 Family Theatre presents Ray Bolger and Keef Brazil. From Hollywood, the Mutual Network in Cooperation with Family Theatre presents NewsHawk, starring Keef Brazil. And now, here's your host, Ray Bolger. Thank you, Tony Lafranco. Family Theatre's only purpose is to bring to everyone's attention a practice that must become an important part of our lives. If we are to win peace for ourselves, peace for our families, and peace for the world. Family Theatre urges you to pray. Pray together as a family. And now, to our transcribed drama, NewsHawk, starring Keef Brazil. Hello there. Your name, Luke Clark? What's left of me? You know, that train of yours takes a lot out of a man. This line hauls so much, or they don't quite know what to do with the passengers. My name's Henry Miller. I run the Sentinel here in town. Oh, uh, yeah. I've got my car right over here. Your bureau called and said you were coming. Thought I'd save your walk. See, we don't have any taxis over here. It doesn't look to me like you got much of anything here, Mr. Miller. Oh, not much, but we like it. Haven't seen your byline on the wires. You're new with the organization, Mr. Clark? That's right. And I'm not thinking of getting old with it, either. You don't like new service work? To me, it's just a step up a long ladder. Or a short ladder for man's lucky. I'm more cut out for big papers in big cities. Big fish and a big puddle, man. This is my car right here. Put your camera in the back. All right, good enough. Your paper, the, uh, the, uh... Sentinel. Oh, yeah, the Sentinel. What is it, weekly, Mr. Miller? That's right. Kind of a family operation. Mostly local news. Smart. Wasn't this thing we're gonna see more local news than anything else? What was it, a cave-in or some like that? A little more than that. I'd put a little more in the disaster clash. Looks pretty bad. Had a blast this morning that rattled Windows in town a couple of more later. I don't have any figures yet in damage or loss of life, but it could be a terrible thing. Oh. Could be quite a potential, then. Potential, Mr. Clark? You know, it might turn out big news-wise, it is. Yeah. I suppose you could say so. You suppose? Well, is it bigger, isn't it? It might help you to know something about me, Mr. Clark. Something about you? I'm a small-town editor and a stringer for your new service. Yeah? I haven't always been a small-town editor. I've put a few years and some valuable experience behind me. And, well, I think you've got a fair-size story here. You're trying to tell me that you know my job. Well, I, uh, I doubt if I'll need any help, Mr. Miller. Well, if you want to tag along for kicks, it's all right with me. Thanks, but that's not quite what I had in mind. You see, I settled here because I like the people. See, I know most of them. You want to make this story as big as you can? Well, I can understand that. But, please, just don't push too hard. That's all. Follow me. Yeah, I follow you. All right, now, uh, what happened, huh? Well, I put what I had on the teletide, but, apparently, you didn't read it. No. Mining is a big business in these parts, and right now it's the big trouble. Had an underground blast this morning, put the mine out of operation, and trapped a few people. Well, what's all this, uh, a few people? How many? Well, there were some down there when I came to get you. How many might still be down there? I just don't know. Mm-hmm. Well, uh, what caused the blast? The safety advisor says a fire set the blast, and he seems to think that the fire started out electrically. Yeah, here we are. Let us start unpacking that camera. Yeah, you, uh, you know how to work one? Uh, four-by-five speed graphic? Well, that's right. I think I could manage. Main shaft is over there, and you have that building with the people around it. That's the emergency hospital. I was going to suggest we stop in there for a minute. I think we might be able to talk to the man who is down there when the fire started. Mr. Miller, lead the way. He's had a fairly tough time, so please don't stay too long. Charlie was the first one hurt, Doc. Yes, that's right. Bad burns and severe shock. We will keep it short, eh? Yeah, sure thing, Doc. Charlie, someone here to see you. Is it all right? Uh, all right with me. Anything new, Doc? Anybody else out here? I'll let you know as soon as I hear anything, Charlie. Now, this gentleman here is Luke Clark. He's from a new service in the city, and you know Hank Miller. Uh, hello, Hank. Hello, Charlie. Uh, Charlie, this is a pretty big thing. What's happened there, you know? I know. And, uh, a lot of people are interested. You know what a new service is, Charlie? Well, I'm not sure. Well, it takes news on teletype machines to different newspapers all over the country. Well, that kind of makes me a reporter for a thousand different newspapers. That's why, uh, I have to body at a time like this. It's OK, Mr. Clark. Now, uh, what happened on there, Charlie? Uh, I was running the donkey engine, pushing a string of hepties. Uh, ore cars? Ore cars. I just came around the bend when I hit something. What was it, Charlie? I don't know what it was. A section of pipe or kind of it. Something like that. I saw it fly up and break the power cable. I could see it break the cable, and I saw the line fall on the first car. If you're pleased, Mr. Clark, I think that's enough. Look, just another minute down. And there was a blue flash, and something hit me. What did it feel like, Charlie? Mr. Clark, look, can't you remember, Charlie? I couldn't, I couldn't even tell you about it. I don't want to think about it. Then what, then what? Then I came to someone who was giving me artificial respiration. I tried to breathe, but all I could get was smoke. When I coughed, she turned me over, and she had something in my arm, and some of the men carried me to the elevators. When she turned you over, what do you mean, Charlie? I think that's enough, Mr. Clark. He's tired out, Clark. Look, just another second. What do you mean, she, Charlie? Nurse. Nurse. Never saw her again. You never saw her again? She wasn't in the elevators, and not here. Thanks, boy. You better get some rest now. Mr. Yes, Charlie? You'll let me know how things are going. I'll make a point of it, boy. Come on, Mr. Miller. Doctor, I want to talk to that nurse. You'll have to go to the mine to do that. She's one of the people who didn't come up. Now, look, Mr. Iverson, you're not giving me much cooperation. I'm sorry, Mr. Clark, but I can't give you anything I haven't given the other newsmen. You have the names of the injured, the name of the nurse who's still down there, Mary Greer, and the names of the miners we haven't located. That's all I can do. I'm sorry. Come on, Clark. I'm going down that shaft. No, you're not. I can't allow either you or Hank Miller down there, and that's final. Look, Mr. Miller, who runs this mine? Right now, he does. That's right. He's of safety here, and right now, safety is the paramount issue. Is there something down there you're trying to hide, Mr. Iverson? Look, that's not called for. What do you call this? No threat, Mr. Iverson, but I'll tell you this. I can only report what I see in here, and a man hears a lot of things standing around the top of the shaft. Look, let me go down there and take a look for myself. Don't look at me, Iverson. He is not mine. Mr. Clark, there's nothing happening down there that I can't tell you about. And as you know, our electrical system is shorted out. That elevator is using auxiliary power that may give out almost any time. I'll waver your responsibility. I'll bet you will, but I'm not worried about you. You'll be taking up space, Mr. Clark. But you don't seem to care about that. Just don't get in the way, that's all. Just don't get in the way. You men know your job. Four people are still there. We want to get them out, but we don't want anybody hurt doing it. The power is shorted out. That means no ventilation, so we may have a gas problem. We're trying to fix the power system, but it'll take time. Till it's fixed, none of you were to stay down more than an hour. Now, is that understood? One hour. All right, men. Good luck. Close the gate and get going. Back the gate. All your arguments. Did you see the long faces on the other newsmen, Mr. Miller? They could have come along if they cared to use your tactics. Hey, how long is this trip? Not long, a couple of minutes. Who's the foreman of the operation? Ed Somerfield, fellow with a rope over his shoulder. Oh, I'd like to talk to him. I'd do that later if I was you, Mr. Do you remember your list? Yeah. There was a Somerfield on it. The brother of the man with the rope. Oh. Yeah, I'd let him be just now. I guess there'll be plenty of time. Well, now, so you've had a lot of experience, eh, Mr. Miller? A few years. Well, uh, you were ready to give up with Iverson. Maybe I think Iverson was right. Well, maybe he was wrong, too. I'll take the chance. All right, just here's the level. All right. Hold it a minute. Well, it looks like Somerfield's got something to say, huh? Right. Now, we got an hour and that's all. So we're gonna use it as well as we can. You there. Talking to me? Yeah, that's right. Iverson told me about you. I'm putting you to work. You, too, Mr. Miller. I'm more than willing to do whatever I can. I know that, Mr. Miller. You just better get your friend here thinking the same. Now, there are five of us and we're gonna split into two parties. Work both directions. Smith will go with you, too. Any objections? Well, none that I can see. All right with you, Smith? Anything you say, Ed. All right, then. Bill and me, you'll head for where the others was found. Your boys go the other way. All right. Now, let's go. Falling stuff. It isn't natural, is it, Smith? If it was, there wouldn't be a whole lot of people in the mining business. Explosions loosen up this whole strata. I don't like it. You're not the only one. Hey, that camera getting too heavy for you, Mr. Miller? I'm making out all right. Say, Smith, these telephones we see every few hundred yards. They don't look blank like everything else. Hey, hold it up a minute. All right. Do you hear anything? Not me. No, nothing. Say, tell me about this nurse, Mary Greer. What's she look like? Pretty girl? Mary? Yeah. Don't know whether you'd say she's pretty. Real nice girl, though. Real nice girl. Five-three, Brunette Hazeleyes. 109 pounds, born in Mesa, Arizona. You know her, Mr. Miller? The employee card catalog. I figured you'd do the same. Real nice girl, huh? Hey, you think we're looking in the right direction? Sure hope so. She might be done in and a blast on this level this morning enough to shake the whole mountain. Sure, she might have given way in a few places. You mean some cave-ins? More than likely. She might be cut off then. She might be. There's three others down here. They might be cut off and we're down here and we might get cut off. Mine's had some bad shakes. Take a lot of shore enough or she'll be fit to work in again. Hey, let's stop them and I'll try another call. I don't hear a thing. Wait a minute. Did you hear something? No. No, I guess not. All right. How much time have we got left? You know, we've been pretty close to half hour. Got to be starting back pretty quickly. Well, let's hope the other party had some luck. Hey, what's this? End of the shaft? Uh-uh, that's new. Shoring's given way. Well, this is one of those cut-offs you were talking about. Just might be somebody behind, man. How thick would that be? No way of telling. Might be a few feet. Might be 50 or 100. Wait a minute. What's that? What? Bring your light to bear where mine is. You see, wait. Way up there. Toward the top. Yeah. It looks like a hole. Yeah, looks like it. We might be in luck. Oh, wait a minute. It sounds like it's ready to go any minute. Be quiet and listen. I heard something. Are you sure? I tell you, I heard something. Come on, let's have a look. Wait a minute. You ain't careful. You'll pull that whole mountain down. Let's go on me. Be careful, Clark. Look, this hole's big enough for a man to crawl through. Come on up here with the camera, Mr. Miller. I haven't got a whole lot of time, but I guess we better take a look anyway. Look, it looks like it goes all the way through. Yeah, I think it does. Anybody in there? You hear that? I heard it. She's in there all right. Hold on. We'll get you out. Anybody in there with you? Give me that camera, Mr. Miller. I'm going through. You hold up there. I'm going to pull the whole roof down. The only thing holding it up is the dirt we're on. You move that. Mr, there's somebody in there. Well, it won't take long to shore up here, and then we can go through. This way, there's a better chance we'll do more harm and good. You try to go in there, we may never get the girl out. Listen to him, Clark. He knows what he's talking about. Look, you listen to him. The way it looks to me, the roof could go anytime with help or without it. I came down here to get a story and pictures to go with it. I'm going to get them both and I'm going to help that girl at the same time. You can stay or come with me. I don't care, but I'm going. Smith, maybe you'd better go. Find the others. Tell them where we are. You don't leave me much choice. All right. How about you? I'm coming with you. Then come on. Look, you better give me my camera. You're not... You're not good for this kind of thing, Mr. Miller. I'm doing all right. You okay? Yeah. Oh, that does it. What? You see her? Over here. No, I... Wait. There she is. Come on. Come on. Hold on. Wait a minute. I want to get that picture first. Hurry. I got to check the bulb. Go over this way. Set the scale for 14 feet, cock the shutter, and snap. There we got it. Well, a picture will see a lot of papers, Mr. Miller. Mary. Mary. Mary, are you all right? Well, I feel better now that you're here. I'm afraid I've broken my ankle. Is it... Is it giving much pain? No. Now, if I don't move, I had a protein serrat in my pocket. It wasn't enough, but it helps. How did it happen? When the cave started, I ran. I guess I tripped over something. Dropped my light at the same time. I couldn't see it. I couldn't even know which way to cross. It was such a long time, and then when I heard you crawl up... Mary. Mary, it's... It's all right, Mary. You're going to be... going to be all right now. Oh, I'm sorry. Please forgive me. I'm usually able to control myself. I'm sure you are. Don't worry, look. Go ahead. Have a good cry. It'll make you feel better. Do you want my handkerchief? No. No, I'm going to be all right. With that dirt as much as anything, just keep bawling. The egg was high. I couldn't tell where it was coming from. I'm just frightened like this. I don't like the sound of it myself. Maybe we'd better... move a little. I've got a good point, Mr. Newell. Now, if we can only get her up to the front here... Here he comes! Here he comes! Help me look through it. I've got her. Welcome! Are you all right, Mary? Yes, I think so. This ankle. The ankle. Oh, if only I hadn't dropped my aid bag when I dropped my light. My camera. I left my camera back there and the film holder's still in it. Cigarette, Mr. Milley? No, thanks. You missed the point. Have you got one? No, I haven't. I don't suppose you... Oh, I'm sorry. I don't talk. What time you got, Mr. Milley? 1.35. 1.35. Two hours ago, I was rich. Two hours ago, I was sitting on a top story. Proud possessor of what might been a top news picture of the year. Now what have I got? My picture's under five tons of rock and sand in my story. All right, Mr. Miller, you're an old-experienced newspaper man. You tell me. How do you file a story from a sealed-up mine? I wouldn't be... too impatient about filing it until it's finished. That's a point, Mr. Miller. Good point. Of course, then there's a new angle in this thing now. I've got an angle no one else has got. I can put that to work for me. Two hours. What are they doing out there? You think we hear something? Why don't you try that emergency telephone again, Clark? Well, that's still dead. Look, take it easy, girl. They'll get us out. It just takes a little time. I'm sorry, Mr. Clark. Nobody's blaming you, Mary. Of course not, Mary. Can't even blame Clark as much as I'd like to. Oh, thanks. I'll forget it. You know something? In a way, she is the cause of it. We wouldn't be down here now if it hadn't been for you, Mary. You just happen to be human interest. That's all. Human interest? Yeah, you know, three miners' trap, that's news all right, but one girl's trap, one nurse whose life isn't jeopardy because she faithfully performed her duty. That's bigger news. Here's to too many movies, Clark. You know something? That picture of mine would have made you famous, Mary. I don't want to be famous. No fame and fortune? Come on, tell me. What do you want out of life? Oh, I don't know. To help people, I guess. Oh, no. Well, what do you want? What do I want? Well, I want more than I've got. How's that for a normal answer? And I want more than he's got. You know something, Mr. Miller? I can't see what you get out of life. An editor of a two-bit weekly in a town like this one? Clark, I've been insulted by experts and you're a second-reader. You know, I don't know why you were sent here, Clark. You've accomplished nothing for your organization. You've made a considerable number of enemies. Stepped on every toe in sight and the information you've gathered is still in your head. Where I'd say it has plenty of room to move around. Mr. Miller, it's just that this story is... What story? You haven't got a story. You're seeing it up with it. It's got you. You certainly got a point there. Well, no sarcasm, please, but, well, you're probably right about everything. It's your method, Clark. You've got a lot to learn about tactics. The end just never justifies the being. Well, hasn't anybody got a kind word? I sure have. If you hadn't come for me, Mr. Clark, I think maybe I'd still be back there where your camera is. I believe here at night, Mary, something in your favor, Clark. I think maybe you saved a lady's life. That's the telephone. You said it without... It was. It was Dennis Adorno. They must have fixed it. Answer it. Okay, I'll get it right now. Hello? Hello? Yes, we're all right. The girl has a broken ankle, but outside that, we're all right. When can you get through to us? What's he say? I don't know. Just a minute. What's happening? We're gonna be all right. They're shoring up the other side. What's that? I didn't hear you. He says they've got the power on again. They should be through to us in a couple of hours. Excuse me. Talk to us. Here. Here. Hello? This is Hank Miller. Who's this? Oh, Iverson. How about the other three? Good. How are they? They're already on the surface. No critical injuries. Iverson, would you mind calling my wife? I'd rather know I'm all right. Tell her everything that's happened. Ask him if we can get through. Oh, Iverson, is there any chance of getting this phone tied into an outside line, sir? Oh, I see. All right. We'll be waiting for you. Well, Clark, he says it's a closed circuit. Intercommunication system only. That's why it went out when the power did. Don't worry. Your bureau will get the news. My wife will put it on the teletype. Your wife? Sure. Don't you remember what I told you? Weekly newspapers, usually a family affair. Of course, she'll probably run an extra first. An extra? She'll have that locked in the case before she'll put anything on the wire. But the story will get to your bureau before the central next row hits the streets. Which the way I see it should be a good half hour before we get out. ought to be pretty good, too. Yeah, pretty good. If Iverson talks to my wife, she'll get more out of him about what happened today than any newsman I've ever heard of. Sorry about that telephone. I know you're wonderful when you're story in. It's all right, Mr. Miller. It's all right. Well, Mr. Miller, I just want to say thanks for everything. Well, like you say, it's all right. I guess I gave you pretty bad time for it, didn't I? Well, it's all right. Look, I just want you to know that I'm sorry. Well, look, sometime if you're back this way ever, maybe I'll tell you about my first big assignment and make you feel better. Hey, I guess I better get on board. Oh, one thing. We didn't send that story with a byline. Your bureau won't know it came from the stringer instead of the reporter. Now, if they don't ask you, it might be a good idea not to tell them for a while. If you think new service work is a step up the ladder for you, well, it might help you to stay on the step until you're ready for the next one. If you follow me, you've got a point, Mr. Miller. And you know something? It's a long ladder any way you look at it. This is Ray Boulger again. You know, if there really were a part at the foot of the rainbow containing the greatest treasure in the world, do you know what that treasure would be? Happiness. Yes, happiness, the most priceless possession there is. I think if you get right down to it, every one of us agree that happiness is the one thing we really want. Lots of times we get a little sidetracked, thinking that a new job, a new car, more money will bring us happiness. But deep in our hearts, we know it won't. Because real happiness has nothing to do with wealth or material things. Happiness is a quality that comes from love, unselfish love, love of God, love of our own husbands and wives, our children, our families. And a road to happiness isn't a rainbow. It's a difficult path where we have to keep climbing, pulling, working all the time. But one thing that smooths the path is prayer. Family prayer. Try it and you'll see. Ask God sincerely and with complete faith in His understanding for His help. So pray. Pray together as a family every night for a family that prays together stays together. More things are wrought by prayer than this world dreams of. 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 state 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 be with us next week when Family Theater will present The Losers, Bing Crosby 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 the Mutual Broadcasting System.