 Family Theater presents Betty Lynn, Jeff Hunter, and Jim Amici. The Hollywood, the Mutual Network, and Cooperation with Family Theater presents Deductive Reasoning, starring Jeff Hunter and Betty Lynn. And now, here is your host, Jim Amici. Thank you, Tony Lofrano. Family Theater's only purpose is to bring to everyone's attention a practice that must become an important part of our lives, if we're to win peace for ourselves, peace for our families, and peace for the world. Family Theater urges you to pray, pray together as a family. And now, to our transcribed drama, Deductive Reasoning, starring Betty Lynn as Ann and Jeff Hunter as Corey. Pardon me, young lady, I believe you have my seat. I beg your pardon? I said, I believe you have my seat. I'm sure you're mistaken. May I see your ticket? No, you may not. Well, mine says, car 12, seat 24A. And that's the seat you're sitting in. You see, it's right on the ticket, see? Right here. Perhaps the railroad made a mistake, then, because this is my seat. I checked it against my ticket when I sat down. Well, then, Miss, you obviously checked it wrong. I certainly did not. And I don't see why you want to make such a big thing of it. Well, there are plenty of empty seats. Now, why don't you take one of them instead of making yourself so obnoxious? Because, Miss, I have a legal claim on the seat you're sitting in, according to my ticket. I do not have a claim on any other seat, and I do not intend being bounced around from seat to seat every time another passenger gets on the train. Now, may I please? Something wrong here, folks? Well, there certainly is conductor. This woman's got my seat. I have not. Well, prove it. Let him see your ticket. Here, here, there's no reason to get all riled up about it. I'm not riled up, but he's been so obnoxious about this silly seat. I'm not being obnoxious. Wait a minute, wait a minute. No sense in you two being so mad at each other. Why, I'll bet you don't even know each other. Well, I certainly don't think that's necessary. You can't tell me it doesn't help to know who you're mad at. Look, conductor, all I want is what's rightfully mine. My name is Alfred Dunn. What's yours? George Corey. How do you do? Look, if you could just. Miss, may I introduce myself? My name is Alfred Dunn. How do you do? Fine, just fine. I don't believe I caught the name. Anne, Anne McDowell. Fine. Mr. Corey, may I present Miss? It is Miss, isn't it? Yes. May I present Miss McDowell? How do you do? How do you do? Now, don't you think it helps to know each other's names? Kind of makes a fight more personal. Now, Anne, George, what were you both so riled up about? Well, we weren't really riled up, Mr. Dunn. Just a misunderstanding. She happens to be sitting in my seat. That's all. I am not. Come on now, kids. Why risk a brand new friendship on such an unimportant thing? Well, I guess there isn't much sense in arguing about it. You'll see the mistake when you check the tickets. I'll give you odds that you don't really care about it anyway. Oh, now, maybe you just thought of a seat mix-up as a way of starting a conversation with a pretty girl. Oh, Mr. Dunn. Call me Alf. Well, that certainly isn't what I had in mind. But the fact of the matter is, she is sitting in my seat. But I'm not. I know. I am. Wait for a minute. Look, George, suppose she is sitting in your seat. So what? So what? Well, you're the conductor. You're supposed to see that things like that don't happen. Why? What's so terrible about letting a lady have your seat? Well, it is. Well, she ought to have one of her own. That's what? This is mine. If you want to know what I think, I think that both of you are making a mountain out of a molehill. Look, are you not going to check our tickets? I'm not. You're not? I'm not. But you're the conductor. So? So you're in charge. Well, and for goodness' sake, let me be in charge. Suppose I do check your tickets. You know what I'll find? I'll find that one of you people is wrong. That's what I've been trying to tell you. So I find one of you wrong. Then I'm obliged to tell one of you. I'll have to say you're wrong, George, or you're wrong, Annie. And I've found there are a few combinations of words that will make an enemy quicker than those. Safer all around if I never see the tickets at all. But can you do that, Mr. Dunn? Alf. Can you do it? Watch me. But it seems to me that if you made a practice of not looking at the passenger's tickets, the railroad would stand to lose a lot of money. But I don't make a practice of it. Besides, I think I'm all right as far as you're concerned. How do you know? Yes. He may be a highway robber. And I might be, well, a stowaway. I know quite a bit about you two people. Come again? Yes, how could you? I was right in kissing you single, wasn't I, Annie? Yes, but if I were married, wouldn't I wear a ring? All right. You've been making your home in the Los Angeles area for no more than four years. In Los Angeles, one of your favorite friends is a redhead who wears her hair in a short kind of a boyish cut. She answers to the name of May. You are in moderate circumstances, and at the moment, are not thinking very seriously of any young man. Now, you have. That's enough. How could you know all of those things? What is this, Anak? You two know each other. George, you are not at all happy about leaving Los Angeles. You are most unhappy about your blue convertible, which you left because you know it's either very costly or not practical to own a car if you're going to work and live in San Francisco. You were in the service, the Navy, was it? Yes, I was. But so no combat. And about that, you have mixed emotions. You're not married, not engaged, and not going with anyone. You and your last girlfriend parted company. There was some pain involved, but you were not too unhappy because although one of you was thinking of a wedding and the other one wasn't, you didn't really believe it would work. And besides that. All right, that's enough. I apologize. It's no act, but how do you do it? Yes. How could anybody guess all those things? It's not really guessing. It's deductive reasoning. Elementary, my dear Watson. That's it. That's what? I belong to a Doyle Club, Sir Arthur Conan Doyle. The man who created Sherlock Holmes. You mean you guess? Pardon me. Reason deductively just from the clues we give you? Yeah, it takes a lot of practice, but it's worth it. Sometimes you can build up a whole section of a person's life by just studying him for a little while. It helps to while away the hours on a trip. You both really ought to try it. It's amazing. So you see, I don't think I'm taking much of a chance on you two. Mr. Dunn, you have an amazing talent. Thank you. You were right about just about everything. Except one. Except one? Which one? When I first saw you two, I thought you were husband and wife. Husband and wife? Hus? That's what I thought. You really do make a nice-looking couple, you know? We do. And since you're both unattached, well, Mr. Dunn, I think. I think maybe we better change the subject. Yes. And I suppose I'd better get to work. Well, now, since there seems to be plenty of room on today's run, George, you just keep this seat and Annie can keep hers. Fine. Now, Annie, you're not mad at George. No, not anymore. George? I'm not mad at anybody. Fine. Well, you've got to be getting along. Hope we'll be seeing more of each other. I hope so. And if anything comes of this, be sure and let me know. Have a nice trip now. Thank you. Yeah, thanks. That's funny, wasn't it? Funny kind of conductor? I mean, the deductive reasoning and all. Yes, isn't it? I wonder if he's right. I mean, about being able to put together a section of someone's life just by studying him. Search me. On second thought, I'd take that back. Oh, you're safe. I certainly don't have any skills along that line. A strange man. A little like that fellow, what's his name, the one on television, Dunninger? Oh, yeah, that's the man. Dunninger, Sherlock Holmes, or Alfred Dunn. I don't think I'd feel too comfortable having any of them around for long, Mr. Corey. George. George, then. And that goes for Dr. Watson, too. A conductor. You know, you'd expect him to, well, just check the tickets and let it go at that. But you know, I'm kind of glad he didn't. Oh? I mean, I made a new friend instead of an enemy. Oh, it's beautiful countryside, isn't it? Especially at this time of year. You made this trip before? Well, just once. But that was in the middle of winter. Oh? You're from Los Angeles, Mr.? George. George. I mean, Mr. Dunn said the Los Angeles area. Well, actually, I've been living in Beverly Hills down around Wilshire Boulevard to a few blocks west of Robertson. You know where that is? I certainly do. I used to drive out Wilshire every day. I worked at Fox. The studio? That's right. Well, we probably passed on the street. Certainly a small world. You know, I'm sorry about the embarrassing situation a while ago. You mean about the seat? Oh, quite, Leven. I really wasn't using it as an excuse to strike up a conversation. Of course you weren't. And about Mr. Dunn's matchmaking? Oh, I'm sure he didn't mean anything by it. I'm sorry it happened. It certainly wasn't your fault. I mean, it wasn't your doing. Probably the less said about it, the better. Fine with me. Cigarette? Not just now, thank you. What do you mind if I? Oh, go right ahead. Certainly a pretty girl. And she's going to San Francisco. You're going to San Francisco? Well, what are you going to do? You're going to sit on one hand and smoke with the other? Oh, I had to engage her in a fascinating conversation. That's what I ought to do. I had to bowl her over with my personality and sweep her right off her feet. No wonder what would be a fascinating topic of conversation to her. Maybe I should look for clues. Yeah, maybe I could figure out a little of her life the way Dunn said. I bet I could. Good looking girl. Probably went to Hollywood to get in pictures. And apparently, she was only about 10% successful. Good looks, a mind of her own, good taste and clothes, nice voice. Now, they probably told her at the studio, frankly, Ms. McDowell, we think you've got everything, but. In fact, they probably invested a little money to find it out. But maybe the one thing that's most important. We think you've got everything you might need to be a star in the motion picture business. But well, some of us are afraid there might be one ingredient missing. You mean talent? Talent. But you've heard me read. That's right. We've heard you read. And on the strength of that reading, we're putting you under contract, and we've given you dramatic instruction. But I have got talent. I know I have. The reading didn't prove anything, Ann, except that you might turn out to be an actress. Well, now it's option time. Whether or not the studio picks up your option will depend on you. On me? We're testing for captive audience. Naturally, we like to give it to our own people first. You're going to be testing me for a part, innit? For Amy. It's a good meaty part. And as I said, some of the boys around here don't think you can handle it. Now, it's going to be up to you to prove them wrong. Oh, I will. I will prove them wrong. I'll make a good test. You'll see. I'll go over it till it's perfect. I'll get that part. You'll see. I hope so, Annie. I hope so. And she probably worked her head off getting ready for it. She looks like she's capable of hard work. She looks a little tired, poor kid. She didn't get much sleep while she was waiting for the results. Honey, you really ought to at least try to get some rest. If they like the test, they won't want to be giving the part to a girl with bags under her eyes. I'll bet that was rough. Sitting around waiting for the answer, knowing her whole future was hanging in the balance. Why don't you lie down for an hour? If anyone calls, I'll wake you. May I? I wasn't good. Well, how do you know? I just know. You can feel something like that. Well, now you haven't even seen the test. It may have been only sensational. Now you just let them decide. I know what the answer would be, but it would certainly make it easier if they'd say it. Oh, why don't they call? Oh, now listen, the very fact that they don't, hey. Oh, they'll phone. That's probably the boy collecting for the paper or something like that. I'll get it. I don't suppose they'd send a telegram. Mr. Hickman. Hello, Anne. I was expecting you to phone, but. Well, I would have. But it seemed, well, it seemed kind of cold-blooded that way. It was that bad? No, no, I wouldn't say that. Just wasn't quite good enough. Won't you come in? Well, I've only got a minute. I suppose my option was dropped. Oh, I guess this just isn't my day. Yeah. Annie, I'm going to be kind to you. And sometimes you have to be brutally frank to be kind. You know what I mean? You think I haven't any talent. That's what I think. I think you should go home and get married and forget about acting. Well, that's what they said to Betty Davis. She was one in 10,000. You want to gamble with odds like that? No. You don't want to waste your life. I'll have to think about it, Mr. Hickman. Thank you. Thank you for coming by. Well, whatever you decide, kitten. Good luck. Thank you. Bye. Goodbye. May? Would you mind helping me pack? You got it. You're going on location. I didn't get it. I'm going home. Could have happened that way, but I'm pretty close to it. And it didn't happen too long ago from the look on her face. She sure disappointed about something. Is, uh, is anything wrong? Hm? What? I said, is anything wrong? Oh, was I staring at you? I'm sorry. No, no, nothing wrong, nothing. That's good. It's good that there's nothing wrong from where you're sitting. There's obviously something wrong over here. Must be you, Ann McDowell. Must not be very attractive to him if he won't talk to you. He wasn't staring at you. He was staring through you. Probably thinking about that girl Mr. Dunn mentioned, the one he broke up with. Oh, well, life has its disappointments, I suppose. He's probably a terrible boy, anyway. But he is nice looking, dresses with taste, might be an artist. Seems to have good color sense. But if he were an artist, you'd probably have paint under his cuticle or smell of linseed oil about him. An architect, I'll bet that's it. A young architect. Maybe I could open up the conversation by talking about. Now what do I know about architecture? Nothing. Maybe we've got something else in common. Study him. That's what Mr. Dunn would say. Study him and you'll learn something. Now, why is he going to San Francisco? A job? No, there's plenty to keep a young architect busy in Los Angeles. I'll bet it's that girl. He's leaving to get her out of his sister. No, no, it's probably the other way around. Reason deductively, Ann. He's leaving so she can forget him. That's it. She probably just couldn't get him out of her mind, but he just didn't feel the same way about her. And he was just too kind to let it drag out. George, we don't have to make a big production out of a date. Just a cup of coffee once in a while. You all right with me? Laura, it's not that. Well, is there someone else? Well, no, but there might be. You see, I just don't feel about you the way you feel about me. And I don't really believe I've ever said or done anything to indicate that we are more than just, well, friends. Now, have I? No, but George. Laura, look, I know what you want me to say. And I can't say it because I just don't feel it. Oh, sure, I've taken you out a few times and we've had a few laughs together, but I'm not the man for you. I think you are. But for it to be good, both of us have to feel that way. Well, this is a one-sided love affair. That's what you're trying to say, isn't it? I'm afraid that's it, Laura. Well, maybe in time, George. No, honey, it wouldn't be any good, and I think you know it. Well, we can still go on seeing each other, can't we, George? Don't you think it would be better if we didn't? Don't you think it would be better if we tried to forget each other? Do you think so? I do. I'll try, George. I'll try. George? Oh, hello, Laura. Mind buying me a cup of coffee? Why do you do it, Laura? It's no good. George. Honey, look, since your call the other evening, I've done a lot of thinking. About us? About us. It'll never work. And I feel about the greatest misery one human can visit on another is marrying someone you don't love. I know just my being around makes it difficult for you, so. So? So I'm leaving town. Leaving town? I've already sold my car. I'm leaving tomorrow. Well, where were you? Where are you going? I think it's better if you don't know. What about your job? I'll get another job. What am I going to do? You'll forget about me before you know it, and then the right man will come along. Someday you'll thank me, Laura. Believe me, this is the best thing for both of us. He looks like the kind of man who could be selfless. He's just not talking to me because he's got her on his mind, wondering how she'll do. Take this, please. I asked for your ticket. Husband got it? My husband? Not the lady's husband. Oh, pardon me. Natural enough mistake, I suppose. Here's my ticket. Lady, you've got the wrong seat. I have. Yes, in fact, you're in the wrong car. But on run like today, I don't suppose it matters much. You can stay right there if you want to. Here, you keep the stab. Thank you. Take it. Here you are. I see the lady's sitting in your seat. Where's Mr. Dunn? The other conductor, you know. Oh, there's no conductor named Dunn that I know. At least not on this run. I've been on this run 33 years. I don't recall the name of Dunn. Yeah, here's your stab. Are you sure about that? An Alfred Dunn? Alfred Dunn, no. Not on this run, ma'am. Tickets, tickets, please. Do you suppose we got his name wrong? Well, I don't think so. Well, that's funny. You know, I was just sitting here, trying to figure you out according to his formula. You were? How did you do? Well, I think I did pretty well. You know, I was trying the same thing on you. Would you mind telling me what you do for a living and why you're going to San Francisco? For a price. The same information about you? Fair enough. All right. Well, I'm an attorney for an insurance company. And I'm going north because I've been transferred. Yeah, that's all there is to it. OK, now you. You were in picture work. Me? Oh, my goodness, no. But what a lovely thing to say. But you were at Fox, you said. Oh, I was a stenographer. I'm going home to San Francisco because I've been offered more money. Well, how do you like that? I guess the moral of the story is that people aren't always what they seem. You'd be surprised if you knew the picture of you deductive reasoning painted for me. I'll tell you what. If you'll join me for lunch in the diner, maybe we can swap pictures, OK? OK. What about Alfred Dunn? Oh, you mean who he is or how he does it? Well, both for that matter. Here, let me get that door for you. Thank you. About Dunn, I'd say that, uh. Wait, isn't that him right there in that seat? Oh, yeah, there's enough of the Sherlock Holmes stuff. Let's ask him. I think with us, it's the only safe way. Mr. Dunn, whoa, whoa. We had a try at your deductive reasoning. Didn't do too well, did you? No, but, uh, oh, come on, how do you do it? Well, any Sherlock Holmes fan? Well, I mean, really, some, I guess. But I guess I got most of it at the LA station. George, I sat at the table next to you in the Harvey House. I heard you talking things over with your ex-Navy buddy. But what about me? Wasn't me that pretty redhead who saw you off? A man would have to be stone blind to miss seeing her. Sherlock Holmes. Oh, and if it was real, I'm really pretty good at it. But, uh, you kids didn't do too well, did you? No, not too well. I didn't figure you would. Why not? You took me for a conductive, not very observing. But the uniform. My blues? Oh, no, not the Navy. Not quite. Maybe if you'd seen the hat, I wouldn't have had so much fun with you kids. I'm Merchant Marine. Had been for 30 years. I never said I was the conductor on this train. You did. Oh, wait. I still think you make a nice-looking couple. Come on, Ann. Let's get that lunch. All right. Don't forget your promise to let me know how things go. Oh, wait, uh, dinner tonight, too, Ann. I love it. Alf? Yeah? Ann, would you say things are going just fine? Well, yes, I'd say so. Everything's going great, Alf. Just great. Good. Keep up the good work. Why did you do that, George? We promised, and you can't tell, Ann. The conductor may be shipping out soon. This is Gemma Michigan. In a little book on marriage I was glancing through and out a long go, I saw these words. Beware of people who make suggestions on how you should live your marriage. The natural laws of marriage come from divine wisdom and love. No man, no angel, can change them. Unquote. Well, that struck me as pretty good advice. I'll tell you, it made me stop and think twice when I was asked to make this family theater appearance. Yes, I thought about it, and then I came to this conclusion. Family theater isn't in business to tell people how to live their marriages or how to manage family life. Family theater is on the air for only one real purpose, to suggest family prayer. That people acknowledge God as the author of marriage and to family life, and that they seek His divine love and His divine wisdom when they need assistance in keeping the family strong. Perhaps sometimes it is necessary to seek the advice of a pastor or perhaps a marriage counseling service. But we of family theater believe that a simple preventative measure, family prayer, can keep a family strong enough not to need any assistance except the help that God is willing to give to those who love Him. Is it possible to maintain a grudge or stay angry while engaged in sincere family prayer? Five or 10 minutes a day, perhaps before or after a meal, spent in family prayer can be an investment in security in your home for the family that prays together, stays together. More things are brought by prayer than this world dreams of. Family theater has brought you transcribed deductive reasoning starring Jeff Hunter and Betty Lynn. Jim Amici was your host. Others in our cast were Virginia Eiler, Herb Butterfield and Paul Freese. The script was written by Robert Hugh O'Sullivan and directed for family theater by John T. Kelly with music composed and conducted by Henry Mancini. This series of family theater broadcasts is made possible by the thousands of you who feel the need for this type of program. By the hundreds of stars of stage, screen and radio who 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 LaFranco expressing the wish of family theater that the blessing of God may be upon you and your home and inviting you to join us next week when family theater will present The coward starring Jean Cagney. Barbara Hale 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.