 Family Theater presents Hildegard and Jeffrey Hunter. From Hollywood, the mutual network in cooperation with Family Theater presents Beasley's Boy starring Jeffrey Hunter. And now here's your hostess, Hildegard. Thank you, Tony Lafranco. 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, Beasley's Boy starring Jeffrey Hunter as Jim. Huh? What did you hear it? Just got a hot assignment? Oh, no, Miss Bowlin. Janie. Janie, I just got a call to go up to Mr. Fletcher's office. You know the managing editor? Going that way, I'll walk with you. Oh, well, swell. J.L. I mean, Dad broke him in as a reporter over 20 years ago. Oh, Mr. Fletcher? Mm-hmm. I guess you know him all around here, don't you? Oh, the good it does me. Sometimes I think I'd have an easier time if I'd just come to work for the Herald as little miss nobody instead of the publisher's daughter. Well, I guess we're both up against the same thing. Every time I go out to cover a story or sit down to write a lead, I think you're Jim Beasley's kid, and this had better be good. I know. J.L. says your father was the best reporter he ever knew. Well, I'm beginning to think he was the only reporter J.L. ever knew. Doesn't your old man ever come around the office? Well, he was in Europe all last month for that foreign minister thing. I just talked to him last night long distance from Florida. Well, you know I've been working for that man for almost two months, and I've never even met him? He ought to be home in a few days. Well, here we are. Huh? You think I ought to throw my hat in first? Oh, no. Just walk right in like you own the place. Well, I'll do that some other time. Good luck, Jimmy. See you around. Yeah, so long. It's me, Mr. Fletcher, Jim Beasley. Oh, yes, yes. Sit down, Beasley. Sit down. Yes, sir. About this traffic story. Oh, yes, sir. What did you think of it? Neither your story nor my opinion of it is fit to print. You didn't like it? How much research did you do? Oh, plenty, sir. How would you get your information? Well, I went to the motor club and the highway commission and that's where I got all the figures, you know? You see, they tell the story. They do not tell the story. You tell the story. Well, yes, but you see, in this case I... In this case, nothing. Where are your people in this yarn? Where's the human interest? So all you've got are charts and graphs. Well, I'll get back on the story, Mr. Fletcher. And this time I'll really... And this time there won't be any this time. I...I got something else for you. Another assignment? Yes. And you'd better get this one right. Oh, well, I'm perfectly willing to stay with the traffic story until I get that... I've asked you what you're willing to do. J.L. wants to put on this new assignment and, well, that's that. J.L.? J.L. Boland, the editor and publisher of this paper. Oh, well, I know who you mean, but I... I thought he was out of town. He is out of town, Florida. We kind of typed him your traffic story and he was very much disappointed. Well, I'm sorry to hear that. You have every reason to be. You'd better get this one right. It's a special baby of his. Oh, I will. I will. What is it? Skid Row. A what? Skid Row. You've heard of Skid Row? You mean with all those pobos? And the winos and the... kitchen and the flap houses. That's the place. Yeah, but what kind of a story does he want from down there? What are the people like? What makes them tick? How they live? Most of all, why? Why hasn't something been done about it? You mean about getting rid of it? Exactly. Why does Skid Row go on year after year? Who makes the money on it? Who's fattening on the misery of those poor devils down there? I told you, this was a special baby of J.L.'s. Thirty years ago, the Herald did a series on this same subject. J.L. wants to know if things are better or worse since then. Yeah, but how do you get the people down there to talk to you? I mean, you know, to a reporter. That's your problem. Go down to the archives and then read up how they did it 30 years ago. J.L. says it was a great story. Yeah, well... Well, okay, I guess I better get right on it, huh? That's you better. Well, you keep in touch. I'll expect the first installment on my desk Friday morning. Okay, yes, sir. Oh, I say... Yes, sir? Don't give me any charts and grabs for this one. Oh, you boy. You really did a job on this yard. Huh? Oh! Hi, where'd you come from? Fletcher told me this is where you were. I'm sorry he and Dad didn't like your traffic story. Oh, well, you know, I can't say I blame them. Did he tell you about the new assignment I got? Yes, sounds interesting. I didn't think so until I got down here. Let me show you something even more interesting. Did Fletcher tell you that they'd done another story on Skid Row almost 30 years ago? No. Yeah, they did. Look, see. August 19, 1925. Well... Yeah, now look at the byline. By Jim Beasley and J.L. Bowlin. Your dad and mine. Yeah, how about that, huh? J.L. told me he worked under Jim as a cub reporter. Isn't that something... And they really did a story, too. Here, you got to read this thing. I just can't see J.L. on Skid Row. And he was only a kid then. I wonder how he got away with it. Well, that's what's special about the story. Now, the way they did it. See, they both dressed up like bums and they lived down on Skid Row for a whole week. No. Sure. Look here. Read the stuff in italics right under the byline. For seven days, Herald reporters Beasley and Bowlin posed as derelicts. Dressed in tattered clothing, they ate the same food, slept in the same hobbles, and loafed on the same corners as the scores of spiritless, unfortunate men to whom Skid Row means home. Now, do you believe me? Oh, I still can't see J.L. doing it. I don't care how young he was. Well, Pop used to tell me that your old man would do anything to get a story, and I think this sort of proves it. And you know, if it was good enough for him... Oh, Jimmy, no. It's good enough for me. Yes, sir. You'll never get away with it. Well, I'm going to get me some old clothes and skip shaving for a couple of days and check into one of those flophouses. You won't fool anybody. Honey, you wait and see. And when I come back, I'll hand your old man a real story. Funny, I don't see anybody in the lobby. What a fleabag. Well, let's see. Huh, some desk bell. Walls to pieces when you touch it. You want something, buddy? Uh... Yeah. Uh... I didn't see you there behind the desk. Okay, now you see me. What'll it be? Uh, well, I'd like a room. Yeah, you owe me and six other guys I can name. We don't feed your rooms just a dorm. You want a flop? Uh... Yeah, that's it. A flop. 35 cents a night. Uh, 35? In advance. And around here, in advance means now. Oh, sure. Yeah, sure. Can you change five dollars? Change it? I can make it disappear altogether. And you got nothing smaller? Well, no, you see, um... it's my last five. Yeah, I feel for you. How long you been on a bum? Oh, a couple of months. And you still got five bucks? Well, I, um... I saved it up. What are you saving it up for, rainy day? Well, no, you see, I just caught a fast freight out of Cincinnati last Saturday, and I don't know anybody here. You caught a freight out of Cincinnati last Saturday? Uh-huh. And you're here in the West Coast three days later? Well, it was a very fast freight. You see, there were two engines on... I'll bet. You notice if either of them had a propeller... Well, no, they were just regular... Oh, yeah, propeller. Oh, that's pretty good, you know. That ain't my best. Look, kid... It's like an airplane propeller. I get it. I get it. Hey, kid, listen. Listen, um... Is there any place I can get something to eat around here? Well, there's a beanery right next door, but look, kid, let me give you some advice. This is a rough neighborhood. Well, I can take care of myself. Sure, sure. But hanging around this part of town, you might get off on the wrong foot. You know what I mean? Well, I'm already off on the wrong foot. I'm a vagrant. Okay, okay. Have it your way. I just thought I'd give you a little friendly counsel. Uh, do you think they could change this five in the restaurant next door? Yeah, they might be able to get it up. It depends. On what? The size of the crowd. Man, if I said this, oh, no, no, go right ahead. It gets a bit crowded this hour. Salt. Pass the salt. Oh, sure. Here. You're new on the street, aren't you? Oh, yeah, yeah. I just got in from Chicago. Pepper. Pass the pepper. Oh, yeah, here. You want the ketchup, too? Never use it. Night town, Chicago. Used to live there. Yeah, it's very nice. Where'd you flop? The Regal. Yeah, the Regal. That's interesting. How come? There ain't no such place. Uh, yeah. Come to think of it, maybe that wasn't the name of it. Could it have been the Reges? Yeah, that sounds familiar. Is there such a place? Ooh. You know, the more I think of it, that was the name, the Reges. Except it ain't in Chicago, it's in Milwaukee. Oh, well, no, that's possible, too. You know, I was in Milwaukee for a few days at a place I think the name was the Reges. On Baker Street? Yeah, that's right. They must have moved. It used to be on Sycamore. Hey, wait a minute. Wait a minute, you're right. It was on Sycamore Street. It was right near the intersection of Sycamore and, uh... Brunswick. Yeah. Yeah, yeah, Brunswick. About a half a block west. Very nice place. Little damp, though. Uh, damp? Yeah. Half a block west of Sycamore and Brunswick. You're in Lake Michigan. Uh... Well, and I'll wait just a minute. Wait a minute. Maybe it wasn't Brunswick. Sonny. Huh? What are you doing down here? On the Lamb or something? Oh, no. No, I'm... I'm just down here, you know. You're working with the law, right? Oh, no, no, no. The street's not very easy on Stooley. Well, I'm no Stooley. I'm... I'm just down here. You're with a paper, aren't you? Oh, me? It sticks out all over you. You're as phony as a $3 bill. Oh, no, wait a minute. You're a reporter. Hey, now just a minute, old-timer. Just a minute. Oh, okay, okay. I'm with a paper. I know it. But look, I'm not trying to cause any trouble. I'm just after a storm. What kind of a story? Skid Row. The whole thing. What it's like, who the people are. The street don't like guys prying in it. Well, this isn't going to hurt the street. It may even do it some good. Just bring a lot of cops around it. The cops can't bother anybody who's okay. And besides, it'll bring fire inspectors and people from the health department. Not a good day'll be. What harm can they do? Don't tell me you like eating in this hog trough or sleeping in that flea bag next door. The metropole's no flea bag. I'm not saying it couldn't stand improvement. Yeah, you bet you're not. Well, listen, if I get this story and get it right, places like the metropole are going to have to clean up. I don't know. All right, so maybe you're not a millionaire, but you've got a right to live in a decent place, haven't you? I guess so. Okay. Maybe if you'll help me out, maybe I can do something that will get things improved a little down here. What do you mean? Help you? Well... Well, first of all, you got to tell me what to do so I won't stand out like a sore thumb. You know, I know I'm not fooling anybody. Well, I ain't promising anything, but the first thing you ought to do is shave. Shave? Sure, that's how I spotted you. Look around. You don't see anybody else in here with a growth on his face? No, you don't, do you? You say you're staying at the metropole? Yeah. Well, you go on up and shave. As soon as I finish eating, I'll come up and give you a few more pointers. Then you'll help me? I told you I ain't promising anything. You go ahead. I'll be along in a few minutes. Oh, you bet. Hey, and thanks a lot. Well, get up. Now, give me the desk. Fletch? I found him. Yeah? No, no. He thinks I'm the saddest kid role character he ever ran into. Well, to tell the truth, I was a little disappointed at first. He didn't remind me much of his dad, but then after I tricked him into admitting he was a reporter, he turned around and sold me a bill of goods and helping him. No, no, not a word. Officially, I'm still in Florida. Sure, sure, I'm going to stay down here till we get the story. Be just like old times. I mean the byline. Beasley and Boland. Yeah, did I wake you? That's all right. How'd you do? I just turned in the third installment to Fletcher. Good. How do you like it? Oh, he said it was great. Especially those ideas of yours. Here. Eight to ten bucks. You sure this isn't coming out of your own pocket? Forget it. It's all right. I thought you said the paper would give you the money to pay me. Well, Fletcher said it'd be okay, but then, well, you know, J.L. put the kibosh on it. J.L.? Yeah. Our esteemed publisher J.L. Boland, whose idea of a hard day is to, well, to roll over twice in the Florida sun. Tough customer, huh? Yeah. Now, you told me you used to work on a newspaper years ago. You know what publishers are like. You, uh, have I met him? Is this guy Boland? Oh, but you know the type. Big man. He comes around once a month to make sure the floors are swept. Oh, I've never even seen him. Well, don't let it get you down. One more installment, and you can go back to being a respectable citizen. Yeah. Hey, but I'm getting worried, though. I'll come. That guy was following me again tonight. Same one? Yeah. And he's not a cop. I'm sure of that. Hey, I wonder if maybe the papers hired him to keep an eye on me? No, no. Well, how do you know? Well, I don't, but it doesn't seem this hard-hearted boss of yours would walk at paying me immediately $10 a week and then turn around and hire an expensive bodyguard for you. No, no, no. That's right. It doesn't, does it? Hey, you know, there's a few shady characters in town who might be very unhappy about this Skid Row series. If they are, it means you're doing a good job. Yeah, but, uh, I don't want to do such a good job that I wake up in an alley some night with the cats looking at me. Hey, kid, you know... It's Harry, the desk man. Yeah. I'm trying to get some sleep. What do you want? I see a minute's kind of important. All right. Hold on. Yeah? Kid, there's a gentleman here. That's him. Back inside, kid. You're too heavy. Back in the room. Hey, look here, mister. Shut up. Where's the old guy? Got any lights in here? Yeah, just a second. I'm right here. Well? Hey, uh, chick. What's going on? Maybe you can tell me where you're from, Bob. Seattle. You should have stayed there a lot healthier. How about you, kid? Chicago. We don't think so. Who's we? Don't be in such a rush. Hey, look, what do you want? I want to give you a little friendly advice about these stories you're putting in the paper. What stories? What are you talking about? This stuff. Skid Row. What makes it tick? By James Beasley Jr. and J.L. Bowlin. Jay? J.L. Bowlin? Yeah. You're a publisher? What do you do? You give stuff over to him when you go down to the Herald every night and let him touch it up? I don't go down to the Herald. Don't dummy up on me, kid. I've been on your tail for three days. Yeah, but J.L. Bowlin, he's not working on this story. What do you mean we've been reading this stuff for years in this town? This sounds just like him. Kid, I'm not here to argue. You've got a little appointment to keep. Appointment? With a friend of mine who doesn't like what you're putting in the paper. Who's a friend? You wouldn't know if I told you you're new in town. He just wants to make you a friendly little proposition. Nothing to get nervous about. Can I see that paper again? Sure, here. Harry, lock him up in here while I bring the car onto the back. Okay, Chick. And get someone to take over on the desk. You're coming along. But, Chick, you're coming along. Now, let's go. Lock him in. Looks like they're in a bit of a jam, son. But I don't get it. This installment's just the way I turned it in. What? Yeah, so how come I'm sharing a byline with J.L. Bowlin? Well, maybe he figures he contributed to the articles in some way. Well, but not to these. He did no case. Well, maybe 30 years ago, he worked with my dad on a series like this. But, well, this doesn't give him the right to muscle in now. Are you sure they haven't been changed in any way? No, look for yourself. Look here. And what's that tough guy talking about? This read's like J.L. Bowlin. How could it? Well, the only person who's helped me at all is... is you. Yes. But... You're in Florida. Rolling over twice a day in the sun. Oh, no. Wouldn't you say I made a pretty convincing derelict? Oh, well, there... there are other newspapers in town. What are you talking about? Aren't you going to fire me? Fire you, son. You're on the brink of the biggest story that's hit this town in ten years. That muscle man. Don't you know where he's going to take you to? Oh, where? To the boss. You're in a position to crack this town wide open. The boss? The top man. They're going to try buying you off. They don't rough up newspaper, man. It's bad business. Yeah, but how will I know who it is? I mean, if it's the boss. We've got the man who heads the rackets in this town narrowed down to five or six people. You know most of their names. Jensen, Ray Fowler. Well, I guess when I see him, I could identify a picture later, couldn't I? See him? Son, you go in there blindfolded, and they'll shove some money in your hand. You'll have to tell from his voice. His voice? Of course. But I don't know any of these men by the sound of their voice. You know, I've only been in town two months. Oh, holy cats. Wait a minute. Would you recognize his voice? Well, undoubtedly I know them all. Well, then maybe I could get that muscle man to bring you along. Oh, no. Wait a minute. They all know me. I'd be recognized. But you said they won't rough up newspaper, man. Not unless it's absolutely necessary. Well, that isn't what you said. Well, in this case, they'd make an exception. The top man knows I'd expose him. I'd wind up in the bay. Oh, they wouldn't dare. They'd have to. Son, I'm a sworn enemy of that bunch. Well, listen, they wouldn't recognize you in those old clothes and blindfolded. Look, put your hat down over your eyes. I don't know. This is quite a risk. Well, you're the one who said it's a biggest story in 10 years. Oh, that's true. And it's your newspaper. I'm aware of that. How would you get them to take me along? Yeah, I've been wondering. Hey, see what you think of this idea. OK, you two, out. Where are we? If you wanted to know that, you wouldn't be blindfolded. Someone, give me a hand. Left them up, Harry. OK, here you go, Pop. Thanks. Got a little cramp lying on the floor. The beach riding the rails, though, huh? They're not quite so roomy. All right, we ain't got all night. Come on. Hey, watch your step, Pop. We've got far to go. Not far? We're going to phone up from the garage. Shut up. Inside. Inside. All right. Hey, how come we're stopped? Because I feel like it. Well, you quit asking so many questions. Boss, we got him. Yeah. He'll play ball. We had to bring along the old guy, too. Yeah, the old bum that was helping him. Kid says he doesn't trust him. That's why he wants him on the payoff to shut him up. Yeah. Yeah, I'll be right up. OK, let's go. Inside. Elevator? It ain't no magic carpet. Harry, will you shut up? I'm just talking. Don't I know it? Shut up. OK. Everybody out. All right, kid. Take a seat. You too, Pop. I can't see. There's a couch right behind you. Just sit down. OK, thanks. Come on, Harry. Yeah. Just stay put and don't fool with those blindfolds. The boss will be right in. Hey, Mr. Bowling. Keep your voice down. I was just wondering if there's any way you can let me know when you recognize his voice. So we don't have to stay here any longer for the necessary. Yeah, yeah. Whatever he offers you, haggle about the price. When I say that's a lot of money, you'll know I recognize it. Oh, good. OK. Hey, in just in case we get in trouble. Shhh. I'll come right to the point, basically, how much you want. For what? Go back and tell your employer there wasn't anything else on Skid Row to write about. Maybe you won't believe me. He will if you tell him right. How much? You know, he might can me and put somebody else on the spot. Him and your old man were buddies. You won't get canned. How much? What's it worth to you? $5,000. Well, how about Pop here? Will you give him? He'll be taking care of it. I don't want any rough stuff. Don't worry. I want him paid off in money. OK. What do you take, Pop? What's your rough? $500 and you leave us Seattle to marry. That's... that's a lot of money. OK. I... I think you got a deal, mister. How do we get paid? Here. What was that? I just told $5,000 bills in half. I put them in your coat's pocket. All right. There. You got the other half in the mail when those stories stop. OK. Here, Pop. You'll get your $500 all at once. All at your hand. There. Well? How long you been on the bump, Pop? Why? Since I was a kid. With hands like that? Who are you? What are you doing? Let's see what you look like under that blindfold. Jim! Get him! Don't call me! Fallen! Right the first time. Let's go, we... Shit, Harry! See if he's got a gun, J.L. That's just what I'm doing. Take your hands off me, chick! Well, I'll say he has. I had a hunch it was you, Jensen. Put up your hands. Chick! What's wrong, boss? Hey, get up! What's going on here? All right. You heard him, tough guys. Get up your hands. Boss, who is this? He's falling your child ahead. He almost had me nailed to. Oh, you're nailed, Mr. Jensen. Don't kid yourself. It's your word against those. That's a little more than that now. What are you talking about, son? Well, let's take him down to the paper, J.L. I'll tell you on the way. You're not the only one who's got in trouble tonight on account of his hands. J.L., isn't he wonderful? Wasn't anything, Janie? That was plenty, son. Your dad'll be proud of you. Did you see the look on Jensen's face when the police lieutenant took those ripped bills out of Jimmy's coat pocket with tweezers? Well, you know, I think you'd forgotten all about him. Well, the fingerprint people won't. And neither will Jensen after the DA gets through with him. Well, I hope it makes a good last installment of the series. Maybe the best one yet. And while we're on the subject of installment, Jim, there's a new assignment I'd like to talk to you about. Oh, Dad, you promised. Oh, yes, I forgot. Janie has an assignment for Saturday. She'd like you to help out on Jim. Well, sure. What is it? Well, it's a girl. A school charm of hers is getting married. It's going to be a big wedding. Wedding? Janie thought she'd like to have you come along and do some of the color. Oh, the color, huh? Oh, yes, they're... weddings. They're very colorful. Oh, yes, I know. Well, you don't mind, Jim. Oh, no, no, no. Like, I'd be delighted. In fact, any wedding Janie's connected with would interest me a great deal. This is Hildegard again. You know, I've been told many times that music is the universal language. Well, I'm sure that it does approach it, certainly. But I think there's a much more universal language, and that is prayer. From the infant, lisping phrases newly learned and not quite understood, to the old person dying on a bed of pain, with life's meaning now clear before dimming eyes, there's a symphony for you, far and above mere man to comprehend. In such a symphony, there are no scratchy fiddles, no untuned strings or broken reeds, just one vast harp, the harp of a thousand strings. Each voice of prayer is a voice in tune, for it is tuned to the infinite concertmaster who hears every pulsing string and throbbing note, and every gentle rhythm and tender harmony. Now, every family of prayer is such a symphony. A mother, father, children, with voices raised to the almighty in daily family prayer. Yes, this is indeed music to his ears. Family theater again reminds you the family that prays together stays together. More things are wrought by prayer than this world dreams of. From Hollywood, family theater has brought you transcribed Beasley's Boys starring Jeffrey Hunter. Hildegard was your hostess. Others in our cast were Herb Butterfield, Julie Bennett, Jack Krushen, John Larch, and Marvin Bryan. 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 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 story of Danny Dollar starring Sterling Holloway. Margaret O'Brien will be your hostess. Join us, won't you? Family Theater is broadcast throughout the world and originates in the Hollywood studios of the world's largest network. The Virtual Broadcasting System