in New York. He's great friend of yours. Yeah I know his work and all of a sudden he pops up here. I think we ought to give him a try. Yeah well this this role of the lawyer is pretty big. In the novel. Yeah yeah but the trial's about half the picture. Well the time during the trial yes but you would be in that courtroom ten minutes. All right I don't know about him. Well you don't test for the role anyway. Oh Billy you want to give him a chance. What's his name. Kenneth Lewis Kenneth Lewis. Well OK get a hold of it. I called Kenny and he came out of the house that night so excited that he couldn't see straight. After dinner we sat in the living room and went over the courtroom scene over and over. And a funny thing happened. Let me try it again. All right now let's go from the middle of page seven. I'll read the witness. You know that's what's wrong with this thing the witness. Well I don't claim to be a female impersonator. Oh no no I mean the way it's written. Well it's right out of the novel. But it's wrong it's wrong the girl is supposed to be in love with the defendant. She's supposed to fight the prosecutor. Well there's no fight here. Kenny those are the sides that you're going to have to do. But nobody in the world can bring this scene to life. Well you know that and I know that but this is how Meryl sees the scene. Now go fight Cindy Hall. Nevertheless somebody ought to tell him this just doesn't work. How would you two geniuses like some cough. Oh great honey thanks. Now Kenny. No no thanks Petty. You know it just doesn't work Bob. Look do yourself a favor. Memorize the scene come in tomorrow and play it for all its work. Oh don't you worry I will. And don't try to rewrite the picture. That's my department. What. I'm the guy that tells Meryl when something doesn't work. That's what he pays me for. The next day Kenny did his screen test. Kenny and three other actors. That evening after Meryl and I looked at the test in the projection room we went back to his office. And I tried to help him make up his mind. Well I. I don't know I think those first two birds are completely wrong. Well they're too old. No no no. Look like the FBI. Every time you tell an actor he's going to be on the side of the law he. He drops his voice in octave and puts on rimless glasses. How'd you like Kenny Lewis. Well him. Well he's different. He played it kind of strange though. Well that's what made him different. I don't mean that he. But he didn't play it the way it was written he he fought the girl he fought her all through the scene. It sounded real to me. Yeah well that's what's got me worried it was wrong. But it was real. The guy's got a quality he's genuine. You can tell he doesn't work by any book. I told you he was good. Yeah. I wish I could use it. Well he's yours if you're interested. Yeah. Well I I'm going to get Tony Milo for the part. Milo. Well his agent says he's free. But you didn't even test it. I can get him for a price kid he's a name. Oh Bill. Now look this this movie needs some protection. You've got a potential bestseller. And it stinks. Who's kidding who. And stars you got two stars. Yes I'm going to tie on as many more to this as I can and then fix the story. That we can fix but we haven't yet. So in the meantime it's got to be the names who make it look good to the backers. Well it is some Milo yet there's no rush I can get him. I think you're making a mistake. It won't be my first come on kid I'll buy your lobster. Every place Billy goes on Sunset Boulevard they all know him. It's a Haya doll here and hello baby there. So when we got to this chintzy restaurant I had plenty of time to make a few phone calls. Fatty said Kenny had been trying to reach me since six o'clock and that he'd left about four different numbers just prowling around town holding his breath. I finally got a hold of him and I told him what to do. Fifteen minutes later Billy and I were still standing at the bar waiting for a table. Kenny came in. Kenny what are you doing chasing me. I wonder if I know where to look Billy you met Kenny Lewis. Of course I'm glad to see you say I want to thank you for the test today. Not at all a waiter. I'd be flattered if you had decided on me but in a way I hope you haven't. Excuse me waiter as you like Johnson party or I'm here. What's with him. It's me Eli Johnson is that the Eli. Oh Kenny knew him in New York is he out here. I wouldn't know he's supposed to have that new Anderson play maybe your friend got lucky. Well he figures to he's good excuse me waiting for a power sure sure. Eli Johnson yes I didn't even know he was out on the coast he called me this afternoon I understand he's doing a new Anderson play nothing official. That's why you said you hoped I hadn't decided on you for the prosecutor. Well I'm not supposed to talk about it Mr. Meryl OK OK but what if I had decided on you. Well I don't know that would depend on what the money no not entirely there are a few things about the part itself. Say Bob yeah see what's holding up our table sure be right back be right back. I never should have left but I played the old school tie right down to the end. I went into one of the pay phones and I called the bar and I got Kenny on the wire and right in front of Billy Meryl I gave him a chance to tell Mr. Eli Johnson the big theatrical producer that he was sorry that the latter couldn't make it for dinner and oh yes he'd see Mr. Johnson the first thing in the morning. After I hung up I went out and I gave the headway to the hurry up but by the time I got back to the bar the damage had been done. That's the way it seems to me. It's difficult but in the writing the part is improperly conceived. The whole thing it's it's out of balance. The headway to says it'll be another 10 minutes Billy. Oh I want you to listen to this one. Kenny just got a call he's having dinner with us. Yeah Johnson's tied up I'll see him tomorrow. Oh it's too bad. Listen to this he's got an angle on a story we didn't even see. The way the thing is written Bob the prosecutor's relationship to the girl the heroine she doesn't fight him enough. Well that's why Kenny's tests look real he fought her. Well he ought to fight her we've talked about this. But we didn't do anything about it. Well Billy you wanted it the way it was in the book. Bob I wanted the flavor. You wanted the scene. I wanted the scene to retain the flavor of the book. It doesn't mean I wanted to fall flat on its face. You don't want to change it any more than I do. Now what's your idea. Tell him Kenny. Oh well actually it's it's a simple thing. It's so simple I'm a little worried that you didn't see it. Or maybe I did. Well just on the off chance that you didn't please listen. Maybe you learned something. Go ahead Kenny. I did what Billy told me to I stood there at the bar and I listened. I listened to Kenny give a classroom lecture on the function and the nature of drama. A lecture of the sort he'd given the undergraduates at Michigan sub normal for the last five years. Then we went in and we ate the lobster and the lecture continued and Billy Merrill aided up in great big mouthfuls the lecture and the lobster. There wasn't until the following morning at breakfast that I realized I might have to stick a pin in somebody's balloon but purely as a matter of self-preservation. Understand what he thought he was doing. Well he thought he was increasing the value of his stock honey and he was. Well he couldn't have been trying to hurt you. Well all I know is he did hurt me. It wouldn't make any sense. Well Kenny's been hungry for a long time. He learns pretty fast. You mean you think he's after your job. Well let me put it this way I think he'd take it if Billy offered it to him. Well Billy wouldn't. You're worrying yourself to death about nothing. You know I don't know how you've gotten to be such an expert on what Billy would or would not do. Oh Bob this has happened a thousand times an actor tries to impress a producer and he goes a little old. Hello Robert. Oh hello Kenny you're up pretty early. Yeah I wanted to catch you before you left for the studio. I think I did last night. Oh you did great. I was just telling Patty. Yeah Meryl seemed to like me. Oh he loved you. And that was a great idea you had about Johnson as Billy really took the bait on that huh. Hook line and sink it. Bob is anything wrong. Well now that you bring it up yes a little. What's the matter. Well I didn't exactly appreciate the way you plowed it at my story treatment in front of Meryl. Yes yeah you know whether you know it or not that didn't do me much good. Well you catch I wasn't knocking your treatment. I was talking about the novel. Well I wish you'd been a little more explicit. Listen oh good grief Bob I was just trying to to to justify the way I played the scene in the test. Yeah I know I wouldn't do anything to make you look bad. Kenny I'm sure it wasn't intentional. Holy cats no if it weren't for you I wouldn't even get in the front gate. Yeah I know that. All right now from now on if you got a beef about the script give it to me first will you. Oh sure. Oh my God you know Billy is a funny guy. I won't open my mouth again. All I wanted is the part. I wouldn't be surprised to see you get it. Oh really. Yeah Meryl is pretty hot on you. Well thank you for this. Well don't thank me until your name is on the contract. Listen I'm late now give me a call at work about noon huh. Oh you bet. So long kid. I didn't expect Billy to get into the studio much before 10 30 but when I got to my office my secretary told me he'd been on the lot since nine o'clock and wanted to see me as soon as I came in. Come in kid come in. Oh yeah yeah it's the olives. You should switch to onions. Have a seat. You look chipper. I'm bursting with health health and inspiration. You and me boss. Seriously kid. I had an idea about your friend Lewis last night. Are you going to give him a part. I think so. I came in early this morning and ran his test again and you were right. I always am. The reason he's different in that scene is that he plays it wrong. Oh hello. Or to be more accurate he's right in the scene is wrong. That sounds familiar. There was a flood in what he said last night about the treatment. Well I had the feeling that he was talking about the novel. No no kid we can't fall back on that the treatment's not right. Well OK then let's fix it it won't take much. That friend of yours has a good story since you know he turned out to be quite a fine. Well he may at that. Has he ever done any writing. Kenny. Yeah. I don't know I don't think so. I was thinking it might not be a bad idea if you two boys work together on the treatment. I don't believe that there's that much left to do on it Billy. I disagree. A couple of things he said last night got me wondering about the whole line we've taken with this story. You and Lewis are old friends you'll be able to work together. It's not a case of being able to work together it's a case of kid. I'm going to use him in the picture anyhow and well he can pick up a few extra bucks working on the treatment with you might look like a better opportunity to him than going back to New York with Johnson. Well that's the thought. What kind of money do you suppose Johnson figures to pay him for a thing like that. I look down at the rug and Billy's office pretending to be lost in thought the shoes on my feet were ox blood Brogans that cost twenty seven dollars and although I hadn't paid for them yet the bill had committed the end of the month along with a few other bills. I looked up at Billy and I scratched my chin. What do you think maybe three three fifty a week. Yeah maybe. Why don't you phone Johnson and ask him he's in town he'll give you the dope. Good idea. Where's he staying. You know I'm not sure. Why don't you call that celebrity outfit they know where everybody is. You can guess the rest. Billy got hold of the celebrity service and they told him that Eli Johnson hadn't been in Hollywood for the last six months not fixed it. Billy knew he'd been taken so there wasn't any job for Kenny Lewis because Billy is the kind of a guy who doesn't like to be taken. I finished the screen treatment single handed Milo got the part and Kenny hung around Hollywood until his doll ran out. I had dinner with him the night before he left for Michigan to see about getting his old teaching job back but it wasn't the derby this time. It was a little pizza place near his rooming house. Well at least I gave it a try. I'm sorry things didn't work out a little better kid. The break some make it some don't. At least I came close. You came closer than most. Only thing about Merrill deciding to check on that Johnson gag we cooked up. Yeah you know I think I figured out what it was Bob why he did it yeah yeah I made too big a hit with him made him like me too much. Well what would that have to do with it. Well I'll bet he called Johnson to see if maybe he couldn't do me a favor you know work out some arrangement so I could have both parts the one he wanted me for in the picture and the one that he thought Johnson was going to give me in the New York play. Well that's possible. Funny what's that made him like me so much I cut my own throat. I wouldn't be surprised if that was it Kenny. Well thanks for the dinner and thanks for the entire forget it forget it tonight. I don't know what your financial situation is. I've got enough to get back to school with. Sure there won't be any trouble about the job. No no no they'll want me even more now. Now I've had Hollywood experience. Well even so I want you to take this. Oh no come on take it. No you'll never see it again. Sure I will. Look when I was strapped didn't you buy the strudel. All that was a long time ago. Come on I'd drive you home. I dropped Kenny off across the street from his roaming house so that I wouldn't have to make a U turn to be headed back toward the valley. I waited while he crossed the street and walked up the steps over the front of the building there was a neon sign that said tranchance welcome. Kenny stood there in the light and waved to me and I waved back and then he turned and went into the house. It was a kind of fade out. I think he would have liked in a movie. All it was missing were the English subtitles. This is Ruth Hussey again. This program recently received a letter from a listener who asks why doesn't family theater concentrate on presenting stories about the nice side of life the pleasant side. There's enough sin and selfishness in the world as it is. Why must we be reminded of it on the radio especially on your program. Well that's a good question. It's especially good when you consider that it contains its own answer. You see family theater came into existence because it's found or recognized and squarely faced the fact that there is sin and selfishness in the world. If there were none but the good things here it would not be the world it would be heaven and we have the redeemer's word for it. This is not heaven but it is a place of preparation for heaven a place where we must struggle with the irony the paradox of life groping sometimes grasping for things that we know will wither and fade and yet which at the time seem all important and in this there can be some evil some selfishness. We are tainted at birth with the sin of our first parents to deny this is to deny the creator and the universe he has made it is to bear false witness but since few men are all good or all evil we are able to hope for the best and obliged to strive for it and a story drawn honestly from life can like life itself be highly instructive without sermonizing the man who injures his neighbor weakens himself and the man who steals picks his own pocket it's there to see a portrait of greed strikes a blow for charity and just in passing a life like if slightly unpleasant story of a home lacking love and faith can be family theater's modest way of suggesting that on the other hand a family that prays together stays together more things are brought by prayer than this world dreams of family theater has brought you transcribed old friends starring Frank Lovejoy Ruth Hussie was your hostess others not cast were Jean Bates Lawrence Dobkin and John Larch the script was written and directed by John T Kelly with music composed by Harry Zimmerman and conducted by Henry Mancini this series of family theater broadcast is made possible by the thousands of you who feel the need for this type of program by the mutual network which is responded to this need and by the hundreds of stars of stage screen and radio will give so unselfishly of their time and talent to appear on our family theater stage to them and to you our humble thanks this is Tony Lofrano expressing the wish of family theater that the blessing of God may be upon you and your home and inviting you to be with us next week when family theater will present the thin red line starring George Nader Peggy King will be your hostess join us won't you family theater is broadcast throughout the world and originates in the Hollywood studios of the world's largest network this is mutual the radio network for all America