 From Hollywood, the NBC Theatre presents... ...assignment, production, the best years of our lives, director... Hollywood Screen Directors presented dramatic document from a time so well remembered. The Academy Award-winning motion picture story, The Best Years of Our Lives, starring Dina Andrews and introducing the director of the film, William Wiley. The old adage that one picture is worth a thousand words comes readily to hand when speaking of tonight's guest screen director. For no description of his painstaking artistry can equal the simple statement that he is the director of such truly great motion pictures as Dead End, Wuthering Heights, Mrs. Miniver, and the soon-to-be-released Paramount film, The Errors. Ladies and gentlemen, the Academy Award-winning director of The Best Years of Our Lives, Mr. William Weiler. Thank you. I want it very much to make The Best Years of Our Lives because, along with the fiction of the story, there is a deep truth of homecoming servicemen whose most familiar memories had suddenly become strange. One of the reasons I liked the story was that I had lived that part of it myself, just as many of you have. And now perhaps we'll live it again. Here is The Best Years of Our Lives starring Dina Andrews and his original role of Fred Derry with Janet Waldo as Peggy Stevenson. Look at it this way. Your name is Fred Derry. You were a bombardier for most of the war in Europe, but the war is over. You're still in your captain's uniform, but now you're going home. There are two other men up front with you in the old B-17, Homer Parrish. The Navy man got on with you in New York. The older man got on at Wright Field. Hi, your captain. My name's Al Stevenson. Fred Derry. Hi, your serge. This is Homer Parrish, Navy. Hello, Al. You're both from Boone City, too? We sure are. Shake, Fred. Shake, Homer. What you liked about Al Stevenson right away was this. He grabbed Homer's forearm and pumped it warmly without even a glance at the steel hooks that took the place of hands at the end of Homer's arms. Gee, things sure look beautiful from up here. I never thought so. This used to be my office sort of. Bombardier, weren't you? Yeah. Cigarette, Fred? Oh, mind. Homer? Oh, I'm sorry. That's all right. I can get it. Thanks, Al. You're welcome. I've got it. Thanks, Homer. Al. What's your bludge, Navy? You gotta see me open a bottle of beer with these hooks. You got nothing to worry about, Homer? I can dial telephones. I can drive a car. I can even put nickels in jukeboxes. But... But what, Homer? Well, you see, I've got a girl. She knows what happened, doesn't she? Well, sure, but she doesn't know what these hooks are like. Well, she's the right kind, isn't she? Sure, Al, but after all... Then you'll be okay, kid. Just wait and see. Talk to you boys for who pays for the airport taxi. Same old Boone City. Hasn't changed a bit. Excited boys? Nervous. The thing I'm scared of is everybody's going to want to rehabilitate me. All I want is a good job with a future, and a little house big enough for me and my wife. Oh, stop in at the bank when I'm around and swing alone. Are you a banker? A man's got to live. You married Al? Twenty years. Twenty years? I wasn't married twenty days before I went across. Hey, there's Butch's place. He's got a neon sign. Who's Butch? Butch Engle, he's my uncle. Best joint in town. Hey, easy on those curves, Mac. We're delicate. This is my street. First house past that fire hydrant, Mac. Hey, uh... How about the three of us going back to Butch's place for a couple of drinks, huh? Then I'll go home. You're home now, kid. Face it. Yeah. Yeah, we'll take a rain check on Butch's. Okay, boys. Be seeing you at Butch's. Ten minutes later, you drop off Al Stevenson in front of the swankiest apartment in town. Oh, I feel as if I were going in to hit a beach again. So long, Captain. And then it's your turn. Your turn to come home. Your turn to face civilian life again. Get a job. Find out where you belong. If you belong. Your turn to press a doorbell and wait. There's no answer. Then you remember that Marie works in a nightclub. But you don't know where. You're at loose ends. You think, well, I could stand a drink. Butch's place. Best joint in town, Homer said. Okay. Hey, Butch. Stop torturing that piano. Homer. Homer Paris. I don't believe it. Hi, Yank. Gee, it's good to see you, kid. Homer. Fred, how'd you get here? Homer, old shipmate. Why aren't you home with your folks? They went to bed and I wasn't sleepy, so I just went out. That all? I dropped a lemonade. What? At home. Slipped out of my... Well, you think it was something awful the way Wilma ran out of the room crying? Wilma, that's your girl, isn't it? Yeah. Where's your wife, Fred? She's working. I couldn't find out where, so I came here. Drop off Al, okay? Swanky's department in town. We'll ever see him again. Hey, hey, really? This is it. This is the best place we've been in yet tonight. Hey, it's Al. Speaking of the devil. Hey, Al. Banker. Got changed for a nickel? Homer. Howdy, my boy. How's it all? Buddies. The middle of my wife was Peggy, my daughter. Hi. Homer of the Navy and Fred of the Air Force. How do you do? Homer, I just had a telephone call for you. For me, butch? What about? Wilma'd like for you to come home. Why can't they leave a guy alone? Maybe because they're fond of you, Homer. He left the house in a peeve, got them all worried. Well, they get me nervous. Oh, nice meeting you folks. Good night all. See you later, soches. Good night. Take it easy, Homer. He isn't happy. He dropped the lemonade, period. I tried not to notice his hooks. That's a trouble. People just keep staring at them. Or else they keep staring away from him. Hey, I feel like dancing. That's a charming idea. Well, I'm a charming fellow. Come on, girl. Oh, don't yank at me. One, two, three, one, two, three, one. So you're Al's daughter. Peggy, you're Fred. I'm just a little bit under the weather. You've got a tough job ahead, catching up with Dad. Why isn't he at home with his family? His first night home in three years. Why are you under the weather? Why did Homer rush out of the house tonight? Nervous out of the service, I guess. Sure. Hey, somebody, give that Air Force Captain a drink. He's way behind. She's on fire. The wing's on fire. She's on fire. She's going down. Be a lot, you guys. Gdorsky, get out of that plane. There goes the tail gunner. Fred, what's the matter? Get out of there. Gdorsky, she's burning up. Fred! Get out! Get out! Hey, wake up, Fred. Wake up. She's burning. Jump for it. Get out! Get out! It's all right, Fred. Hey, Peggy, it's all right. Peggy. It's all right, Fred. Go back to sleep now. What? What am I doing here? Your wife still wasn't home when we drove you to your apartment. We took you to our house. Now, go back to sleep. Just rest. Go to sleep. Rest. Eggs all right, sir? Fine, Peggy. Thanks. Let Al bring me here last night. Oh, we were very glad to have you, so let's talk about other things. Like what? Well, what did you do before the war? I was a fountain attendant. What's that? It's a soda jerk. Oh, will you go back to that, Fred? No. Somehow I can't picture myself getting excited over a root beer float anymore. Can you get excited over more of my coffee? Oh, thanks, but I'd better be taking off. You and your wife must come over to dinner sometime. Fine. Oh, about that dream last night. You were very kind. And you never mentioned it this morning. Oh. Oh, you've been swell about everything. I think they ought to put you into mass production. Thanks, Fred. I'll drive you home now. It's so silly, Fred. Isn't it silly, darling? I feel just like a bride again. You are listening to the Hollywood Screen Director's presentation of the best years of our lives, starring Dana Andrews with Janet Waldo and introducing the director of the film, William Weiler. You've been taking your time getting used to being a civilian again, to being home. You don't want your old job back, but you do want to see Mr. Bullard at the drug store who lost his son in the war. A big drug chain bought Bullard out, but he's still there filling prescriptions. Somehow, without your warning, he leads you upstairs and introduces you to Mr. Thorpe, the employment manager. And the first thing you know, you're being interviewed for a job. But, of course, you understand, Darryl, that since this business changed hands, we're not under any legal obligation to give you your old job back. I wasn't thinking about my old job, Mr. Thorpe. I hope for something better. What experience have you had? I worked two years behind the fountain here and three years behind a Norden bomb sign. Any experience purchasing supplies in the Army? No. I just dropped bombs. You're an officer. You probably acted in an executive capacity. You had to command men. No, sir. I was just responsible for getting bombs on the target. I didn't command anything. Well, we might be able to provide an opening for you as assistant floor manager. Your work would require part-time duty behind the fountain. I don't think I'll be... What salary? $32.50 per week. I was getting more than $400 a month in the Air Force. Darryl, the war is over. Over, yes. I know. Well, I'll look around, Mr. Thorpe. Thank you very much, anyhow. It makes you think for a minute, but then you stop worrying about it. You've got $1,000 right out of the U.S. Treasury, and that's money. You take your wife out to Jackie's hotspot that night. Next time, it's the Blue Devil. You buy a couple of suits. You pay the rent. You look for a job. You pay your insurance. You buy Maria Coat. Then you get the flu and you pay the doctor. You look for work more seriously now. You buy some badly needed furniture. On payments, you pay the rent. You bring home a can of soup, potato salad, salami, and a loaf of rye bread on the cuff. Hey, Fred, what's the idea of the delicatessen? That's dinner tonight. Oh, we're going to Frankie's Charmaine Bazaar tonight. We're eating at home. Are you sick or something? We're broke. You've got it. What about getting yourself some work? I've been trying and hoping I'd land something good. Well, you can't have been trying very hard. Sure, I have, Marie, but they tell me I've got to spend a couple of years going to trade school. And what would I be doing in the meantime? Helping me with my homework. Are you kidding? No, I'm not kidding. Fred, are you... are you all right in your mind? I mean... Do you think I've gone goofy? Well, you're talking your sleep at night, honey. He yells something's on fire. Gadoski, get out, and... Who is Gadoski? Gadoski. He was a buddy of mine. Island of a B-17. He got it over Berlin. Thanks for asking. Well, anyhow, I got some money saved up and I'll buy you dinner tonight. I appreciate your offer, baby, but we're eating at home. Not me. I'm not. I'll go out myself. Now, wait a minute, Marie. Go on my arm. The peace said, for richer, for poorer, for better, for worse. Remember? Well, this is the worst. Yeah. And when does it start getting to be better? I guess when I wake up to realize I'm not an officer and a gentleman anymore. Just a soda jerk out of a job. Unless that job is still open at the drug store. Hey, will you explain this complexion cream to me, please? I'll be with you in just a minute, madam. Hello, friend. How did you know I was working here? I called your wife to invite you both over to dinner. She told me to ask you. Are you doing anything for lunch? What? No. I'll see you at Lucia's in 20 minutes. Next, please. That's a funny thing, Peggy. When I was overseas, I told myself, when I get home, I'll never eat in joints like this. I like it. It's cozy and private in this little booth. I also told myself I'd never go back to work in a drug store. Fred, forgive me, but is Marie what you dreamed about overseas, too? Why? You know why, Fred. Why? The way she talked about you to me, a stranger on the telephone, the things she says and the way she says them. How was she on the drug store cowboy soda jerk routine? You see, you do know what I mean. Fred, she's ruining your life, breaking your spirit. I can tell by the way you act and the way you talk. I know I shouldn't talk this way. Then don't. Let's face reality. But sometimes reality can be just what you dreamed about. You never know about people until they're put to the test. I found that out. But there's a friend of mine, one of these expensive girls from the horsey set who never could think beyond the next cocktail party. Last year she married a boy just out of the Marines. And now they have a baby. He's taking a course at Ohio State and they live in a trailer and she loves it. Does she think it's worth it? She happens to love the guy. Did you hear me, Fred? Peggy, I want to kiss you. Say no and I won't. I won't say no, Fred. I won't say no. Mother, there's something I... Yes, Peggy. Dad, I... Yes, yes. Go on, girl. Go on. I had lunch today with Fred Derry and he kissed me. Kissed you. I practically asked for it. Peggy, are you in love with Fred? I didn't want to be, but I am. Well, then, what about his wife? He's miserable with her. She's destroying him little by little and I... I can't allow it. Peggy, is Fred in love with you? He loves me and he hates her. I know it. Maybe you know it. That's for me to find out. I wanted you to meet me here at Butch's to ask you a question. Shoot, I'll... I'll get right to the point. Are you in love with Peggy? Yes. In our family, we tell each other things. Butch says that your wife doesn't love you. That comes as a surprise and a shock. Nevertheless, she is your wife. Nevertheless. Fred, I happen to be quite fond of Peggy and I... And you don't want to mix up with a heel like me. I haven't called you a heel, Fred. You see, I'm quite fond of you too. Thanks. But I give you a fair warning. I'm going to do everything I can to help her forget about you and get married to someone who can make her happy. Anything else? No. Suppose I don't see her anymore. Suppose I call her up and tell her so. That satisfies you? Yes. I'll take care of it before I go back to work. Well, they... drinks are on me, Al. Hey, bud, what about a ham and cheese on rye? Ham and cheese, doc. Without mustard, huh? Save the war, please. Hey, Fred, give me a chocolate sundae, huh? Oh, my lad, for you, the house. I'll attend to that special order myself in person. Excuse me. Yeah. Mind if I ask you a personal question? I know. How did I get these hooks and how did they work? Yeah, partly that and partly... Well, I'll tell you. I got sick and tired of that old pair of hands I had. Always washing them and manicuring my nails. So I traded them in for these latest models. I worked by radar. See? Here's your ham and cheese on rye, sir. And a chocolate sundae for the Navy. Thanks, Fred. See, mister, here's how I pick up a spoon. Pretty cute, huh? You've got guts, all right. Only what good did it do you? I don't get you. Me either. Well, the Japs and the Germans really had nothing against us. They just wanted to fight the Limies and the Reds. We got in on the wrong side. You mean you liked what the Nazis were doing in Europe? Maybe you think Pearl Harbor was just a prank. I'm not talking to you, soda boy. Listen, brother, you better pay your check and go home. So we were suckers, were we? We should have been on the side of the Japs and the Germans. All I ask you to do is look at the facts. All Germany wanted was it. I saw a ship go down with over 400 of my shipmates. Take it easy, Homer. I want to know if those guys were suckers, too. Read the papers. Why don't you read them? I want to know if I was a sucker to lose my hands and get these hooks. Keep those hooks away from my face, you crazy Santa. Let go of me! Let go of my arms! Take your hands off that kid. You gotta be a dumb soda jerk. So help me a little, I want as one poker to you. One... Over here! Go to heaven. Gary, what happened here? I reached over and sucked this guy. You suck! Druggers, Mr. Bullard! Spirits of ammonia, please. Bandages, hurry up! Why, you struck a customer. I know, the customer's always right, so I'm fired. But this customer wasn't right. Come on, Homer. Let's get out. Chief Fred. Sorry I lost your job for you. Sorry, Homer. You did me a good turn. That guy insulted my shipmates that are dead. Then saying I lost my hands for nothing. Homer, stop here. I want to know something. I want to know when you and Wilma are getting married. Married? Doesn't she want to get married? Well, she wants to, but... Then go to her. Now. Take her in your arms, kiss her. Ask her to marry you, then marry her. Look, Fred, I'm pretty good with these hooks, but... Well, take it, Knight. Someone has to take them off for me, just for example. Someone has to unhook all the harness under my shirt. That's right. Well, I'm helpless then. I can't even pick up the harness again without my hooks. My hooks are part of the harness. That's right. So you get someone else to pick up that harness for you, and you'll be able to do something for her. Wilma? Homer. Your shipmates died so you could keep what's yours and get what's coming to you. And if you don't do it, then you're letting those men down. Now, you go ask Wilma. I know what she'll say. And congratulations, kid. Join together, let no man put us under. As much as Homer and Wilma have consented together in holy wedlock and have witnessed the same before... You've seen Homer slip a ring on Wilma's finger with those hooks of his, and the tears in your eyes aren't pity, but pride. What a guy you think. What a man. And you're proud. I pronounce that Homer and Wilma are man and wife. God bless you, boo. Congratulations. And you look across the room, and there's Peggy, looking at you with her heart in her eyes. And you think, well, if Homer could do what he's done, you can be the kind of a guy Al Stevenson wants his daughter's husband to be. You go over to her and nothing is said. You take her in your arms and you kiss her. And she lets you kiss her. Then you talk and you say, I've got a new job, Peggy. I'm glad, Fred. My wife's left me. Marie couldn't take it. She's getting a divorce. Peggy, it may take us years to get anywhere, you and me. We'll have no money, no decent place to live in, have to work, get kicked around. I don't care, Fred. I can take it. I can take it. All at once you realize you're wasting time talking. You take Peggy in your arms again. You don't care who's looking. And you know, you know that you didn't give the best years of your life to the Air Force. You fixed the clock and the best years of your life were just ahead of you, where they belong. Our stars will return in just a moment. Next week, the NBC theater mixes music and romance, as again we bring your favorite motion picture entertainment to the microphone. Our story will be, the sky is the limit, and our star, Fred Astaire. And now, here again are Dana Andrews and Janet Waldo, and screen director, William Weiler. It's been wonderful working under a great director like Mr. Weiler. Oh, it was. He told me a great deal. About acting? I taught him how to be a magnificent soda jerk. Janet, he really made me take a course in being a fountain clerk. Dana, you're a lucky man. If things get too bad, you've always got something to fall back on. Yeah, I know. Two scoops and a square of chocolate. But why did you have to learn so much about it? Realism. We had a real soda fountain on the set. Realism. He'd sit in his director's chair and say, Dana, let's say you mix a cherry sundae. Well, what's wrong with that? I'd mix it, and he'd say I wasn't doing it right. Then he'd eat the sundae and tell me to do it again. That went on for days. He was eating up the props like crazy. Is that right, Mr. Weiler? Well, uh, sweet tooth, you know. I gained 10 pounds, but it didn't show in the picture. That's one advantage a director has over an actor. And Janet, as long as we're telling the truth about Wellie Weiler, uh, you know how they say such a wonderful director. Oh, yes. Well, you can believe every word of it. In fact, Willie, I think so much of you, I'm going to take you out and buy you a banana split. Wonderful. Come on, Janet. Good night, everybody. Good night, folks. Good night. And good night to you. Dana Andrews, Janet Waldo, and William Weiler. Dana Andrews appeared through the courtesy of Samuel Goldwyn, upon whose Academy Award-winning motion picture tonight's presentation was based. Mr. Andrews can soon be seen in the forthcoming Universal International production, The Sword in the Desert. Included in tonight's cast were Ted Von Elts, David Ellis, Virginia Gregg, Howard McNeer, Gerald Moore, Ken Christie, Gigi Pearson, Earl Ross, and Dan Riss. The best years of our lives, based on a novel by McKinley Cantor, was adapted for radio by Milton Geiger from The Screenplay by Robert E. Sherwood. Original music was composed and conducted by Henry Russell, and production was under the supervision of Howard Wiley, associate producer Ray Dietrich. Your announcer has been Frank Barton. Listen again next week when the NBC Theatre presents... Screen director's assignment. Production, the skies the limit. Director, Edward H. Griffith. Star, Fred Astaire. The NBC Theatre came to you from Hollywood. This is NBC, the national broadcasting company.