 The mutual broadcasting system in cooperation with Family Theatre Incorporated presents Little Boy Blue starring Ginny Crane and Patrick McGeehan. Wallace Ford is your host. More things are rocked by prayer than this world dreams of. As your host this evening, I want to welcome you to Family Theatre. All of our new listeners, and I want to say thank you to all of the old friends and whose loyalty and enthusiasm for the program and its purpose have been expressed in so many ways. Your letters giving suggestions and ideals and experiences of happy family life have been a great encouragement to all in Hollywood associated with the program. We like to hear from you because Family Theatre is your program. It was made possible by all those in the radio audience who wanted a program like Family Theatre to express the fundamental things we deeply believe in. It was made possible by the executives and the performers and the technical people in pictures and radio who believe, as you do, that a nation of happy homes is the most wonderful, the most important thing for our nation and for every nation. Yes, we want to keep our families, your family and my family, together and happy. And we sincerely believe that family prayer, prayers asking God for his help and prayers acknowledging that help will keep our families in close understanding and harmony. You'll find this true. Family prayer is the key to the kind of home you want to have. Family prayer is the key to a happy home. He wrote these words. God in his providence obscures the goal beyond this veil of sorrow and smiles at men and pity when they seek to penetrate the moral with faith that all is for the best. Let's bear what burdens are presented that we shall say let come what may, we die as we have lived, contented. Saint Joseph, Missouri in the 70s. Along the boardwalk of the main street a young man with hat on the back of his head and necktie streaming away from his high collar, half runs, half walks through the late afternoon crown. Excuse me. Excuse me, please. Well, really. Excuse me. Gene, Gene Phil, when did you get back? No time to talk now, Josh. Hey, Gene, wait up a minute. Here's me, please. Yes? Well, Mr. Field, I thought you were in Europe. I was. Yeah, I was in Europe. Tell me, tell me something. Has your father left yet? Well, I think he was just going out the side door. That's the side door. Thanks. I'll try to catch you. Oh, I'm very sorry, sir. Oh, Mr. Comstock. Field, I might have known. Let me help you up, sir. I was hurrying to see you. I just got back from Europe. And did you knock people down like that all the way? Oh, yes. Oh, no, sir. No, sir. Sir, I've talked to Julie. I assumed. And I've got to talk to you, Mr. Comstock. We want to get married. So you informed me two years ago. And what was my answer? Well, you said we'd have to wait two years till Julie was 20. Correct. And what else did I say? You said I should be established in business. Well? Well, I've decided that the most important business I have to attend to is Marion Julie. Indeed. Young man, don't you realize Julie is still a girl? Oh, she'll outgrow that, sir. It'd be a fool to give my consent. Well? Are you implying that I am a fool? Oh, no, no, sir, no. Well, as a matter of fact, I am. I always have been where Julie's concerned. Field, if you make that girl unhappy, I'll take it out of your hide. Julie. Yes, Jean. He said yes, Julie. Oh, Jean. We'll be married next week. And a honeymoon in St. Louis. St. Louis. New York, Julie. Nothing but the biggest and the best for the wife of you, Jean Field. That's the new elevated railroad, Julie. Just one of the sites in New York. You mean it runs way up there above the street? That's right. Oh, it's fabulous, Jean. Unbelievably so. You're a beautiful, Mrs. Field. Unbelievably so. Waiter. Uh-oh. Waiter. Oui, monsieur? Uh, Pigsfeet, Alice St. Joe. For two, please. Pigsfeet, Alice St. Joe, monsieur? That's what I said, sir. Shirley, an establishment far famed as the Waldorf Astoria, would wish to make two honeymooners from St. Joseph, Missouri, feel at home. Oh, Jean. And tonight, Julie, we see Frufru. Frufru. A musical comedy at the Fifth Avenue Theater. Oh, I didn't think there could be another theater in New York. Well, I guess this is the last. Be happy, Julie. I'm with you, Jean. A trip to Europe, a wedding, a honeymoon in New York. Undoubtedly a costly one. And now I'm home, Mr. Gray. Yes, and I presume broke again. You came to ask for another advance from your father's estate. Is that correct, Jean? Uh, well, I came primarily to see you, Mr. Gray, but, well, I won't deny that some money would be welcome. Eugene, I think it's about time you and I had a serious talk. The estate your father left in my trust is not endless, you know. Oh, I know. Now, mind you, I'm not accusing you of squandering. I consider the trip to Europe a reasonable part of your education. Your marriage, and I suppose even an expensive honeymoon in New York, can be justified. But you've got to settle down. Well, I, yes, I suppose you're right, sir. You've got to think of a career. And I consider it my duty to force you to think of a career. Therefore... Uh, therefore no money. No money. I deserve that, sir. You're absolutely right. And I'm resolved right now to launch on a career, on the variety stage. Now see here, you're not going to talk about going on the stage again. Oh, but I am. I forbid it. But you said I had to have a career. My friends consider me entertaining. Jean Field, you can't do this. A cheap entertainer. Think of the family name. Oh, I have, sir. I wouldn't think of using my own name, of course. Well, at least you show that much sense. So I've decided to use your name. Yep. Melville L. Gray, Banjo, and Specialty Arts. If you're Jean Field, you, you wouldn't dare. You wouldn't have the audacity to do... Yes, sir. Oh, this is another one of your preposterous jokes. Needing money is no joke, I assure you. Very well. Very well, you'll get your money again. But I tell you, this is the last time. Positively, the last time. Mr. Gray, you're one of the most understanding men I've ever known. Someday I'm going to name one of my children after you. Well, you get out of here. Take this check and get out before I change my mind. Thank you, Mr. Gray. Thank you again. And, uh, Julie would want me to thank you. All by the way, I forgot to tell you... What now? I'm editor of the St. Joseph Gazette. You're what? I've got a job as editor of the St. Joseph Gazette. I start tomorrow. You mean to tell me all this time you've had a job, you deliberately... Jean Field, you're impossible. Thanks for the check, Mr. Gray. Thanks indeed. If it weren't your own money, it would be robbery. I tell you, if that wife of yours survives even a year of married life with you, I'll be amazed. Jean, your first pay envelope? Uh-huh. Open it up. Not even a dime out for a haircut. But the envelope, it's made out to me. Oh, that's just, uh, just an error, I guess. Oh, thank you for a nice error, Jean. A valentine. What a poem, oh, Jean. In all these months we've been married, you've thought of me as just a newspaper man. You didn't know I was going to win fame and fortune as a poet, did you? Oh, it's a beautiful poem, Jean. Of course. It was written for a beautiful woman. What in heaven's name makes you so quiet, Jean? Working on a poem, of course. It's entitled to the new baby. The new baby. Our baby. Wait, it's so wonderful. I'm almost frightened. Wait a minute. Frightened. Never be frightened of the future, Julie. We'll make a wonderful family. Something else, Julie? What, darling? A while after the baby comes, uh, I might make a trip down to St. Louis. I've heard tell they need a good man on the paper down there, and they might even be interested in someone like me. Oh, Jean. Well, here you are, Jean. Thanks for the lift from the station. I can't wait to tell Julie the good news. Oh, don't blame you. Getting a good job at a big town like St. Louis. Well, see you later. Thanks. Uh, give my regards to the family. Julie. Julie, I'm back. Julie, uh... Hello, Jean. Well, Mr. Gray. Mr. Comstock. Jean, this is Dr. Mason. Doctor. Julie, what's happened to Julie? Not Julie, Jean. I'm sorry, Mr. Field. The disease struck suddenly. I... I did all that could be done for him. The boy. We tried to send for you in St. Louis. We couldn't find you. Where's my wife? I want to see Julie. Julie. Jean. Oh, Jean. Julie, my beloved. Oh, we tried so hard to find you. I shouldn't have gone. I shouldn't have left you. Oh, don't say that. Oh, Jean. No, I don't know why I've been frightened. But it was so awful knowing I was powerless. Knowing there was... Please forgive me. Cry, Julie. Why don't you cry? We were too happy, Julie. I've been a fool to think that happiness can be of our own making. I've been too much of a coward to accept reality. What? Jean, what are you saying? I... I don't know, Julie. I don't think you do. I'm not afraid of the future, Jean. Are you? With God standing by us? I'm not afraid of the future, Julie. The St. Louis Journal, Eugene Field Editorial Writer. Candice City Times, Eugene Field Managing Editor, announces the birth of a daughter. Denver Tribune, Eugene Field Managing Editor-in-Columnist, celebrates the arrival of a son. Eugene Field? Oh, hello, Julie. What's the matter? Eugene Field. I want an explanation of this. Oh, I noticed you called me Eugene. What have I done now? We came out here to Manitou for a restful weekend. Is that right? That's right. To get a few days' vacation from the children. Uh-huh. And for the meeting of the Denver Press Club. Then would you please explain this poster? Yeah. Well, it's self-explanatory, isn't it? Tonight, Monster Benefit Show. Manitou Hotel Main Dining Room. Come one, come all, admission 50 cents. Isn't that clear enough? Ah, it's all too clear. Putting posters all over town, announcing a show. When you know very well there isn't any show is bad enough. But to suggest you might charge admission. But how else can you raise money if you don't charge admission? It's for a wordy charity. Oh, yes. What charity? Well, uh, the children need new shoes and they could use some new toys. Oh, Gene, you wouldn't have the nerve to do a thing like that while people might really come. Of course. But there isn't any show where they can't just sit there. Julie, darling, I'm surprised at you. They won't just sit there. If the people of Manitou will provide an audience, heaven will provide the opportunity. Gene, please. I'm serious. So my precious. And by the way, here's your free pass to the show. I'll probably be busy at the box office tonight taking in the money. I can't believe it, Carrie. He's really done it. Yes, and quite a turnout, too. Looks like the whole town's here. Oh, what's he going to do, Carrie? Taking money from these miners. Well, they might not like it. Yes, I know. Oh, hello, Evans. Evening, Carrie. Hello, Mrs. Field. Evans, is there have any entertainers? No, Mrs. Field. No entertainers. There's no body backstage at all. Well, I hope Gene hasn't carried this joke too far. The crowd's getting a little impatient. Wait a minute. Diary is getting up on the platform now. Say he's going to the piano. Oh, no. He's not going to try to play himself. But he is. Oh, this is awful. This is simply awful. Well, Julie, how was it? Oh, Gene. Oh, I couldn't have been that bad. It was a miracle they liked you. Getting up there and entertaining for two hours all by yourself. Was it really two hours? It was. Oh, but that's not what I want to talk about. Gene, please listen to me because I mean it. I insist that you return every cent of that money. After working that hard, I'll really... No, Gene, please listen to me. I'm not laughing. I don't think this was a funny joke. You really mean that, don't you? I do. Well, I guess you're right. I don't exactly know how I'll get in touch with all those people again, but excuse me during the door. Oh, come in, Mrs. Arsatti. Mr. Field, I can't. Mr. Field, that was the most wonderful thing anyone has ever done for me. Oh, Mrs. Arsatti, my wife Julie. Mrs. Arsatti, what... You see, Mrs. Arsatti's husband was killed in the mines the other day. She had several children. Of course, if you insist on something... Oh, no. No, Gene. There's a little more than $200 in this envelope, Mrs. Arsatti. A gift from the people of Manitou. Oh, thank you, thank you. I don't know how I'll ever... The people of Manitou don't expect any thanks, Mrs. Arsatti. Now you go along to those kids of yours, then. You have an angel for a husband, Mrs. Field. Thank you. An angel. Gene Field, you're a devil. But she needed the money, Julie. I had to. And you let me think you were going to use that money for... All I said was that the children needed shoes, and they do. I told you the money was for a worthy charity. You didn't really doubt me, did you? Oh, of course I doubted you. You don't know how many times I've doubted you. Really? But I won't anymore. I can promise you that. I'll never waste another second of my time doubting you again. You already have three glisbury tarts. I didn't either. I'll smidgee. Why, Junior Field, I saw you. Wait a minute here. Mother, I was under the impression there were knives out in the kitchen. Well, there were last time I looked. Then it seems to me this last tart could be cut in four pieces. That is, unless you all want meaty to do. Oh, no! I thought so. Melville, I suppose you go get the knife. Yeah, and I get to cut it. You don't either. I'm the oldest. Wait a minute. Mel? Huh? Say, that's a beauty of a shiner. Come closer. Let me look. Oh, it don't hurt. Doesn't. All right, doesn't. Say, did you see this, mother? Yes, I saw it. Don't tell me you got in a fight, Mel. Nope. Freddy just left his old rag dog on the stairs again. I only fell from the first landing. Yes, and Freddy's always doing that, too, father. I think you should speak to him. Maybe I should. Remind me to speak to you, Freddy. Uh-huh. How would you fix my soldier? He's busted. He's broken, Freddy. Uh-huh. And he's busted, too. Hey, when are we going to get the knife and cut this tart? I'm awful hungry. Very nice, Mary. Bravo. Your music's coming along fine. Now this is the life, mother. Concert after dinner? Well, I got another new piece I can play, too. Well, uh, don't you think we'd better let Freddy play his piece for daddy, dear? Oh, has Freddy got a piece, too? Uh-huh. Oh, he only plays with one finger. Well, just the same. I think we should hear it. Oh, gosh, we've been hearing it all day. But, perny darling, not at a concert like this. Come on, Freddy. All right. Oh, gee. That is all imbedially. At last. Tired. A little. You working? Well, I've got pen and paper on. No idea yet, though. Slayson Thompson wants me to do a poem for the first issue of his new magazine, The American. Oh. Well, that's nice. I won't bother you, then. Oh, no, wait, Julie. Don't go just yet. What? I just want to say that's a wonderful family of yours. Oh, who's Gene? Grave Alice and Laughing Allegra. Edith with the golden hair. What's that? Children's hour long film. About his family, I guess. But it might be about ours. How do you mean? I was noticing tonight Grave, Freddy, Laughing Mel, and Penny with an appetite like a mule. To say nothing of our 11-year-old grown-up Mary. Oh, it's strange, isn't it? How they're each different, one from the other? Like snowflakes. They all look the same until you get them under a microscope. Gene. Esther. I wonder what the other one would have been like. Yes, Julie. I've often wondered about him, too. He would have been 14 and three months now. Almost a young man. On the football team, probably. Having his first sweetheart. And different from all the rest. Yes. Well, this isn't getting your work done. I suppose not. I'll go, then. Please don't stay up too late. Good night, dear. Night, blue eyes. Gene, I wonder what the other one would have been like. Ty soldiers busted. Broken. Busted, too. A poem about... Almost a young man. Having its first sweetheart. Freddy just left his old rag dog on the stairs again. Little boy blue, come blow your horn. Little boy blue. Little boy blue. Little boy blue. Yes. Little boy blue. The little toy dog is covered with dust. But sturdy and staunch, he stands. Breakfast. Oh, this is going to be so. I'm really hungry. Hey, oatmeal. Oatmeal, sir. Hot oatmeal for everybody. Hey, Penny. What'd you do with my skate key? Well, if you'd take better care of it, you wouldn't be losing it all at your time. All right, all right. At the table, everybody. Come on, Freddy. It's your turn to say grace. Uh-huh. Unto God, for health and food. And all that in our lives is good. We give our hearts and gratitude. Well, well, all the happy faces here. All right. Morning, blue eyes. You'd better have a poem for us after working all night. Oh, I have, Julie. I have. Oh, have you, Daddy. Will you say it for us? Not quite, everybody. Daddy's got a poem. Yeah, everybody's quiet. All right. And Julie, I want you especially to listen. I think you'll know what it means. Well, has it got a name, Daddy? Uh-huh. I call it Little Boy Blue. Here it is. The little toy dog is covered with dust. But sturdy and staunch, he stands. The little toy soldier is red with rust. And his musket molds in his hands. Time was when the little toy dog was new. And the soldier was passing fair. And that was the time when our little boy blue kissed them and put them there. Now, don't you go till I come, he said. And don't you make any noise. So, toddling off to his trundled bed, he dreamt of the pretty toys. And, as he was dreaming, an angel song awakened our little boy blue. Oh, the years are many, the years are long, but the little toy friends are true. And faithful to little boy blue, they stand, each in the same old place. Awaiting the touch of the little hand, the smile of the little face. And they wonder, is waiting the long years through in the dust of that little chair, what has become of our little boy blue since he kissed them and put them there. Well, Julie, what do you think? I love you, Genefield. And saw through the many years he lived with his friends, his children, and his beloved wife Julia. And when, at last, the many years were through, his own words went echoing on. That we shall say, let come what may, we die as we have lived, contented. You know, while I was listening to tonight's program, I got to thinking of the past and the way our parents and grandparents lived a generation or two ago. Today you hear people worrying about the age in which we live. They say it's complicated and confusing. You read in the newspapers about juvenile and parental delinquency, broken homes, and neglected children. And you get to worrying about your own family. You don't want anything like that to happen in your home. Well, it's good to remember there are millions of us who feel the same way about our homes as you do. It's encouraging to remember that in every day and every hour of your life, it's encouraging to remember that in every day and age, the same fundamental things are true. There are the same hopes and joys, the same disappointments. It's always true that good people make good homes. No matter how complicated and confusing life may be, it's equally true that prayer, family prayer, will bring happiness and peace. Yes, and strength and courage to you and to your family. God's wonderful help can be had for the asking. So pray together as a family, tonight and every night, because a family that prays together stays together. Before saying good night, I'd like to thank Jeannie Crane for her performances, Julia and Pat McGeehan for his portrayal of Eugene Field. Special word of thanks also to Ever Tomlinson for writing tonight's play and to Max Tehr for his music. Mel Williamson directed, and John Ryder produced the program. Others who appeared in our play tonight were Ruth Peterson, Ralph Moody, Alan Harris, Frank Nelson, Joel Davis, Don Bender, Bill Blackburn, and Robert Ellis. Next week, our family theater star will be MacDonald Kerry in a point of law. Your host will be Caesar Romero, and this is Wallace Ford saying good night and God bless. This series of the Family Theater broadcast is made possible by the thousands of you who felt in need for this kind of program, by the Mutual Broadcasting System which has responded to this need, and by the actors and technicians in the motion picture and radio industries. This program is heard overseas through the facilities of the United States Armed Forces Radio Services. Tony Lothrano speaking. This is the Mutual Broadcasting System.