 The theater presents Caesar Romero and Deborah Padgett. From Hollywood, the mutual network and cooperation with Family Theater presents Integrity, starring Caesar Romero. And now, here is your hostess, Deborah Padgett. 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 are 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, Integrity, starring Caesar Romero as Jerry. I've got it all now. The nine room ranch style house up in the hills with the patio and the pool. And Gloria, I've got her till death do us part. And security, I've even got that. 39 and a half hour TV films already in the can, plus a renewed option for half again that many more. I'm on top of the world. Jerry Keith has gone and made it. In two quick years, 700 days, he has learned and put into practice the hardest lesson that show business has to teach. The exact price of everything. Two years. I can tell you why it doesn't even seem that long. Because out here in Hollywood, there are no seasons. It rains some during the winter, but the rest of the year, it's mostly hazy in the morning and sunny in the afternoon. So you lose track of time. For example, it was gray and overcast that morning I climbed down from the New York plane at International three September's ago. But a few hours later, when his secretary ushered me into Mr. Larry Law's office, a bright sun was blazing in through the picture window behind him. Well, come in, come in, Mr. Keith, come in. Mr. Law? Larry. I'm glad to know you. That's Joe Shanley on the couch. Pleasure, pleasure. How do you do? And this, of course, is... Oh, I recognize him. It's nice to hear that, Mr. Keith. Clem Clayton, the greatest comedian the silent screen has ever produced. How do you do, sir? Pretty good, if someone your age remembers me. They're all gonna remember you, Clem. Take our word for it, like Dad used to say, the writing is on the wall. Well, I certainly hope so, Larry. Getting back into harness, not that I really need the money, but, well, it'll be a big thrill. Whether you need it or not, Clem, the money is gonna be there. What do you think, Mr. Keith? Jerry. Jerry. Think an old warhorse like me can make the folks laugh again on television? Well, our own heart, are you doing it? Andy Chase? I don't see why not, Mr. Clayton. Clem. Clem, after all, funny is funny. 25 years ago or right now, a gang is a gang. Remember that two-realer you made for Dad back in 29, the paper hanger? Larry! Ageless. Today, today on 800 stations, that film would sweep the field. People just think they're watching comedy on TV these days. Clem, they're watching things you did 25 years ago. And still laughing, laughing their heads off. Dad used to say, if... What do you think, Jerry? You're going to have to write this series. Can I still be funny? Well, there's no doubt in my mind. Of course, things have changed a little. Television's not purely a visual medium. Well, it's nothing but visual. Well, I disagree, Joe. Listen, a gag is a gag. Sure, but it can't be nothing but custard pies. Don't knock custard pies. They've pulled a lot of laughs. You know what, Dad used to say, Clem, one end out, bring up the pastry truck. Joe, I think we ought to get Mr. Keith's feeling on the direction he thinks the show should take. After all, I realize that comedy styles have changed. That doesn't mean they've changed for the better. My own feeling, Clem, is that we should try to think, how would Dad do this if he were here? So I put myself in his shoes. Oh, Larry, that's impossible. What do you mean? I mean, it's impossible to anticipate what a creative man like your father would have done in a situation like this. I knew him for 25 years, and I wouldn't even attempt it. Oh, but if he brought a writer all the way out from New York at the salary you're paying Mr. Keith, I'm sure he'd at least listen to him. Well, I'm always willing to pick someone else's brains, especially when they're on my payroll. Go ahead, Jerry. I sat there in the plus office of Larry Law Jr., a nervous young man whose father had left in his name and his fortune. But none of his talent, and I talked about comedy, the kind of comedy that might sell Clem Clayton back to the American public. And I got to wondering, as I always do at such meetings, what the public would think of the conditions under which the nation's laughter is created? The almost funereal atmosphere, the tense, unsmiling faces of the joke makers, faces like Joe Shanley's, 10 from 20 years of directing pictures in California sunshine, but now a little hard around the eyes, a little worried, because although the 52 week studio contract was a thing of the past, his family continued to live like it wasn't. A face like Clem Clayton's, a ghost face from the 20s, resurrected to haunt the living rooms of a generation that had never heard of him. The face of a man like myself, half young, half intelligent, half assured, capable of sounding authoritative without saying more than was necessary, and always, absolutely always, able to reverse his field with honor. The conference broke up at 5.30 with nothing settled. Joe Shanley offered me a lift back to my hotel, and on the way, he gave me the bad news. Say, I hope you didn't take any of that personally, Keith. Any of what? The opposition I gave. Oh, forget it. It's the only way I know to do this stuff. I'll give it out. No, no, I don't mean that. I mean the reason I argued with you. This thing's dead before it starts. What's dead? The series, the whole works, they're gonna carry Clayton for 13, then drop him. So I don't think I get this. They're tossing the old man a bone, that's all. What do you mean a bone? He says he doesn't need the money. Are you kidding? He can't get himself arrested in this town. So look at the clothes he's wearing, double-breasted vests. All right, so they're helping him out. That doesn't mean the series has to stink. Look, they're helping Clayton, but he's helping them, except he doesn't know it. What do you think his salary is? Well, 1,500 a week. 500 a week. Oh, no. Yeah, I'm glad to get it. This guy's been on the beach for 20 years, but stranded. Well, if that's so, he must realize it. What actor can smell charity? He thinks the public is clamoring for him, and it's our job to keep him thinking that. What do you mean Clayton's helping them? That's the key to the whole thing. Larry's got a big deal cooking in the east. Junior? Yeah, he's not as stupid as he sounds. And he couldn't be. Now, this deal is with a name comedian, very big. You and I'll be doing the package, and we're a couple of high-priced guys. I'm not very high-priced when I'm unemployed. Ah, you won't be unemployed. We do the 13 with Clayton, see? We do them on short money. A few sets, simple lines, no rehearsals, like those two realers he's in love with. Larry keeps his plant working. The Overplus goes into the new series, and we're a couple of heroes. Is that the way Junior wants it? That's the way. He'll probably tell you himself as soon as he can scrape Clayton off his back. It's a rough business. I haven't lasted into 22 years without learning that. Sage, you bring your family out from the east with you? No, I, uh, I'm not married. Well, and how about going out to the house for dinner? Take a swim. Oh, thanks, Joe, but I, uh, I've got a friend I want to get in touch with tonight. Lady friend? Yeah, well, he used to be engaged. She's an actress. Maybe I know her. Gloria Walters. Walters, no. Used to know a cutter by that name over at Fox. No, she doesn't have any family out here. I don't seem to place her. Where'd she work? For all I know, the Five and Dime. I haven't heard from her in more than a year. All cooled off, huh? I don't know. Maybe she has. Gloria Walters. Looks, talent, principles, and bad luck. Too short, too tall, too pretty, too smart. Whatever they didn't want, she had too much of. The woods are full of Gloria Walters. And in Hollywood, so are the department stores. I know, because after five phone calls and twice as many miles in a taxi cab, that's just where I found her. Can I help? Jerry. I'd like a foreign hand bow tie. Jerry Key. Live from New York. Shouting. Let him look. I just can't believe it. What are you doing out here? Renewing the old offer. Marry me and starve to death. You don't look very hungry. I haven't eaten since noon. But what is this? They got you working nights? No Mondays and Fridays. Get them before that paycheck's gone. Listen, really, I should be waiting on the customer. Do what I said. Sell me a necktie. You don't want any of this stuff? Give me that green one, honey. I'll buy a dog, and he can chew on it. Jerry. What are you through here? 9 o'clock, just another half hour. Will you wait for me? Honey, I've waited this long. It was the same old Gloria, smart and sweet and wide awake. We drove out to a place in La Cienega where somebody from Philly had told me you could get Maine lobster. We ate and talked. Even got around to holding hands later, listening to the music. And then after a while, because I had to say it to someone, I told her about the deal I got myself into and the job they were going to do on Clem Clayton. That's the smelliest thing I ever heard of. And not like a rose, huh? More like a garbage dump. Well, at least he'll come out with six or seven thousand he never would have seen. And a broken heart. Oh, now, honey, let's not go overboard. Do you know this man? Oh, Clayton? Do you know a thing in the world about him? Well, I know he made a million dollars being funny. And where is it? It's a good question. He gave it away. Slow, deserved to exterior poor house. I mean gave it, not not parties, not yachts. He handed it out, $50 at a time to everybody who asked him. Softest touch in the business? Well, he was. OK, so he was. What do you want me to do? Go around with a hat for him, throw a benefit? Oh, Jerry, when you talk like this. Yeah, when I talk like this, it's three years ago. Don't have to shout. Three years ago, I took your advice then. And what happened? Jerry, if you don't lower your voice, I'm going to get up and walk right out of here. All right. Clayton is broke and Junior's pitching him a curve. But why is Clayton broke? Because he's one of these guys who can't have an enemy. Everybody's got to love him. So he gives a fortune to the way to prove he's a sweetie. And now he can sleep at night in a flop house. Jerry, do I like what they're doing to him? No, I don't. Then why don't you try to help him? Like how? You know what I did this afternoon before I knew the ax was out? I sat in Law's office and spun out an idea for a situation comedy that would be perfect for Clayton. And he blinked at me like I was speaking Chinese. Did he say anything? Well, of course he didn't say anything. All he knows is pie in the eye. Jerry, just ask yourself a question. I won't have to. You'll ask it. If they'll cut Clayton's throat, who's next? Oh, baby. Not you, huh? Well, why me? Because you'll be tied to this turkey. You think not? Look, I've explained to you. Oh, sure you have. You've explained. But when this mess flashes on the TV screen, it won't say written badly by Jerry Keith because he's saving his good material for next fall. Look. You look. It'll say written by Jerry Keith. Period. I've tried to tell you. Sure, Joe Shanley says this. He says that. He says anything that'll put a smile on your face. I just met the man. If you're going to be cold-blooded, at least do it for your own benefit. I am not cold-blooded. I have asked you not to shout. Listen, I love you, and I'll shout when I feel like it. In front of me, you won't. Take me home. Gloria. You just said it. This is three years ago. Take me home. By the time I dropped her off at her apartment, Gloria had thawed out a little. The war wasn't over, but at least negotiations were underway for a truce. And we'd made a tentative date for lunch the next day. It was a few minutes before midnight when I got back to my hotel and found the message from Glenn Clayton. He wanted to see me. It was very important. He was sorry I couldn't reach him by phone, but his place was just a few blocks away on Franklin. And he'd be glad to pay my cab fare. No matter how late it was, please stop by. Hope you'll forgive me bringing you out at this hour, Jerry. Nothing to forgive. Sit down. Thanks. Wish I had some refreshment to offer you. No, no, no. But my landlady's mighty strict on me. Not at all. I couldn't use it. That's why I wasn't able to have you call me back from the hotel. Huh? She's got a house rule, no incoming calls on the payphone after 11. Wakes the other boarders. So I sure appreciate your coming over. My pleasure. What can I do for you, Clem? Well, it's about the show. I'm a little worried. What about? I've been thinking about the idea you had, the one you talked about in Larry's office this afternoon, making it a comedy of character. Real people, you know? I had the feeling you didn't care much for it. Well, first I didn't. But then I got to thinking how I know how things have changed when young Larry first came to me with this idea. Well, I thought the best thing would be to come back doing what I used to. Slapstick, pratfalls, the funny hat and the mustache. That's what Joe Shanley thinks. I know. So does Larry. It's what made you famous, Clem. Yeah, but it didn't keep me famous. You know the last job I had six months ago? They had a dollar there, something out in Van Nye's, and I was a clown. I handed out free balloons to the kids. Some kind of advertising on the balloons. I didn't know things were that tough. I'm not fooling myself. I may not look it, but I'm 62, 63 in December. This series is going to be the last chance I'll get. It's got to be good. Clem, I. That's why I wanted to talk to you. I think your idea is right. It ought to be stuff about real people, comedy with a heart in it. That's the hardest kind to do. It's fragile. I can do it. I know I can. You have to settle for chuckles instead of belly laughs. Yeah, but I was thinking about it tonight. It's the kind of comedy that makes people love you. You know what I mean. You're not just an entertainer. You're a person to the audience, like a close friend. And they love you. Yeah. By 10 o'clock the next morning, I was waiting in Junior's outer office at the studio. But it was another half hour before I got in to see him, and he was full of charming apologies. I'm awfully sorry, kid. I've been tied up on this phone. Forget it. What can I do for you? I thought we ought to have a little talk about this Clayton thing. Well, you know there's a story conference schedule for two this afternoon. No, no, I mean a private chat, just you and me. Kid, I'd love to, but the way I'm tied up this morning. Well, this won't take two minutes. I'm trying to find out where this project stands. Where it stands? Joe Shanley gave me a ride back to the hotel after the meeting broke up yesterday. Oh. Well, now listen, I meant to talk to you about that. So he said. Well, Joe has a tendency to exaggerate things a bit. I imagine the way he explained it, the idea sounds a little cold-blooded. That would depend on how you look at it. Well, you've got to understand one thing, Jerry. I am not deliberately trying to scuttle Clayton or the series. But you want to do it cheap and fast. I have to. And Joe's the perfect director to hack that kind of a job out. It's all he can do. What about the big package for the name comedian? Isn't he going to direct that when it comes through? Well, I know he'd like to. He said you promised it to him. No, no, what I promised him was that if I had my way, he'd be the director. I see. Well, you know how these big names are. Jerry, big comedians, you can't force someone down their throats they don't want. That goes for writers, too. Well, not with you, not when I tell you it is. The big name? You used to work for them. I've worked for most of them. Eddie Rich. Do they come any bigger? No, they don't. So will you quit worrying? Sure you won't have some ice cream or something? No, I'm stuffed. I'd say I've been wanting to say this ever since we sat down. I'm sorry about last night, honey. So, my Jerry, I know you have to watch out for yourself. Well, if it'll make you feel any better, I'm going to do the best I can for Clayton. I knew you would. I had a talk with him last night. Turns out he liked my idea for the show after all, wants to do it that way. Oh, Jerry. The old man's living in one room in a boarding house. He's really down. Well, what about Junior and Shanley? What about them? Well, you said they wanted to do it cheaply. A show like this will take a lot more work, won't it? Well, mostly with Clayton, but I figured to do that myself. Well, even so. And I've got another angle, too. To cut costs? In a big way. A story conference with Junior and Shanley was set for 2 o'clock. I got back to the studio a little after 1 and called Clayton at his boarding house. I told him exactly what the situation was and that he should arrive at the meeting at half an hour late. If I hadn't licked Shanley by then, I wasn't going to. When I hung up, it was 1.15. I sat down at the typewriter. At 3 minutes past 2, I pulled the fourth sheet out of the machine and ran down the corridor to Junior's office. The stuff wasn't poetry, but it had to do. For what I had in mind, it would do handsomely. Have you finished reading it yet, Joe? It's rough, of course, but I think it catches the tone of what Clayton ought to be doing on the show. Don't you think so, Larry? Well, I found it very interesting, but I'd like to hear what Joe thinks. Absolutely. It's funny Clem's not here yet. You sure he knows about it? Oh, yes. I told him myself when we broke up yesterday. Well? Well? No offense, Jerry, but it just, well, doesn't hit me. Good enough. That's about my feeling, too, kid. Don't call me kid. How big a part? Just a little thing I have. Don't call me kid. I hate it. Well, for sure. You were saying about the material? Oh, yeah. Well, like Joe said. It doesn't hit you? Well, it just doesn't hit you. Yeah. Well, that's very good news, because it's not supposed to. Keith, now look. Custard pies are the sort of thing that hit you, Joe. And I'm not throwing any custard pies this season. I thought I made it pretty clear what kind of show this was going to be yesterday. You made it clear what you wanted, Joe, but that doesn't mean it's got to be. This thing you've written is a million miles from what Clayton does. From what he did, he can change. Suppose he can. What's the point? The point is we can make this a good show, even a successful show, if we're willing to fool with it. What do I have to do? Draw you a diagram. The thing is dead. For the name package that's coming in this fall, is that what you're killing it for? Now, wait a minute, Jerry. What are I saying? I know what you said, Larry. I know you want Joe to be along for the big killing, but I happen to know Eddie Rich pretty well, too. What are you talking about? You're not going to make it, Joe. You won't be the director. Huh? Larry, what's your- I gave you my word. That's right, Larry. You gave Joe your word. But whether you know it or not, you can't control these things. Oh, this is going to be a film, Joe. Sure. But if Rich can make the jump from live to film, so can his director. And believe me, he will. So where am I? Come on, Larry. Where am I? Where do I fit in? Oh, Joe. Nowhere, huh? Great. That's great. Now, Joe, this is months away. Yeah, sure. So's my funeral. Now, look, boy, I gave you my word. Yeah, and a lot it's worth. Your word, but no contract. Well, now it's working both ways. Now, wait a minute. You agreed to direct the series. Yeah, week to week for peanuts. Well, the gentleman's agreement is off. You get yourself another ball. No, now, Joe, listen. Your father was a great man. I was proud to work for him. You? I'm ashamed to spit in your eye. Keith, just what were you doing? Just what did you think you were doing? My best. You're fired. No, I'm not. Oh, you've got a contract. All right, it's paid off, and you are fired. I'm the only one you've got left, Junior. What? Junior. So you better not fire me or there's no show at all. Jerry, what got into you? I just don't like what's going on around here. I told you you'd have the rich show. Sure, sure. Just like you told Shanley. And Clayton, you told him he'd be a millionaire. Now, listen, you could talk to Joe. You could tell him it's on again. It was a big mistake. I'm talking to you, Junior, and nobody else. What's my contract for doing the series? What do you mean your contract? I mean the money. Is it $1,500 a week? Well, of course it is. All right, I'm giving you a chance to hire me as a writer for half of that. What? And for the other half, I'll direct the series, so you get two for one. What do you know about directing? I know to take pictures of the actors. Oh, good grief. And that's about all Shanley was going to give you. You're an untried quantity. So is Clayton. You're giving him a chance. Yes, but he's got a following. In far as long, he's got a following. Face it, Junior. Wait a minute. Yes? Mr. Clayton is here, sir. Oh, well, send him in. Well, what's the verdict? The verdict? Well, you're very funny. What choice have I got? Larry, I'm sorry to be late. Perfectly all right, Clem. I've got some great news for you. I don't know if I can stand much more. How goes it, Jerry? Very well, indeed. Clem, I've decided that Jerry is not only the man to write the series, but also to direct it. Well, well, that's wonderful. It's like Dad used to say, a show like this, if it's going to have style and distinction, needs one unifying creative force to handle the whole thing. Now, don't you agree? Well, I sure do, son, but what about Joe Shanley? Joe realized it just wasn't his cup of tea, and he bowed out, and very gracefully, too. Wouldn't you say, Jerry? It was graceful, all right. Well, I'm glad there aren't any hard feelings. Oh, no, he wishes you nothing but luck the best in the world. Oh, excuse me. Yes? Mr. Ridge calling long distance from New York. Oh, uh, he, uh, well, just a minute. Well, boys, I think that about winds it up for now, huh? You bet. I, uh, I guess the first step, Jerry, is for you to whip up a script, bring it in, and we can go on from there. We'll do. Sorry, I was late, Larry. Oh, don't mention it, Sam. It gave us a chance to iron out a few trifles. Now, take it easy, fellas. That's what we'll do. Well, it looks like you brought it off, son. I think so. You know, it's hard to believe that Larry and Joe Shanley were planning to give me that kind of a dirty deal. I always counted them among my friends. Oh, I don't think it was anything personal. Well, I take it personally. But you know, a funny thing, I could tell you liked me. Yesterday in the office and last night at my place, I could tell you liked me. And I knew you'd go to bat for me. Clem. It's a talent I've got, making people like me. Let me tell you, it pays off. That night, I put the cap on the success story. Because of the way my luck had been running for the last 24 hours, I stopped by a jewelry store in Hollywood on the way to pick up Gloria for dinner. And later that evening, when I asked her the same old question and she finally said yes, I had the ring right in my pocket. But you can't go around marrying people under false pretenses. So on the way home, I steered the conversation around with a subject that would let her know exactly what she was getting. Jerry, I'm so proud of you. You shouldn't be. You helped that old man. I knew you would. I helped myself. You know who the big name comedian was? I thought you didn't know him. I didn't, until 11 o'clock this morning. Eddie Rich, the guy who fired me three years ago because you convinced me I should stand up to him. You still want to keep the ring? Do you want it back? No. But you ought to reconcile yourself to who I am. All right. Who are you? A guy who occasionally does the right thing, but always for the wrong reasons. I wouldn't have much self-respect if I believed that, Jerry. No? How could I? If I'm one of the reasons. You have a favorite time to pray. One friend of mine, a woman, thinks that the best time to pray is in the morning, particularly a morning bright with sunshine when the skies are blue and the birds are singing. Prayers in the morning, she says, are prayers of hope. Now, another friend, a man, says that he prays best by the little reminders of the day, the sounding of a church bell, the sight of a poor beggar on the street, or the shock of a narrow escape at a busy intersection. He says prayers like this are mostly prayers of thankfulness. And still another friend, a woman, insists that the best time to pray is when the dark comes and gently enfolds this garish, scotty world of ours. Prayers at night are inclined to be prayers of love, both of God and neighbor. Well, what I am doing is proving that it doesn't matter much when you pray, as long as you do pray. But pray especially as a family, for there is great joy in praying with others. Who of us still hasn't heard that the family that prays together stays together? More things are wrought by prayer than this world dreams of. Um, Hollywood, family theater has brought you transcribed integrity, starring Cesar Romero. Deborah Padgett was your hostess. Others in our cast were Parley Bear, Herb Vigran, Tudor Owen, and Lillian Bayev. The script was written and directed for family theater by John T. Kelly, with music composed and conducted by Harry Zimmerman. 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 mutual network which has responded to this need, and 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. Slap in the face, starring Dorothy Warren Shull, Paul Pacerne will be your host. Join us, won't you? Family theater has 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.