 The Mutual Broadcasting System, in cooperation with Family Theater Incorporated, presents The Man Who Died Twice, starring John Sutton and Patricia Morrison. Roddy McDowell is your host. More things are wrought by prayer than this world dreams of. You know, we sometimes meet people who say, there can't be an all-wise and good God because there's too much evil in the world. And they deny the existence of God because of all the evil they see. And yet, most of us know that the wrong we do comes into our lives when we put God out, when we don't pray. And the evils of the world exist because so often we try to run things without God, because we forget the language of prayer. You don't find people giving themselves sincerely and earnestly to God and prayer, and at the same time spending their lives doing harm to others. These things don't go together. And in a home where family prayer is part of family life, you don't find juvenile delinquents or parental delinquents, or all the other home crimes that make newspaper headlines. Crime and prayer just don't go together. And when there's prayer in a home, and when a home is run with God's help and God's guidance, when family prayer is a daily part of family life, there's no doubt about the existence of God. It's seen every day in the goodness and the happiness in that home. Roddy McDowell will speak following tonight's family theater story, The Man Who Died Twice, starring John Sutton and Patricia Morrison. Good evening, Mr. Grand. Good evening, George. Your coat, sir. Oh, yes, thank you. This is Grand at home. Oh, it's you, Stephen. Didn't expect you home so early. Well, you see, are you all going somewhere, Claire? I'll call her and the gang giving a little get-together at the Parisian. I see. They asked if you wanted to come. Oh, it's... But I knew you wouldn't be interested. Well, it's eight o'clock. I'd better go. Yes, you'd better run along, dear, and have a good time. I know you'll be busy. As a matter of fact, Phil gave me a couple of scripts that I'm reading. Oh, that's fine, dear. I do think you should be getting another picture soon. I'm not sure that either of the parts is quite right for me, but you know how it is. Darling, do try to make a selection. Remember, twenty million women swoon when Stephen Grant appears on the screen. I wish you'd forget those publicity releases. Now, look, Claire. Stephen, if the car is called, will you tell them I'm on my way? Yes, I'll tell them. Good night, Claire. Good night, Stephen. Well, George? The usual, Mr. Grant. With two cubes, George. Oh, pardon me, sir. Mr. Grant's residence? Oh, yes, Mr. Martin. Just a moment. Yeah, that's Phil Martin. I want to talk to him. Yes, sir. Hello, Phil. How's Hollywood's number one agent? Fine, champ, fine. Well, I'm glad you called, Phil. I've skimmed through those two scripts you gave me. I was thinking about that part in the Scarlet Scarf. You know, I might be able to do a great deal. Look, champ, that's what I wanted to talk to you about. That part was set this afternoon. Ted Charlotte's going to do it. Ted Charlotte? Why, he's no more right for that part than the... Look, champ, you know the geniuses of metropolitan. Once they get an idea on casting... Surely you're not going to try to sell me on that other script. It's the most inane thing I've ever read. That deal was locked up, too, just an hour ago. Then what's the idea of giving Miss Scripts that have already been cast? Look, Phil, I'm a busy man. It's an easy jam. Now, here's the pitch. Uh, I ran into something over at Capitol. I think you'd be mighty interested in it. Well, what kind of story is it? It's going to be one of the biggest things of the season. Take my word for it, champ. It's good, eh? All right, send it over. I'll read it the first chance I get. Okay, but I wanted to give you a line on this part. How it may not look too big, but the whole picture hinges on it. Well, if it's a lead, it can certainly be padded out. Well, uh, that's what I was getting at, champ, which is not exactly the lead. Not the lead? Oh, say, what are you trying to do? Uh, listen, champ, let's put it this way. It's been a year since your last picture. I've been knocking my brains out for you, and this is all I could come up with. Well, that's all you've got to say. You can... No, I've got one thing more, champ. Uh, maybe it's hard to take, but it looks like you're going to have to start doing second meets for a while. Well, to me, it looks like I need a new agent. What? You need a good night's sleep, champ. Talk to you in the morning. Hello, champ. I've been waiting out here. I wanted to talk to you before we saw Masterson. You know, Phil, I wouldn't have considered this appointment at all if it weren't for any other producer, but, Matty, you know, we've done some good things together. I'm glad you thought it over, champ. I know you're going to like the part. Why, Matty and I worked together on Stars of Love, my first award. Do you remember that, Phil? Crandle did the screenplay. There's a special dialogue in this one. Look, champ, let me do most of the talking. I think we'll be able to swing a good deal. Well, here we are. You know, I heard that Crandle's on the coast now. Hello, Polly. Just as beautiful as ever, aren't you? Still want to marry me? Don't answer that. Matty's waiting for us, Polly. We'll go right in. Well, here we are, Matty. And don't forget now, treat my client here with a little respect. Hello, Steve. Hello, Matty, and long time. What was Phil told you about the script? Not too much. I told him this was going to be a great picture, Matty. I don't see how he can miss. Nothing's been done like it since Ben heard. I marked your part, Steve. Here, take a look at it. That's a good title. It's a period piece. Well, you might call it that. Say, wait a minute. This is the story of... Matty's going to do it in color, champ. Cast of thousands. Real production. Phil, you didn't tell me what kind of story this was. I knew you'd go for it as soon as you caught the angle. Now, that's where you're wrong, Phil. I'm not going for it. What? I've been a leading man for seven years, a romantic lead, remember? Now you expect me to take a part like this? You must be out of your mind. Steve, I don't think you quite understand what this character... I understand, all right. Wouldn't Steven Grant look magnificent in a costume of muslin cloth with a beard yet? Why, I'd be laughed off the screen. Look, champ, I think that you should... Thanks for the call, Matty. This just isn't for me. Well, I guess you're right, Steve. Doctor, you don't understand. I understand every character I do as never one. Now, look, Matty. I'll send you a couple of tickets to the preview. So long, Steve. Oh, Mr. Grant, I didn't know you were home. Hello, George. Is there something I can get for you, sir? No, not tonight, thanks. I've been looking through these books. George, do we have a new testament around the house? A testament, dear. Hello, Claire. It's not important at all. Claire, what are you doing this evening? Do you have any plans? Well, they're opening a new club on the Strip, and Bill Carter says it's simply... Look, why don't you call Bill Carter and tell him you can't make it? Claire, we could have dinner here, just the two of us. We don't see much of each other. Stephen, you didn't get the part. Well, what's that got to do with it? Is it some sort of a crime for a man to ask his wife to stay home one night in a month? Every single night, I'm coming in and you're going out. It's just like a bus terminal. Claire, I don't like the way you're chasing around. Stephen, dear, you're morose. You don't want me here. You just want someone to argue with. Oh, I understand you exactly. So, you understand me. Matty understands the story. I suppose I'm the only man on God's green earth that's incapable of understanding anything. Now, listen to me, Claire. This merry-go-round's got to stop, and I'm no... Oh, Stephen! Stephen, now I know what it is. You saw the bill from the jewelers. You really ought to pay it, dear. It's a second notice. Send them a check. What I'm talking about... But, darling, people should have money in the bank before they write checks. You mean to say you're allowance? All of it's gone? I thought you knew. How am I to know? I never question you. Anything you want, you can have. Anything to keep you happy. Oh, so I'm happy. And our home, I suppose. That's happy, too. You sit around the house all these months brooding, feeling sorry for yourself. I know about those parts you've been offered, Stephen. Something always seems to be wrong. It couldn't be that you're slipping, could it? Thank you, Claire. You're just the one I wanted to hear that from. Hello, Phil. Look, Phil, I guess I kind of blew up Mattie's office today. I'd like you to tell him I've reconsidered the part. I think it might work. With a few changes, of course. It's quiet over there! This is a take. Ready when you are, Mr. Masterson? Now, Steve, the idea here is that you're a disbeliever. Your sister's trying to convince you, but to no avail. You're not quite sure of your argument. Yet you've got to justify your position. Shall we try it? Ready with the lights? First take. Shooting 1793, take one. Quiet, please! Camera, action, music! You look on me as a disbeliever. What proofs do you bring forth for me to understand? Only this. You say he goes about the countryside doing good. His only wish to help and heal the sick. And yet I say all this is only rumor. Now let me ask, what wonders have you seen by this man's hand? Do you make me the man who walketh in the night because... Oh, I'm sorry, Matty. Cut! I can't get that line, Matty. It's the man who walketh in the night because the light is not in him. We'll try it again. Okay, mark that. An awful lunch back on the set at one, and that means one o'clock sharp. How'd it go this morning, champ? Last scene thought it looked pretty good. That was a 12th take, Phil. I still don't think it's right. Quit worrying, will you? You'll get the hang of it, champ. You always do. I almost forgot. Got a message for you. It's clear. Where'd you see her? Outside the commissary. Say, you want to go off the lot for lunch? I said you want to grab a bite over at the Elm House. She's waiting for me. You go on, Phil. Perhaps I'll join you later. Yeah, but, champ... Hello, Stephen. Your note said it was important. Would you like some coffee? No thanks. I'm going away, Stephen. I'm going to New York. What's the idea? I think it's a sensible thing to do. I think we'll be happier apart for a while anyway. If it's about last night, if you came here to make a scene... There isn't going to be any scene, Stephen. It's plain and simple. I'm leaving you. I've got work to do. It's true that we haven't been getting along too well, but I've put up with every one of your whims, and I won't have you running off to New York. I'm going to make sure the columns would eat it up, and I'm in no position for that kind of publicity. There'll be no publicity, Stephen. I'll see to it that everything's done quietly without any fuss. Regardless, I tell you I won't have it. I'm afraid you're making the scene. Listen, Claire, what is this anyway? What are you trying to prove? We've had arguments before. Last night was once too often. Oh, let's be honest, Stephen. Oh, you want to be honest. Well, let's be very honest. All right. Marriage isn't a part in a movie, Stephen. This is the worst. Is that what you're trying to say? You didn't expect a happy ending, did you? We haven't been playing it for that kind of tag. Could be, Claire. No, Stephen. You played it for yourself. Well, I... I really must be going. The super chief leaves in an hour. Good luck on the picture. Listen, Claire. Goodbye, Stephen. So he speaks of a man who had two debtors. The one owed him 500 pence. The other 50. Whereas they had not wherewith to pay, he forgave them both. Which therefore of the two loved him the more? Which? Which? No. Matty, I tell you, this isn't right. How do you expect an actor to read lines like this? Cut! Cut! It's our cake. There's no life in these lines. Some pretty fair writers wrote the New Testament, Stephen. All right, all right. Maybe it reads fine in a book. But how in heaven's name do you expect an actor to make it believable? This isn't Shakespeare. It isn't even prose. Matty, there's going to be a rewrite. You'll read that script as written, Stephen. Or you won't read it at all. You said that, Matty. I didn't. Send my two weeks to Phil's office. I'm through. Hey, champ, well, wait a minute. Shut up, Phil. If you can't walk off the set, you'll get blacklisted in every studio in town. Champ, look, Matty's played good pool with you. I'm through, you understand? I quit. I'm finished. You can say that again. You're good and finished. That's all for tonight. On the set at nine for you folks. Good night. Champ, you're a fool. You're worse than that. You're a well-cured piece of ham that nobody's going to touch with a ten-foot pole. Agents, don't talk to me that way. You can cancel our contract here and now. Get yourself another meal ticket. I'll cancel that contract, all right, Stephen? And you might save it for cutting out choopy dolls. It'll give you something to do. Move your round up. Your Screen Line reporter hears tonight that Stephen Grant, in a fit of good old-fashioned Hollywood temperament, walked off the set during production of J.D. Masterson's latest epic. Rumor has it that Mr. Grant may well have walked his way into oblivion. Grant's long-time glamour boy and... Long-time glamour boy. I don't like the way they're printed. Look, if I've gone through a light, give me a ticket and let's get it over with. You went through three of them. You've been drinking, buddy? No, I haven't been drinking. Hey, wait a minute. You're Stephen Grant, aren't you? Yes, I'm Stephen Grant. Running lights is a pretty dangerous business, Mr. Grant. All right, so nothing happened. Give me a ticket if you're going to. You might have killed somebody. I'm in a hurry, do you mind? I wouldn't get tough about it, Mr. Grant. Just trying to explain. The explanations bore me. Give me the ticket. I might do better than that. I might pull you in. I see here a word for me to the commissioner. I don't think it would do any good, Mr. Grant. The commissioner doesn't like your pictures. Listen to me, if you... I see your driver's license. Here you are. 49 Metcalfe Road. Is that the right address? Yeah. Is your wife home? Yes, my wife's... Well, that is, there's someone there. My man George. I see. Start up your motor, Mr. Grant. Follow me. That's all right, George. The officer was just seeing me home. I'll leave you here, Mr. Grant. I wouldn't drive any more tonight or you have to be picked up. Good night. Good night. Oh, one more thing. What is it? I forgot to give you this ticket. You can appear in court or mail a fine. It shouldn't cost more than 50 bucks. Good night. Well, George, it appears that I've been remanded to your custody. Mrs. Grant hasn't come in as yet, sir. I know. George, I believe we'll be closing up the house shortly. I'm going to take an apartment in Brentwood. Closing the house, sir? Yes, Mrs. Grant and I have separated. I... I expected that, sir. You what? It's been rather, if you'll pardon me, sir, rather obvious for some time. Yes, I suppose it has. It's funny about these things. It seems the husband and wife are always the last ones to know. One can be so close to oneself, sir, and yet so far away. Say, that's a good line, George. I wish I had something like that to read in the picture. Why, I heard about it on the radio tonight, sir. I'm... I'm sorry. George, tell me something and tell me honestly. Do you think I'm a husband? Well, it depends, sir, on what you're referring to. As an actor, you will always be the finest. But as... As what, George? Well, let me put it this way, sir. My father used to say, a man can't be a has-been if he happens to be a never-was. I don't follow you. Mr. Grant, you ask for something the other night? A book. This book. Oh. The Testament. Always before, sir. When you had a difficult part, I remember how you studied. Did research, if necessary. How you paced the floor at night reading aloud. Breaking the part down, putting it together again. Making certain you understood every facet, every movetation of the character you were to play. You always understood, Mr. Grant. That was it, sir. Understanding. But George, this is something different. I lived those stories. You can't expect me to live the part of Lazarus. I've never been a religious man. During the time of Lazarus, sir, there were many who dis-believed. Until the Lord raised him from the dead. To try and believe. Could that be the answer? The only answer, sir. An understanding. Will I ever be able to understand? I think you've already begun to understand, sir. We'll use a double camera on the crowd scene. Get everything set up. And get Thompson on the set. He's playing Lazarus. Give him a quick rundown on the part. Steven, what are you doing here? We're getting ready for rehearsal. I don't have much time. Try me at the office next week. I want you to give me another chance. We've already called Thompson. He'll get thousands of jobs. He doesn't need this. If you're broke, Steven, I can let you have it. No, it isn't that. I know this part. I believe in it and I can live it. I'd like to, but I just... I've got to hunch this might be my last chance. You're not really blacklisted, Steve. You can still get plenty of work. That isn't what I mean. Oh, I see. All right, Steven. We'll talk it over. Wait in my office. Now, Steven, in this scene, you've been brought before the officials to explain what has happened. You know they seek a reason to condemn you, even possibly put you to death. Now, you want to explain simply and honestly, yet you're afraid of the opposition you find around you. All right? Yes, I went over it very carefully last night. Everyone ready? Let's go. We'll do only one rehearsal. We want to pick up some time today. Roland, music! First let him speak. Only this I know that Mary Magdalene, my sister, first met him. And to her who was called a sinner, he said, many sins are forgiven you because you have loved much, then believing him. She became his disciple. You say you live in Bethany? Yes. And you were in the grave four days? Impossible. Ask any one of those who saw these things and now believe. Hey, but you are always of this group who call this man the son of God? Nay, I too once sought to justify my disbelief by petty argument. But now I know that only one who comes from God could raise the dead to life. From these things he has taught I came to understand that the greatest commandment is to love God with thy whole heart and thy whole mind and thy whole soul. For it profits not a man if he gain the whole world and suffer the loss of his soul. And the second commandment is like to this, to love thy neighbor. Then why have you so hated him that you now try to twist and turn the truth of all the things he has said and done? Okay, that's fine. We'll put a camera on it. Here in the forecourt of Hollywood's premier theatre, the stars we brought them from our microphone before curtain time and now we're waiting for the conclusion of the performance. You know critics have acclaimed this picture as one of the finest of the year. Moreover, it brings back to the screen Stephen Grant in a new role that most certainly be given top consideration when the awards are passed out. That applause you're hearing in the background means that the picture must be over and we'll be bringing more celebrities to the microphone. Wait a minute. Wait a minute, folks, hold on. I believe I see Mr. Stephen. Oh, Mr. Grant, will you come over here, please? Mr. Grant, you seem to have slipped by us on the way in. I wonder if you'll say a few words to our radio audience. Tell us, Mr. Grant, this has been a radical departure from your other roles. Did you enjoy doing this picture? Yes, I did. I can truthfully say it has been the most unusual experience in my life. I'd like to extend my thanks to everyone connected with the production, to J.D. Masterson, the producer, to my manager, Phil Martin. And thanks most of all to a wonderful old man who gave me the most important thing, understanding. And George, if you're listening, thank you again. We appreciate your being here, Mr. Grant. And now, ladies and gentlemen, I want you to meet the... Well, champ, looks like we're in. Yeah. Main events from now on. Look at these telegrams. You've got more offers than... What's the matter, champ? You wait here, Phil. There's a phone book over there. I've got a call to make. I'd like to get New York City, please. Largemont 29401. It's a person-to-person call. Yeah, Mrs. Stephen Grant. This is her husband. I'll wait. Hello? Yeah? Yeah, I'm still waiting. What's that? She's no longer at this number. Well, will you ask whoever answered the phone how I can get in touch with her? It's very important. Just turn her on, darling. Why, Claire. Hello, Stephen. Well, hadn't you better hang up the phone? Claire, I wanted to write you. I wanted to call you. It's not like it was before. Things have changed. Why, why I've changed. Phil wrote me every week while you were in the picture. Claire, a fellow goes along all his life on a fence. He doesn't know which way to fall and there's resentment and bitterness and all the petty things you get stored up inside. And you can't get rid of them because you don't know how. And you can't forgive because you don't know how. It's the same for a wife, Stephen. You can't love if you don't understand. Remember that line in the picture? What? Many sins are forgiven her because she hath loved much. You know, darling, once I wanted those very lines rewritten. But when you do grow to understand them, you kind of like them just the way they are. This is Roddy McDowell again. I guess we can all say that most of our difficulties come from a lack of understanding. It's the misunderstandings that begin most of the arguments, quarrels, and unhappiness in a family. Well, for example, like showing our appreciation to others for what they do. I guess it's the same with most young people. We get so busy with all the things we have to do. Well, you just get to take a lot of things for granted, especially things that are done for you by those who are as close to you as your mother and dad. And you know, sometimes when your family gets together and there's family prayer, well, it's quiet and you get to thinking and begin to understand how much your parents mean to you and how much their example and encouragement have meant and how their sincere faith in God has helped you to try to lead a good, useful, and God-respecting life. And you promise yourself that you'll live up to the ideals and example they have given you. Yes, most of us have a great deal to be thankful for. Why, we've been born in a generation when, despite all the confusion in the world, our parents are learning again the importance of family prayer and how closely it unites a family. And for our future homes, we've already learned that a family that prays together stays together. Before saying good night, I'd like to thank John Sutton and Patricia Morrison for their performances this evening, and our thanks to Mark Carney and Lou Reed for writing tonight's play and to Max Tehr for his music. This production of the family theater incorporated was directed by David Young. Others who appeared in tonight's play were Mike McGeehan, John Frank, Stu Wilson, Stan Waxman, Tim Graham, and Michael Hayes. Next week our family theater stars will be Kirk Douglas and Diane Douglas in Talent for Living. Your host will be Danny Thomas. This is Roddy McDowell 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 at this same time when our family theater stars will be Kirk and Diane Douglas with Danny Thomas as host, Tony LaFranco speaking. This is the Mutual Broadcasting System.