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This is to certify that the

thesis entitled

FIVE ORIGINAL RADIO DCCUF‘D’ITARIES
presented by

Albert William 201 ton

has been accepted towards fulfillment
of the requirements for

LA.___ degree in JnmL

W

C// Majofirop/ essor

Date May 16, l 955

 

FIVE ORIGINAL RADIO DOCUMENTARIES

BY

Albert William Epiggp

A THESIS

Submitted to The School of Graduate Studies of Michigan
State University of Agriculture and Applied Science
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Speech

July, 1955

 

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FIVE ORIGINAL RADIO DOCUMENTARIES

By

Albert William Zolton

AN ABSTRACT OF A THESIS

Submitted to The School of Graduate Studies of Michigan
State University of Agriculture and Applied Science
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Speech

July, 1955

354 305

ABSTRACT
Purpose

The author's purpose in writing five original radio
documentary shows was twofold: (l) to present, in radio
documentary form, a subject which would have educational
value and which would be interesting to a radio audience,
and (2) to give the writer an opportunity to acquaint
himself with the problems involved in writing radio docu-

mentary scripts.
Procedure

Procedure followed by the writer involved, first of
all, the reading of seven books on radio writing. This
was done in order to augment his knowledge of the technique
of radio writing. The next step was the selection of
Starr Commonwealth as the basis for the five scripts.
The writer then spent two days at Starr Commonwealth in
order to obtain information about the school. The final

step in the procedure was the actual writing of the scripts.

Results

In Chapter II the documentary is discussed in general

terms. Included in this discussion are the three types of

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documentaries: (l) the biographical (case-study) script,
(2) the complete-narrative script, and (3) the dramatized
narration. The use of devices such as the narrator, un-
characterized voices, the verse choir, symbolic sound and
music, and the mock protagonist is also discussed. The
remainder of Chapter II concerns itself with a discussion
of an advantage and a disadvantage in using dramatic
elements in the documentary, an advantage and a disadvan-
tage in using a narrator in the documentary, and the future
of documentaries.

Chapter III discusses, first of all, the gathering
of material to be used in the scripts, the categorizing
of the scripts into two groups, and the selection of
specific materials to be used in the scripts. Also dis-
cussed is the outlining of the scripts and the use of
music, narration, dialogue, and sound effects. The chapter
ends with a summation in which the writer discusses the
results of his thesis project. In the summary the writer
also makes several recommendations to other writers.

Chapter IV consists of the five radio documentary

scripts.

 

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TABLE OF CONTENTS

CHAPTER PAGE
1. AN INTRODUCTION TO THE PROBLEM................. l
The problem......................... ..... .... 1
Organization of the remainder of the thesis.. 2
Procedure.................................... A
II. THE DOCUMENTARY................................ 5
Definition of a documentary.................. 5
The three types of documentaries.... ...... ... 5
The biographical documentary............... 6
The complete-narrative documentary......... 7
The dramatized narration................... 7
The use of devices in the documentary........ 8
The narrator............................... 9
Uncharacterized voices..................... 10
The verse choir............................ lO
Symbolic sound and music................... 11
The mock protagonist....................... 11
An advantage and a disadvantage in using

dramatic elements in the documentary....... 12

An advantage and a disadvantage in the use
of a narrator in documentaries............. 13
The future of documentaries.................. 1h

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CHAPTER PAGE
III. WRITING THE DOCUMENTARIES ..... ................ 15
Gathering the material...................... 15

How to write the scripts.................... 15
Selecting Specific materials................ 16
Outlining the scripts....................... 19

The use of music............................ 19

The use and writing of narration............ 22

The use and writing of dialogue............. 23

The use of sound effects.................... 27
Completion of the scripts................... 29

The broadcast of CAR THIEF.................. 30
Summation................................... 30

IV. THE FIVE RADIO DOCUMENTARY SCRIPTS............ 3A
A MAN WITH A DREAM.......................... 3h

THE INVESTMENT OF A LIFETIME................ 62

CAR THIEF................................... 89

POINT OF RETURN............................. 118
UNWANTED.................................... 1&6
BIBLIOGRAPHY........................................ 175

CHAPTER I
AN INTRODUCTION TO THE PROBLEM
I. THE PROBLEM

Statement 2; Egg problem. In this thesis project
the writer's problem was to write five radio documentary
scripts, i.e., scripts in which fact is presented drama-
tically. The purpose of the problem was twofold: (l)
to present, in five radio documentary scripts, a subject
which would have educational value and which would be
interesting to a radio audience and (2) to give the
writer an opportunity to acquaint himself with the problems
involved in writing radio documentary scripts. Producing
and directing these five scripts was not part of the
problem of this thesis; however, the writer was given the
opportunity of producing and directing one of the scripts,
"Car Thief", over WKAR, the Michigan State University
radio station.

Importance 9: Egg gtggy. The outbreak of World War
II saw the emergence of the documentary as a major radio
form. People wanted up-to-date, factual, and interesting
news reporting, and one of the radio forms used to fill
this need was the documentary. Since then, the idea of
the documentary has caught on and stayed with a large

part of the radio audience. The "growing up" of the

 

 

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documentary brought with it the need for better and more
interesting documentaries, calling for radio documentary
writers to be more painstaking in their research and
presentation of material. The documentary, as a result,
improved in quality. Then the invention of the portable
tape and wire recorders made possible a greater variety
of documentary shows. On-the-spot material provided by
these recorders imparted to the documentary show a vivid-
ness and timeliness that could not be achieved by the
conventional, dramatized documentary. The advent of the
tape and wire recorders and this greater interest in and
emphasis on documentaries has made it possible for the
radio industry to provide its audience with a greater
amount of educational material than was available before.
If the documentary is to maintain its position as
a major radio form, radio documentary writers must acquire
a thorough knowledge of the documentary form and must
continuously practice the various techniques employed in
the writing of documentaries. This thesis is a description
of one writer's attempt to gain a more thorough knowledge

of the radio documentary form and its problems.
II. ORGANIZATION OF THE RBMAINDER OF THE THESIS

Chapter I. Chapter II discusses the documentary

in general terms. The discussion includes the three types

of documentaries which are (l) the biographical documentary,

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(2) the complete-narrative documentary, and (3) the
dramatized narration. The use of devices such as (l)

the narrator, (2) uncharacterized voices, (3) the verse
choir, (A) symbolic sound and music, and (5) the mock
protagonist are also discussed. The remainder of Chapter
II concerns itself with a discussion of (1) an advantage
and a disadvantage in using dramatic elements in the docu-
mentary, (2) an advantage and a disadvantage in using a
narrator in documentaries, and (3) the future of docu-
mentaries.

Chapter III. Chapter III concerns itself, mainly,
with a discussion of the writing of five documentary
scripts. The first part of the chapter discusses the
gathering of material used in writing the scripts, the
categorizing of the scripts into two groups, i.e., three
biographical scripts and two complete-narrative scripts,
the last two of which concern themselves with (l) the
physical development and facilities of Starr Commonwealth
and (2) the operation of the school. Chapter III also
discusses the selection of Specific material used, the
outlining of the scripts and the use of music, narration,
dialogue, and sound effects in the scripts. The remainder
of Chapter III discusses (l) the reading of the scripts
by a Starr Commonwealth psychologist and (2) the broad-
cast of one of the scripts, "Car Thief." The chapter ends

with a summation.

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Chapter 1!. Chapter IV contains the five documentary

scripts.

III. PROCEDURE

The procedure followed by the writer involved, first
of all, the reading of seven books on radio writing. This
was done in order to augment his knowledge of the technique
of radio writing and to seek out materials dealing specific-
ally with radio documentary writing. The next step was to
choose a subject which would be interesting to a radio
audience, which would have educational value and which could
be presented in script form. Information on that subject
also had to be readily available. Since the Starr Common-
wealth School for Boys in Albion, Michigan fulfilled the
above requirements, the writer decided to use Starr Common-
wealth as the basis for his five scripts. The writer then
spent two days at Starr Commonwealth for the purpose of
gathering written and personal-interview material which was
to be used in the body of the scripts. The final step in

the procedure was to actually write the scripts.

THE DOCUMENTARY

Since a thorough discussion of the documentary form
would be a thesis problem in itself, the purpose of this
chapter is to discuss the documentary in general terms.

Definition of a documentary. For the purpose of
this study the writer selected the following as his defi-
nition of the term, documentary:

...the documentary is a script in which fact

is presented dramatically. It is supposed to

dramatize life facts, to anatomize the problems

of large masses of people, to comment on ideas.

The documentary resembles drama, in its manner

of presentation; facts in the documentary are

not merely stated, but stated inla dramatic

manner, as if they were fiction.

The documentary can be thought of as a dramatized Speech,
article, pamphlet, or textbook which treats of a subject
area, or a problem, which affects many lives, and which
has, as its basic purpose, the task of "influencing the
thinking of people on social problems, and in some cases

to alter their future behavior."2

The three types pf documentaries. All radio docu-

 

mentaries fall under one of these three types: (1) the

 

1 Martin Maloney, The Radio Play (Evanston, Illinois:
Student Book Exchange, 1949), p.'196.

 

2
Ibid., p. 205.

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biographical, or case-study script (2) the complete-
narrative script (3) the dramatized narration. Before
going on with a discussion of each of these three types,
one must bear in mind that (1) elements of eey or ell
eggee of the above-mentioned types of documentaries could
be found in any eee documentary script and that (2) the
major difference between the three types is one of ggeme-
pie fegm, not of content. Most documentary subjects
could be presented in any one of the three forms. The
question always to be borne in mind is, "Which eee of
the three dramatic forms can most effectively present
the subject matter of the documentary?"

1. The biographical documentary. This type of
documentary is one in which the life of a real person is
portrayed. This "one person's life" method is used in order
to pin-point the subject or area with which the script is
concerned. In this way a particular problem that may
confront many people is confined to just one person. The
dramatized life of John Dillinger, for instance, could prove
the futility of a life of crime, or the dramatized life of
Hitler could point out the fruits of misguided ambition.
This personalized use of the documentary is justified by
Maloney. He says:

...the dramatic interest of a problem fades in
direct proportions to the number of persons in-
'volved, just as it fades in direct proportion
to the 'emotional' distance and sometimes the
geographical distance from the listener or

writer...This is as much as to say that you

cannot write a play without individual,

personalized characters.3
Three of the scripts in this thesis are biographical
documentaries. They are: "Car Thief", "Point of Return",
and "Unwanted."

2. The complete-narratiye gpcumentary. This type
"does not pretend to be a story; it is an essay with drama-
tized illustrations providing variety, focus, and often
clarity. The narrator explains; the characters illustrate.""
The complete-narrative is used more as an example or analogy
and not as a story told for its own sake. It presents more
facts and ideas than the biographical documentary and is
distinguished by a greater use of the narrator. Like bio-
graphical documentary material, complete-narrative docu—

mentary material lends itself to complete dramatization.
Two of the scripts in this thesis are complete-narrative
documentaries. They are: "A Man with a Dream" and "The
Investment of a Lifetime."

3. The dramatized narration. MUch documentary
material for radio does not lend itself to complete drama-
tization: in many cases only portions of a documentary

idea have dramatic possibilities. In such instances the

 

3 Ibid., p. 208.

4 Rome Cowgill, Fundamentals ef'Writin for Radio
(New York: Rinehart & Company, Inc., 19h p. I72.

 

 

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dramatized narration "can be effectively applied...as it
has the advantage of sound effects and music back of the
narrator's voice, plus portions of dramatizations, thus
removing the main objection to straight narration and
talking programs in general."5 Unlike the biographical
and complete-narrative documentary, the dramatized nar-
ration lacks plot, has few distinct characters and
situations, and makes greater use of one or more narra-
tors. Of all three types of documentaries, the drama-
tized narration is the weakest with regard to dramatic
form. The dramatized narration is not represented by
any of the scripts in this thesis.

Egg of devices in the documentary. The use of
narrators, uncharacterized voices, the Speech choir, sym-
bolic sound or music, and a mock protagonist is character-
istic of most documentaries, depending upon the effect
desired. Of these devices only one, the single narrator,
can be successfully used in purely dramatic scripts. The
probable reason for this, says Maloney, is that these
devices "are essentially rhetorical rather than dramatic

in nature."6

 

5 James Whipple, How to Write for Radio (New York
and London: McGraw-Hill Book—Company, Inc., I938) p. 207.

6 Maloney, op. git., p. 207.

oi}

l. The narrator. A narrator

 

...is any figure who, outside or temporarily

outside the plot, addresses the audience

directly or through an intermediary, narrat-

ing, interpreting, creating atmosphere or

anticipation. He is a middleman between play

and audience. He is the novelist's 'I', the

editorial factor banned from objective drama.7
In documentary scripts there are three types of narrators.
The first type is the "true narrator": his function is to
describe persons or scenes, to describe the actions of
persons, and to summarize the action. This type of narra-
tor was used by this writer in three of his scripts, "Car
Thief", "Point of Return", and "Unwanted."

The second type is the "commentator": his function
is to "comment upon the action, to underline the meaning,
to interpret."8 In this thesis two of the scripts, "A
Man with a Dream" and "The Investment of a Lifetime",
utilize this type of narrator.

The third type is the "lyric narrator": he does
not really narrate, comment on, or interpret the material
of a documentary: "...rather he reacts in an emotional

fashion."9 The lyric narrator occurs less often in docu-

mentaries than does the true narrator or the commentator.

 

 

 

 

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10
The lyric narrator does not appear in any of the scripts
in this thesis.

2. Uncharacterized voices. Uncharacterized voices
frequently occur in documentary scripts when the documen-
tary deals with group rather than individual problems.

These voices "which are not characterized or located in

10 give "typical" reactions to an idea or

time or space"
situation, or they "may combine to present various phases
of an idea."11 They may be used to provoke antagonism
against ideas or attitudes presented in the script.

Maloney,12 however, lists three limitations on the
use of uncharacterized voices: (I) indiscriminate use
of them must be avoided; (2) their use must be a definite
and justified one; (3) the voices must not suddenly change
functions within the script, but must be used in a consis-
tent manner.

3. The verse choir. The use of a verse choir
(massed voices) in documentaries can be very effective.
.Norman Corwin used a verse choir in his documentary series,
"Words Without Music." This was the first network series

to make use of this device. The verse choir, however, has

not been widely employed. There are two reasons for this:

 

10

H
O‘
P:
Q.

 

ll
12

H
C
P.
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.

 

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ll
(1) there is a scarcity of writers who have the Special-
ized training necessary in writing verse choir material,
and (2) thoroughly trained and experienced verse choirs
are difficult to find or develop.

a. Symbolic sound gag mgsig. Frequently documen-
taries are characterized by the employment of a highly
unrealistic, symbolic use of sound and music. Here "it
is used for a persuasive purpose (i.e., to suggest ideas,
attitudes, courses of action) or for the purposes of
exposition (i.e., to examine an idea at the level of
abstract symbols rather than of direct descriptive com-
ment)."13 The slide whistle, a musical instrument that can
be made to emit a tone that starts in a low pitch, rapidly
rising to a high pitch, is often used in documentary travelog
shows for children. It is effectively used to whisk the
children from country to country or city to city. Heavy
tramping of many feet in unison can effectively portray the
might and ruthlessness of a conquoring army entering a
defeated nation. The crash of cymbals and discordant music
can represent emotional turmoil of a person or a people.

5. The mock protagonist. As has been stated before,
the basic purpose of the documentary is to examine the
problems of many people. Since the documentary is in the

dramatic form, however, these problems should be treated

 

13 Ibid., pp. 208-09.

 

12
in the same manner as they are treated in the conventional
play, i.e., by focusing these problems on Specific persons.
In order to focus the problems on an individual, the docu-
mentary may be provided with a mock protagonist. He could
be called a "typical" person, "The Man in the Street", or
"John Q. Public." If the writer does not wish to use
these devices, however, he can write his script around a
case history. This is, of course, the biographical docu-
mentary, providing the documentary writer with a "'real'
protagonist instead of a synthetic one."1h

£3 advantage and g disadvantage in using dramatic
elements 19 the documentary. There is a distinct advantage
in using dramatic elements in the documentary in that the
documentary uses a form similar to that of the drama. In
this way, the documentary utilizes the interest-catching
and interest-maintaining devices of the conventional drama,
i.e., a "punchy" opening, a climax (usually), and a resolu-
tion. Sometimes the documentary opens with a dramatized
illustration. Then during the show the

...narrator restimulates interest continually as

the information unfolds. He speaks vividly and

concretely, and he does not tell all he knows in

the first minute of his time; he implies that

there is much of interest tisfollow, guiding the

listener's attention to it.

By using this dramatic form (the same as is used in con-

 

14 Ibid., p. 209.

15 Cowgill, 92. cit., p. 173.

"

13
ventional drama) instead of the straight narration form,
the documentary "has a vividness and reality which no
amount of narration can approach."10

Much of a documentary's time is taken up with the
dramatic elements in the script; consequently, the amount
of information the documentary can give is limited. Here
lies the disadvantage in using dramatic elements in the
documentary, since the purpose of the documentary is to
present as much information as possible. If the mere
presentation of facts and figures is desired, a straight
narration could be used, but this type of presentation
lacks the interest-catching and interest-maintaining
devices contained in the dramatic elements of the docu-
mentary.

Ag advantage and a disadvantage in the use 9f a

 

 

narrator i3 documentaries. Using a narrator in a docu-

 

mentary has both an advantage and a disadvantage. In the
narration, "continuity of action is momentarily suspended
in order to bring the listener to his next scene by telling
him about it in words..."17 In this way the narrator can
cover a lot of ground, not only to set the next scene, but

to inject much of the educational information that his

 

Max Wylie, Radio Writing (New York and Toronto:
Rinehart and Company, Inc., 1939) p. 400.

17 Ibid., p. 72.

1h
script is supposed to present. Here, however, is the one
big disadvantage in using the narrator: "...in a drama-
tic broadcast, any narration amounts to interruption.
Continuity of illusion has been dislocated. We have been
taken out of our play. We must reundertake the job of
getting into it again."18 This disadvantage applies more
to the straight dramatic documentary (as in biographical

documentary) than one which uses portions of dramatizations.

The future gf documentaries. As has been pointed

 

 

out, the radio audience has shown a greater interest in
documentaries, especially since the outbreak of World War
II. Then, too, the develOpment of tape and wire recorders,
and the increased emphasis on skillful writing and pro-
duction have assured a better quality in the presentation
of documentary material. It would seem by these observa-
tions that documentary scripts will continue to be broad-
cast, and probably to an ever-increasing documentary-

conscious radio audience.

 

18 Ibid., pp. 72—73.

CHAPTER III
WRITING THE DOCUNENTAHIES

Gathering the material. Research took more time
than the actual writing of the documentary scripts in this
thesis. This was to be eXpected because of the great
amount of material available on the Starr Commonwealth
School for Boys in Albion, Michigan. Mr. Floyd Starr,
founder of the school, was most cooperative in providing
the writer with ways and means of acquiring research
material. The research material obtained included ram—
phlets, magazine articles, newspaper articles, school
newspapers (including special supplements about the his-
tory of the school), and case histories on some of the
boys who had attended Starr Commonwealth. Besides this
printed material, the writer gathered much information
from talks with Starr Commonwealth social workers, ad-
ministration officials, teachers and the boys, themselves.

How to write the scripts. Before the next step

 

could be accomplished, that of selecting specific materials,
the writer had to decide just how he wanted to write the
scripts. First, it was decided that of the five scripts
to be written, three should be about three of Starr's boys,
and two should be concerned with the school itself. The

decision concerning the first three scripts was made for

16
several reasons: (1) the case studies, themselves,
would provide nearly all the necessary elements that go
into the writing of biographical documentaries; (2) since
case study scripts seem to evoke more interest than the
usual fact—filled documentary, the scripts would have
added listening value; (3) of all the case studies avail-
able, three of them were particularly rich in factual
material which would lend itself well to dramatization.

In considering the subject matter of the two remaining
scripts, the writer decided that one script should be con-
cerned with the physical development and facilities of the
school, and the other script should describe the operation
of the school. This decision was made for these reasons:
(1) by categorizing the scripts in this manner, repetition
of facts and ideas was held down to a minimum; (2) cate-
gorizing the scripts in any other way would have necessi-
tated the writing of additional scripts; (3) it was felt
that by writing the scripts in this manner a comprehensive,
all-around picture of the school and its work would result.

The dramatized narration is not represented in this.
thesis for these reasons: (I) the dramatized narration
is the weakest type of documentary with regard to dramatic
form; (2) available material on the Starr Commonwealth
lent itself well to using a more complete dramatic form.

Selecting specific materials. After deciding upon

17
the general method of writing the scripts, there came the
problem of selecting specific materials to be used in the
scripts. At first glance the selected materials, especially
the case studies, seemed capable of writing themselves since
much of the material was chronologically documented and
seemed to have great dramatic potential. Such was not the
case, however, for as Weaver says: "...the facts that you
want have a stubborn perversity: they never are presented
in the books, magazines, newspapers, or other records in
quite the way you want them: you have to turn them to your
use, being careful to axoid distortion."19 The case studies
left many holes that had to be filled. In "A Man with a
Dream", for instance, Starr's conversation with his mother
and father at the beginning of the script is, essentially,
imaginary. Starr is presented as a very young boy (he does
not know what "adopted" means); consequently, one would not
expect him to remember the exact circumstances of his con-
versation with his father and mother. The opening scene
in "Car Thief" where Bob has an argument with his uncle
is another example of an imaginary situation. Bob's uncle
did send him to Starr Commonwealth, but not in the dramatic
manner portrayed in the script. The three biographical
scripts, because of their dramatic structure, are made up,

largely, of imagined conversations. The events that occurred

 

19 Luther Weaver, The Technique 9f Radio Writing
(New York: Prentice-Hall,Inc., 19L8) p. #03.

 

 

 

18
in the scripts, however, are factual and a matter of record.

When adding any material necessary to fill out the
scripts, the writer was constantly aware of the integrity
involved with regard to facts in the scripts. Every effort
was made, therefore, to avoid inserting into any of the
five scripts materials which would tend to alter or color
the factual elements in them.

The case study and interview material contained much
information of a sexual nature which had to be automatically
discarded. Any hint of perverse or immoral activities
could not be permitted in the scripts. Some of the acti-
vities of the boys before they came to the school and
while they were at the school were of a nature that would
be offensive to a listening audience. The incident of the
housemother who, for instance, engaged in immoral acts with
the older boys in her cottage-dormitory could not be used.
The murder of one of the housemothers could not be included
in any of the scripts. If these two incidents gggld have
been used, they certainly would have pointed up the problems
involved in running Starr Commonwealth, but they would not
have aroused any sympathy toward the understanding of these
problems.

Any information which might have identified the real
boys in the scripts was also discarded. In this respect

the scripts are necessarily vague in regard to time, place,

l9
and the eventual, Specific outcome of the boys.

Outlining the scripts. Each of the scripts was
outlined before the actual process of writing was started.
The first outlines were general ones, completely lacking
in details. The outlines merely showed (1) the narra-
tor's introduction to set the scene (2) vague outlines
of a series of possible scenes (3) the point of climax
(in the three biographical scripts) (A) the resolution
and (5) the narrator's close.

After the general outlines were written, the process
of writing the detailed outlines began. Here the writer
found that his biggest difficulty was cutting down the
number of scenes in order to insure a running time of
thirty minutes. Even when the detailed outlines were
finished and the actual writing of the scripts was accom-
plished, more cutting was necessary, but only on a minor
scale.

The detailed outlines were a great help to the writer
because they provided a framework around which the scripts
could be written and because they insured unity of thought,
action, and scene progression in each of the scripts. The
writer strongly recommends the use of such an outline.

Th; Egg 9f Eggig. At first the writer decided not
to use music in the scripts except at the beginning as
theme music and as background music for the first and last

narrations of each script. The narrator, the writer felt,

20
could be used to show change of scene: this would save
some time that could be used to better advantage. The
writer's adviser thought that this limited use of music
was not justified. He pointed out that music was not used
~merely to show scene transition, but that it had other
functions in radio scripts. He suggested, therefore, that
the writer incorporate a greater use of music in the
scripts.

After his suggestion was made, the writer probed
deeper into the subject of the function of music in scripts.
Barnouw20 says there are four specific tasks of music:

(1) it provides a program with the proper tonal send-off;
(2) it bridges scenes; (3) it provides a final curtain;
and (A) it provides a background for narrations and scenes.
Tasks (l) and (3) are self-evident. Tasks (2) and (A),
however, need amplification and elaboration.

As a scene bridge music can hold or intensify a mood
already established. In "Point of Return", for instance,
where Ted finally confesses to Uncle Floyd Starr that he
knew about Hank's plans to steal a car, the need for a
scene bridge to heighten tension is quite apparent. music,
in this instance, slowly mounting in intensity, does much

to create this feeling of tension. As a scene bridge

 

20 Erik Barnouw, Handbook 9: Radio Writing (Boston:
D. C. Heath and Company, 1949), p. Ab.

11

H ......p...

21
music is also used to change mood. There are many
instances in the five scripts where music is used in
this capacity, not only to bridge scenes, but to change
mood within a scene. In "Point of Return", in the scene
where Ted decides to join the choir at Starr Commonwealth,
Ted seems to be getting along quite well at the school.

The music at this point is tranquil and smooth. Then the
narrator says that trouble is to come. At this point in the
narration the music segues to troubled, off-beat and low
music, pointing up, better than any narration, an impending
crisis.

In providing a background for narration and scenes,
the use of music proved invaluable. The writer felt it
heightened emotions and added descriptive touches. In "The
Investment of a Lifetime" the narrator tells the story of a
Starr Commonwealth boy named Danny. The first part of the
narration, describing the death of Danny's mother, calls
for the use of music which invites sympathy. The mood is
then changed as the music segues to music denoting street
sounds, showing Danny's trip to Detroit with his father.
This music is followed by a segue to somber music, when
Danny finds himself alone in the big city, after being
abandoned by his father. But we are told that Danny's sad
predicament will soon be over, for the music segues to a
gay and cheerful vein as the narrator tells of Danny's

arrival at Starr Commonwealth. In "Unwanted", in the scene

22
where Starr tells Jerry that his folks do not want him to
come home, the tension and feeling of frustration is greatly
heightened by the use of eXpectant, deep and slow music in
the background. In "A Man with a Dream", the narrator tells
of the work that must be done in clearing land for buildings.
Music does much to suggest busy hands at work.

Carrying out the adviser's suggestion to use more
music in the scripts was an enlightening experience. Never
before had the writer fully realized the important role
music can play in increasing the dramatic effectiveness
of a radio script. The added music provided the docu-
mentary scripts with a variety and clarity which could not
be supplied by narration alone.

The use and writing 9f narration. Narration in the

 

scripts was used to introduce story line and characters,

set the scene, shift scenes and to comment on the action

and subject matter of the scripts. Each script opens with

a narration telling the listener who and what the story is
about. The first narration also sets the scene and intro-
duces the necessary characters. From then on the narra-
tion is used, whenever necessary, to shift scenes, intro-
duce new characters and to comment on the action in the
scripts. In several scripts narration is used in place

of dialogue. An example of this use is in "Point of Return"

in the scene where the narration (with the help of sound

23
effects) describes how Harry and Ted stole the church money
from the parsonage. In the script, "Car Thief", narration,
again, is used as dialogue. In this scene the narration
(again with the help of sound effects) describes Bob's
theft of Farmer Dickenson's car.

In the two complete—narrative scripts narration is
used mostly to disseminate information. Many of the narra-
tions in "The Investment of a Lifetime" are made up of
comments on the operation of the school. In "A Man with a
Dream", every event that occurred in the building of Starr
Commonwealth could not be portrayed through dramatization:
only those that had dramatic potential were treated in a
dramatic manner. Those events that did not have dramatic
potential were recounted in the narrator's speeches.

An oral style of writing was employed in the writing
of the narration. The narrator is not a well—defined or
distinct character in any of the scripts. The main con-
siderations in writing the narrations were to make sure
that they contained no unfamiliar and uncommon words,
that the sentences were not too long and that the narra-
tions, themselves, were of the shortest possible length.

The use and writing 2f dialogue. The two main

 

 

purposes of the dialogue in the scripts were (1) to present
the documentary idea in the form of drama and (2) to dis-

seminate as much information as possible about the Starr

21»

Commonwealth School for Boys. Without dialogue the
scripts would have been reduced to five radio speeches.
The addition of dialogue made the scripts what they were
supposed to be, i.e., dramatizations of a documentary idea.

Whenever possible, and as unobtrusively as possible,
the writer wrote dialogue which incorporated information
about Starr Commonwealth. In "Car Thief", for instance,
Bob's uncle says to him about Starr Commonwealth: "But
it's not a reformatory, Bob. It's a school with no bars
or bolts to it, but with the kind of peOple who know how
to handle and take care of you." Of the five scripts,
the two complete-narrative documentaries were more con-
cerned with this dissemination of information than were
the three biographical documentaries. The dialogue of
"A Man with a Dream" and "The Investment of a Lifetime"
clearly indicate that these two scripts are primarily
concerned with informing an audience about the physical
development and operation of Starr Commonwealth. Nearly
every line says: "I am concerned with telling you about
the school." The dialogue of "Unwanted", "Point of Return",
and "Car Thief", however, indicates that these three scripts
are primarily concerned with telling an audience why certain
boys were sent to Starr Commonwealth, what happened to them
while they were there and how successful the Starr Common-
wealth re-directional program was in making the boys use-

ful citizens.

25

The big difficulty in writing the dialogue was in
trying to make each character's dialogue seem natural to
him. To help surmount this difficulty the writer wrote
character sketches of each person in the scripts. Sketches
of the more important characters were necessarily more
detailed than the sketches of those of lesser importance.
Defining the characters in this way made the task of
writing the dialogue much easier. Even so, some unnatural
dialogue and awkward phrasing did creep in, but upon a
careful examination of each script, these irregularities
were remedied. The use of character sketches proved of
great value to the writer: he recommends their use to
other authors.

The following are some examples of problems the
writer experienced in the writing of the dialogue:

In "Unwanted", the writer had Jerry say at one point:
"I'm going to see Mary. She's the only one who understands
me." Written that way, the dialogue made Jerry more mature
than he was supposed to be; therefore, the writer changed
the phrase, "who understands me", to "who I can talk to."
In the same script, Jerry, at one point, is objecting to
the housemother's request for him to take a shower. She
says to Jerry: "A clean body means a clean mind." The
thought in this sentence did not seem to indicate sensible
reasoning; consequently, the writer changed the sentence
to read: "A clean body is a healthier body."

In the script, "Point of Return", there occurs this

26
statement: "Coming from a deeply religious family, Ted
had been constantly exposed to religion —- too much so it
appears, because eventually Ted rebelled." On the surface
this might seem an innocuous sentence; however, the phrase,
"so it appears", implies that the script writer is making
the comment that a person ggg be exposed to too much re-
ligion. Some religious groups may feel that religion can-
not be overdone; therefore, the writer changed the sentence
to read: "Coming from a deeply religious family, Ted had
been constantly exposed to religion -- too much so he
thought, because eventually Ted rebelled." The phrase,
"too much so fig thought", implied that the comment on
religion was not made by the script writer, but by Ted,
himself. In the same script, Ted says to his father:

"He's the only real friend I have, Dad, and I intend to
keep him a friend." Here the sentence structure and use
of words did not seem to fit Ted. The sentence was changed
to read: "He's the only real pal I got, Dad, and I ---."
The substitution of "pal" for "friend" and "got" for "haie"
seemed more in keeping with Ted's manner of Speaking.

As with narration, the writer was aware of the fact
that unfamiliar and uncommon words were to be avoided.
All words in the dialogue had to be easily understood by
any listening audience. The character who offered the most

difficulty in this respect was Mr. Starr who enjoys using

27
unusual and unfamiliar words.

Awkward combinations of words, lengthy phrasing,
long sentences, and words that are easily understood but
difficult to pronounce were ommitted from the scripts.

The writer felt that careful consideration of language and
sentence structure was especially important in order to
make the radio actor's task much easier.

Th2 Egg g£_§gggg effects. Sound effects in the
scripts occur only when absolutely necessary. Willis
says: "Sound...should never be used for its own sake,
but only if the use of the sound serves a worthwhile
purpose."21 Willis22 lists four instances in which sound
is mandatory:

1. Sound is used if it helps to make something
clear, like establishing settings. Typewriters, for
instance, suggest an office scene, or an eerie wind could
suggest a lonely moor. Sound is also used to make clear
entrances and exits. This use of sound occurs in each of
the five scripts in this thesis. In "Car Thief" the com-

bination of crowd noise and the pounding of a gavel es-

tablishes the scene as being in a courtroom.

 

21 Edgar E. Willis, Foundations 12 Broadcasting -
Radio and Television (New York: Oxford University Press,

I95TT p. 211.
22 Ibid., pp. 211-213.

 

 

28

2. Sound is used if it adds realism. Ships'
whistles in a water-front scene, a puffing locomotive in
a railroad yard scene, and the firing of a machine gun in
a battle scene are examples of this use of sound. In "Car
Thief" the siren of a police car helps to add realism.
"Point of Return" uses the sound of a drawer opening and
closing in the theft scene to add a realistic touch.

3. Sound is used if it adds dramatic impact. In
an ambush scene, for instance, the following sequence of
sounds can be very effective in heightening tension and
providing dramatic impact: (1) heavy breathing (2) click
sounds as guns are cocked (3) approaching footsteps and
(A) the roar of the guns. In "Point of Return", in the
scene where Ted steals the money from the parsonage,
dramatic impact is heightened by less use of narration
and greater use of sound, i.e., grunting sounds, the
window opening, the scrape of a body across the sill, the
drawer Opening, the drawer closing, a thud as Ted jumps
to the ground and the window closing.

A. Sound is used if the audience expects to hear
it. A jail scene calls for the sound of a key and the
cell door closing. One would also eXpect to hear the
sound of presses in the press room of a newspaper plant.
In "Car Thief", telephone dialing and the telephone

receiver sounds are used. In the car scenes in the same

29
script, the sound of a running motor is used. An audience
would expect to hear all these sounds.

Indiscriminate use of sound in the five scripts
was avoided by the writer by asking himself if the sound
effect could be placed in any of the four instances men-
tioned above.

Completion gf the scripts. Upon the completion

 

 

of all five scripts, the writer arranged to have them

read by Mr. Charles Zwerk, until recently a psychologist

At Starr Commonwealth. In a most c00perative spirit he
went over each script with the writer after having read
them first himself. He said he did not feel qualified to
comment upon the merits of the scripts with regard to their
dramatic structure. He did say, however, that while reading
the scripts he did not find his interest lagging. He also
said the scripts were a welcome relief from the usual ques—
tion-and-answer type of promotional material put out by

the school. Mr. Zwerk commented on the scripts further

by saying that all of the factual material in the docu-
mentaries was true. He said he could find no evidence

of distortion or misrepresentation of fact. His overall
comment was that he was quite pleased with them and could
offer no mgjgg points of criticism. He did, however,
criticize some of Mr. Starr's dialogue. This was a legiti-

mate criticism as far as giving an absolutely correct por-

30
trayal of Mr. Starr; however, Mr. Starr has a certain
style of speech which does not broadcast well. Some of
his phrasing and his use of uncommon words would be
difficult for the average radio audience to understand.
The writer took extra cognizance of this criticism, how-
ever, and made a special effort to strike a better balance
between Mr. Starr's phraseology and use of words and that
which could be better understood by any radio audience.

The broadcast 9f "Car Thief." As was stated before,

 

 

the writer was given the opportunity of broadcasting one of
his scripts entitled, "Car Thief", over WEAR, the Michigan
State University radio station.

Summation. In the writer's opinion a radio docu-

 

mentary writer must fulfill two major requirements. He
must have extensive training and experience in the tech-
nique of dramatic radio writing, and he must be thoroughly
acquainted with the subject matter of his documentary. He
need not be an expert on the material presented in the
documentary, but he must at least know where he can get
the factual material to be used in his scripts. The presen-
tation of factual material in a documentary script calls
for thorough research. This research results in a great
amount of material, not all of which has dramatic possi-
bilities. Out of this wealth of material the radio docu-

mentary writer must select those materials which will best

31
lend themselves to dramatization. After this selection
of material is accomplished, the documentary writer must
then present that material in an interesting and informa-
tive manner. He accomplishes this task by presenting the
factual material in a radio documentary form, utilizing
all his experience and training in the technique of dramatic
radio writing.

Information in a radio documentary can be presented
in the form of a biograthical (case-study) script, com-
plete-narrative script, or a dramatized narration. Which-
ever form is used, the documentary writer makes use of the
four basic ingredients of the radio play: (1) music
(2) narration (3) dialogue and (A) sound effects. He
may also include in his script the use of a narrator,
uncharacterized voices, speech choir, symbolic sound or
music, and a mock protagonist.

Before starting the actual process of writing the
scripts, the documentary writer, in the author's opinion,
should make an outline of the script. The outline is
helpful in giving an overall picture of the structure of
the script. In the writing of the scripts in this thesis
project, general outlines were first used; however, these
outlines proved inadequate, necessitating the writing of
more detailed outlines.

In this thesis project the problem of writing the

32
documentary scripts was a more difficult task than was
first realized. Selecting specific materials to be used
in the scripts was one of the big problems. Much of the
material had to be discarded, such as minor historical
events in the physical development of the school, case
studies lacking sufficient interest, events of an immoral
nature, and many minor problems in the administration of
the school.

Another problem was that of keeping repetition down
to an absolute minimum. Some repetition was necessary
since the function of gggh script was to disseminate in-
formation on the school.

At first the writer decided not to use music in his
scripts except as theme music and as background music for
the first and last narration in each script. This mistake
was made because the writer did not have a thorough under-
standing of the function of music in dramatic radio writing.
After further research on the subject, the writer incor-
porated a greater use of music in the scripts. Music did
much to clarify, to maintain interest, and to perform
various mechanical functions in the documentaries.

Dialogue in the scripts had to be easy to read and
easy to understand. Long speeches were avoided. Care had
to be taken also in making sure that the dialogue of each

character was in keeping with his personality.

33

The importance of being thoroughly grounded in the
technique of radio writing cannot be too strongly emphasized.
{any of the problems in the writing of the scripts in this
thesis could have been avoided if the writer had been better
prepared for the actual writing process.

The beginning radio documentary writer may be an
expert on the subject presented in his documentary, but
before he can adequately present that subject, he must be,
in the writer's opinion, a good dramatic writer. Writing
dramatic radio scripts requires the use of the various
elements found in other dramatic forms of writing. A good
dramatic writer must know character delineation and plot
develOpment. The speech of his characters must be approp-
riate and natural to them: it must be keyed to their
personalities. Their speech must portray and point up the
conflict between or among the characters, since conflict
furthers the action of the play, leading, ultimately, to
the climax and resolution. The good dramatic writer, it is
felt, must also know how to achieve the desired rise and
fall in the develOpment of the plot through the proper use
of dialogue and through a logical selection of events and
placement of scenes. Achieving the desired rise and fall
in the deveIOpment of the plot is all-important in creating

the right rhythm for the drama.

 

 

CHAPTER IV

THE FIVE RADIO DOCUHENTARY SCRIPTS

A MAN WITH A DREAM

 

 

ANNCR: The following program is the first in a series
of dramatic shows on the Starr Commonwealth
School for Boys in Albion, Michigan.

MUSIC: (THEME - UP FULL - FADE UNDER NARRATOR - bold,
commanding)

NARRATOR: This is the story of a man with a dream - of a

man who dared to say and believe that - "There
is no such thing as a bad boy." That man is
Floyd Starr - and his dream? - a home for
delinquent, homeless and wayward boys - a re-
directional school with no bars or bolts where
a boy could be helped toward a good and useful
life. And Floyd Starr realized his dream. But
it took great patience, many hours of hard work
and a firm determination to make that dream come
true - to vauire the money for buildings, for
food and clothing, and other necessities. For
without these things, it would be impossible to
train and re-direct his boys. It was no easy

task - getting the money - but Floyd Starr did.

 

NARRATOR:

MUSIC:

NARRATOR:

FATHER:

MOTHER:

STARR:
MOTHER:
STARR:
'HOTHER:

STARR:

35
(CONT'D) And the Starr Commonwealth School for
Boys became a reality.
(OUT)
The school had its beginnings when Starr was
just a lad. .One night the young Starr overheard
a conversation (FADE) between his mother and
father.
Yes, it lg a wonderful thing Dr. Kellogg is
doing, dear. There aren't many men in the world
who would adOpt fifty homeless boys and provide.
a good home for them.
It's a pity there aren't more like him. Adopting
those children will give them all an opportunity
to live a decent life.
Mommie?
Yes, Floyd?
What does "adopted" mean?
(LAUGHING) Adopted? Why -- why it means that
somebody like your mommie and daddy are going
to give a home to a little boy or girl who doesn't
ngg a mommie and daddy.
Then that's what I'm going to do. When I get
real big like you I'm going to - ah — adopt -

some little boys, too.

36

 

MUSIC: (UNDER NLRRATOR - soft, melodious)

NARRATOR: That was the beginning of Starr Commonwealth.
And Floyd Starr cherished that same ambition
through his school years and up to his graduation
from Albion College in Albion, Michigan.

MUSIC: (OUT)

 

NARRATOR:

One night he and his fraternity brothers were
talking together (FADE) seated before the lively
burning fireplace.

Well, Floyd, it won't be long now when we'll

No. And I guess I'm just as anxious as the rest
of you are to go ahead with the plans we've made.
Well, I know I am. But say, Floyd, you never

have told us what you're going to do. Anything

Well, yes I have. And I suppose you'll think
I'm crazy for saying this - but I'm going to buy

a small farm and adopt a lot of homeless boys -

 

(LLUGHING) Adopt homeless boys! You mean

VOICE I:

all be out of here, will it?
STAiR
VOICE 2:

particular in mind?
STARR:

the sort nobody wants.
SOUND: (RISE OF GENERAL LAUGHTER)
VOICE l:

reform school kids?
STARR:

Yes, only I'll try to keep them out of reform

schools.

VOICE 2:

STARR:

VOICE l:

STARR:

VOICE 2:

NARRATOR:

SOUND:

37
But that's crazy, Floyd. Delinquents like that
are criminals.
But they're not criminals. That's where you're
wrong. All these kids need is a decent home and
loving care, the kind their parents didn't or
weren't capable of giving them. And with no bars
or bolts, either.
You mean you're going to try and keep control
over bad boys without any ---
But there's no such thing as a bad boy. That's
my point. It isn't that the boys are bad, it's
just that what they gig is bad. Convince a boy
of that, and you've got a wonderful basis on
which to work with the boy, to really show him
his true worth.
Well, I hope you know what you're doing, Floyd.
But if you ask me, you've got a job on your hands.
Yes, Floyd Starr did have a job on his hands, and
he knew it. But he was determined to go on with
his plans, in spite of the criticisms. In 1912,
two years after his graduation, Starr sat down
one night and wrote his now famous Starr Common—
wealth creed.

(SCRATCHING OF PEN ON PAPER FOR FIVE SECONDS -

 

RUSTLE OF PAPER)

 

MUSIC:
STARR:

MUQIC:

38
(UNDER THE FOLLOWING - soft, somewhat majestic)
(HALF—SIGHING) Ahhh. All done. Let's see now.
"We believe that there is no such thing as a bad
boy. We believe that every normal boy will be
good if given an opportunity in an environment
of love and activity. We believe that each child
should be given some work suitable to childhood.
We believe also in play. Play is the child's
normal means of self-expression. We believe
that to attain the full stature of man, spiritual
development should go hand in hand with physical,
mental, and moral development. We believe that
boys should be treated, not as a class, but as
individuals. We hold that his ambition must be
stimulated and deveIOped. We believe that boys
merit confidence and trust, and that the secret
of the develOpment of honor in a boy lies in
appealing to his inherent goodness. In order that
he may attain perfect manhood, we believe in
placing a boy on his honor at all times and giving
him the sympathy and encouragement necessary to
enable him to maintain his integrity."

(UP FULL - FADE UNDER NARRATION)

MUSIC:
STARR:

MUSIC:

38
(UNDER THE FOLLOWING - soft; somewhat majestic)
(RALF-SIGHIHG) Ahhh. All done. Let's see now.
"We believe that there is no such thing as a bad
boy. We believe that every normal boy will be
good if given an opportunity in an environment
of love and activity. We believe that each child
should be given some work suitable to childhood.
We believe also in play. Play is the child's
normal means of self-expression. We believe
that to attain the full stature of man, spiritual
development should go hand in hand with physical,
mental, and moral development. We believe that
boys should be treated, not as a class, but as
individuals. We hold that his ambition must be
stimulated and developed. We believe that boys
merit confidence and trust, and that the secret
of the develOpment of honor in a boy lies in
appealing to his inherent goodness. In order that
he may attain perfect manhood, we believe in
placing a boy on his honor at all times and giving
him the sympathy and encouragement necessary to
enable him to maintain his integrity."

(UP FULL - FADE UNDER NARRATION)

 

NARRATOR:

MU SIC :
NRRRATOR:
BUY 1:

STARR:

39
These words became the guiding hand of Starr
Commonwealth. These words have reformed over
two thousand boys, some of whom were thieves,
forgers, and bandits. Shortly after writing
his creed, Starr took the proceeds of a legacy
and bought forty acres of land on the shores of
a small lake three miles west of Albion. This
land, full of cobblestones and choked with weeds,
an old two-story barn, a lake and a foundation
where a house had burned -- this was the begin-
ning of Floyd Starr's dream -- a home for his
"family" of delinquent and homeless boys. Starr
began work immediately. But even before the
first building went up, there were requests for
entrance to his new school.
(OUT)
One afternoon, two boys (FADE) came to see Starr.
(HESITAYTLY) So you see, we thought that since
my brother and me don't have a place to stay,
maybe we could stay with you for a while.
I see.
(HASTILY) We won't be a bother none, 'cause
we're willin' to work for our keep.

All right, boys, I'll tell you what we'll do.

STARR:

JOY l:
BOY 2:
STARR:

N1".RR2-‘.TOR :

hO
(COHT'D) The cottage isn't ready yet, so we'll
have to sleep in the barn a while. It's easier
for me to stay here because I'm closer to my work.
You won't mind sleeping in the barn will you?
Oh, no, that's nothin'.
Heck, we've slept in barns before.
Good. And now with four more hands to help with
the work, it won't be long when the cottage is
ready.
In due time the cottage was built, and Starr's
mother became its first matron. They named it
Gladsome Cottage because it was -- in Starr's
words -— such a gladsome day when he saw his

school begin to take form.

 

 

MUSIC: (UJDER THE FOLLOWING - sprightly, suggesting
busy hands, hustle and bustleL active music)
JARRATOR: But there was a lot more work to be done. Land

had to be cleared of stones. Weeds had to be
cut. And the land had to be planted with
potatoes and beans, the principle food at the
school. Butter was a luxury item, so they used
lard instead. But there 333g times when they gig
have butter. Whenever visitors came to the

cottage, Starr would send one of the boys to a

NARRATOR:

MUSIC:

NARRATOR:

MUSIC:

NARRATOR:

STARR:

7—")
C)
H:

Al
(CONT'D) nearby farmer to buy some for the
special occasion. But these were minor hardships
compared to the work that was yet to come. (PAUSE)
Part of the activities at Gladsome Cottage was
devoted to education. The cottage was the only
school they had, and Starr the only teacher. And
school had to be dismissed when the table was
needed for the frugal meal of home-made bread,
lard, beans and potatoes.
(SEGUE TO SOHBER MUSIC)
As the school grew, more money was necessary to
cover eXpenses, eXpenses which were getting
bigger and bigger with the addition of more
boys, homeless, destitute boys who came from the
courts, the streets and from impossible home
conditions.
(OUT)
One night in 1914 Starr (FADE) was talking with
a visitor from Batavia, New York, about the
school's eXpenses.
You see, Roy, it isn't enough, that we grow most
of our own food. We need money for other things.
Expenses are always cropping up somewhere.

Yes, I can see where a school like this would

ROY:

STARR:

ROY:

STARR:

ROY:

STARR:

ROY:

MUSIC:

ROY:

A2
(CCNT'D) need quite a bit of financial help.
You certainly can't do it alone, Floyd.
That's why I need your help, Roy. (PAUSE) I've
been thinking for some time that maybe Starr
Commonwealth could get some financial help through
the sale of Christmas seals.
Oh, I see.
In fact, I was wondering if you might do the
designing of the seals and have your company
print them. We couldn't pay for it at once, of
course, because we'd have to wait for a return
on the seals.
But I'm not so sure the seals would be much help
in solving your problems.
But they would, Roy; in fact I think they would
take care of most of the eXpenses.
Immm. (PAUSE) Floyd -- I'll tell you what. I've
been trying all day to think of a way in which I
could help the boys, and I think maybe you've
given me the answer.
(FADE IN AND UNDER — victorious17not boisterous)
Yes, I gill design and print the seals, Floyd,
for this year and as many years as you want me to.

It will be a gift from me to the school.

A3

 

And Starr Commonwealth still sells Christmas
seals every year, and it is the money from these

seals that plays a major role in meeting the

 

After Gladsome cottage was built and was gradually
filling up with boys who needed proper homes and
guidance, it was apparent that another cottage

was needed. So plans for another building were
drawn, and construction began, but with the

understanding that when Starr's money no longer

MUSIC: (UP FULL — FADE UNDER)
NARRATOR:
expenses of the school.
MUSIC: (UP FULL - OUT)
NARRATOR:
covered the cost, work would stop.
MUSIC:

(IN AND UNDER -¥portending, anticipating)

 

N JIRRLTOR:

MUsIC:
STARR:

Then came a crisis. One Saturday morning bills
for one thousand dollars were presented to him,
bills that could not be paid with the pitifully
small amount of money that remained in his bank
account. That morning (FADE) he had a talk with
his mother.

(UP FULL - OUT)

I just don't know what to do about the bills,
mother. I guess I just took on more than I can

handle with this new building.

MOTHER:

STMRR:

MOTHER:

STARR:

MOTHER:

STARR:

HOTHER:

STARR:

MOTHER:

STARR:

SOUND:

Ah
But surely there's ggmg money left in the bank,
isn't there?
Yes, there ig -- ggmg money -- exactly three
dollars and forty-six cents!
But something must be done. Don't you have any
plans at all for trying to get the money?
Yes, one did occur to me, but I don't have too
much faith in it.
Well, what is it?
I've made up a list of ten people in Albion that
I think might loan me a hundred dollars each. But
I'm afraid it's too big a thing to ask.
Well, we can talk more about that after you've
finished reading the morning's mail. There's a
personal letter from Pennsylvania. Did you read
it yet?
Where did

No, I haven't as yet. Let's see now.

I put it. Ah, here it is. (READING) Mrs. C. C.

Newton from Philadelphia. (TO HIS MOTHER) I
don't know a Mrs. Newton from Philadelphia, do you?
No -- I don't believe so. We've had a lot of
visitors at the school, but I don't seem to
remember that name.

Let's see ---

(LETTER

EARING OPEN - RUSTLE OF PAPER)

AS

 

MUSIC: (FADE IN AND UNDER - slow, semi-cheerful)
STARR: Dear Mr. Starr: Recently I had the pleasure of

reading an article in a magazine concerning the
marvelous work you are doing in providing a home
for destitute boys and in re-shaping their torn
lives. Such a faith as yours that there is no
such thing as a bad boy deserves the highest
commendation. As a token of my esteem for you
and your work, please accept the enclosed check.
If, in the future, I can be of any more financial

help, please write me of your need. Mrs. C. C.

 

Newton ------
MUSIC: (STRONGER)
STARR: ----- (TU hIS H THER) Mother. Look. Look at

this check!

MOTHER: What is it, son?

STARR: A thousand dollars, mother! A check for a
thousand dollars! I can't believe it! Just
think, mother -- now the new cottage ylll be
built.

MUSIC: (UP FULL - FADE UNDER)

NARRATOR: The crisis was over. And after a gift of aother
Egg thousand dollars from Mrs. Newton, the new

cottage was completed. It was called Newton Hall,

A6
NARRATOR: (CCNT'D) in honor of this Philadelphia woman
who shared Starr's faith in the goodness of boys -
who believed that schools like this could supply
an answer to the juvenile delinquent problem.
(PAUSE) At this point Starr Commonwealth had a
couple of cottages and had been incorporated,
on December 3, 1913, under the public acts of
Michigan as a school for boys operated "not for
pecuniary profit."
MUSIC: (OUT)
NARRATOR

What was needed now was a school house. The

building they were using as a school was a

miserable structure -- a tar paper shanty resting

on stones. Here the boys who came from the courts,

the streets and from broken homes, froze in the

winter and sweltered in the summer. Starr decided

to do something about the situation. 80 he paid

a visit to the Board of Directors (FIDE) of the

Albion State Bank.

DIRECTOR: Yes, I know, Starr. All of us here know of the
splendid work you're doing with boys.

STARR: 1e11, it's not so much the work I do but what the

boys do for themselves. You see, sir, all of us

at Starr Commonwealth believe that control comes

STARR:

DIRECTOR:

STARR:

DIRECTOR:

to
F3
m-
’1‘!
:3

DIRECTOR:

STARR:

DIRECTOR:

STARR:

DIRECTOR:

L7

(CONT'D) from within, not without. We try to
teach the boys that only through their own wise
decisions and efforts do they become strong men,
and therefore capable of successful leadership
and well-balanced lives.

It sounds like a good philOSOphy, Starr, and I
suppose it has paid dividends.

It has, sir. And I'm glad to see you have an
interest in the work the school is doing.

Having an interest in the school is a little
different from risking money in the school, Mr.
Starr.

But it isn't really a risk, sir. It's an invest-
ment in boys' lives.

Maybe so, Starr. But you asked for a loan from
the bank -- a rather considerable loan -- for a
school you said.

Yes, sir.

But what do you have to offer as collateral?

We have the land itself with the buildings that
are on it.

But for a loan of ten thousand dollars, Starr.
That's a lot of money. And in case of default,
what could we do with the school. The land

isn't very good you know.

LS

And thank you very

 

 

We'll find a

STaRR: Yes, I know, sir, but ---

DIRECTOR: I'm sorry, Starr. But I'm afraid the risk is
too great. Believe me there's nothing I'd rather
do than to help you. But as a business man,
responsible to my depositors, I couldn't afford
to take the risk.

STARR: (SIGRS) I understand, sir.
much for your time. Perhaps -- perhaps we can
find another way.

MUSIC: (FADE IN AND UNDER - sorrowful, slow)

NARRATCR: That same evening, very much upset at the refusal,
Starr told the boys about his visit to the bank.

MUSIC: (UP FULL - FADE UNDER)

STARR: Well, boys, I - I tried, but I guess I just
didn't try hard enough.

TOMMY: But you're not going to give up are you, Uncle
Floyd?

STARR: No, Tommy. No, we won't give up.
way somehow to get the school.

TOMMY: Uncle Floyd?

STARR: Yes , Tommy.

TOMMY: You're always tellin' us we should pray for the
things we want -- why don't we pray for the school?

STARR: Pray?

Why -- why, Tommy, I guess I've been so

upset about the situation that I didn't even think

STARR:
TOMMY:
STARR:

TOMMY:
STARR:
TOMMY:

NARRATOR:

MUSIC:
NARRATOR:

T OLE-:IY :
STARR:
TOMHY:
STsRR:

T 01m :

STARR:

TCXElY:

STLRR:

A9
(CONT'D) of it.
You always say that God will answer prayers.
And He does, Tommy. All we have to have is a
lot of faith, and our prayers will be answered.
Well, let's start right now.
All right, Tommy, how about you starting in for us?
OK. (PAUSE) Dear God, won't you please give us
a school so we can learn (FADE) like other kids
like us?
(OVER THE LAST FEW WORDS OF THE PRAYER) Each of
the boys, in turn, said a prayer. And these
prayers were repeated for several nights----
(OUT)
—---Then one evening, the same little boy who had
suggested prayer (FADE) came up to Mr. Starr.
Uncle Floyd?
Yes, Tommy?
Have we got the money for the school yet?
No, not yet, Tommy. But it won't be long now
I'm sure.
Wel—l, I was just wonderin'.
Yes?
I was wonderin' if you got the plans all drawed
up for the school.

Why, no, Tommy, we don't.

TOMB :

STRRR:

NRRRRTOR:

50
Well, gee, don't ya think maybe we oughta. When
the money comes in, then we can start buildin'
the school house right away.

(LAUGHING) You know, Tommy, you've got a good
idea there. I'll get to work on the problem
right away.

Starr did start to work on the problem right away.
A few days later Starr paid a visit to Marcus R.

Burrowes, a prominent architect (FADE) in Detroit.

 

 

You wasted no time in getting here, I see.

I received your message a few minutes
ago and came right over.

And I suppose you're pretty anxious to find out

whether or not I'll draw the plans for the school.

Well, Mr. Starr, I've been looking over the brief
you gave me concerning the things you'd like to
have in the school. And judging by it, I'd say
you really want this school to do the most

possible for the boys.

SOUND: (DOOR OPENS)
BURROUES: Come in, Mr. Starr.
SOUND: (DOOR CLOSES)
BURROWES :

STARR: Yes, Sir.

BURROWES:

STaRR: Yes, sir, I am.
BURROWES:

STERR:

Yes, I do, Mr. Burrowes. I consider education one

of the most important phases of a boy's life.

BURROWES:

STARR:

BURROUES:

BURROWES:

NARRATOR:

¥J()EIIIPJ:

51
I particularly like the idea of the manual arts
department.
Well, it seems to me that the boys should be given
not only a good academic education, but they
should also learn a useful trade with which they
can make their living once they leave the school.
You plan, I see, to take the boys through to the
eleventh grade. Why not the twelfth?
Well you see. I would like to make it possible
for the boys to attend their own home-town high
school for their final year so they can graduate
from their home town. For those boys who have
no home towns, transfers to other schools will be
arranged.
Well, Starr, it all sounds like a splendid idea.
And I feel that the least I could do to help you
in your work would be to draw up the plans.
I'll get to work (FADE) on them right away.
And Marcus Burrowes did as he promised. Then a
Starr Commonwealth field worker paid a visit to
a Grand Rapids woman to interest hgg in the
project. A few days later, Starr received a
telephone (FADE) call from the woman.
After talking with your field worker, I am

impressed with the need for a school for your

I“

If; OD'IJI N :

NA RRJ‘. TOR:

STARR:

PHILLIPS:

STARR:

PHILLIPS:

52
(CONT'D) boys. And after considerable thought,
I have decided to provide all the necessary funds
to build the school.
And the school was built, carrying with it the
name of another contributor who shared Starr's
belief in the goodness of boys -- The name? The
Emily Jewell Clarke School. Events like these
made Starr more determined than ever to make plans
for increasing the size of the school. Starr
Commonwealth was growing, and Starr realized
that some way must be found to provide a land-
scaping plan for future building. He consulted
T. Glenn Phillips (FADE) a leading architect
in Detroit.
You see, Mr. Phillips, I am receiving hundreds
of requests a year to place boys in the school,
requests that I cannot fill. But I am confident
that the support we are getting now will provide
the means to give many of those boys a home.
I see. And you would like a landscaping plan
drawn up to provide for the additions as they
come up.
Yes.
Well, what kind or type of building do you propose

to build in the future? Something on the order

PHILLIPS:
STARR:

IHILLIES:

STARR:

IHILLIFS:

STARR:

MUSIC:
NARRATCR:

53
(CONT'D) of dormitories?
Not exactly dormitories. I would like to
continue building the same kind of cottages we
have now. You see, I like to give the boys as
much of a home-like atmosphere as possible in
helping to re-direct them.
But of course the landscaping should include
provisions for buildings other than cottages.
Oh, yes. We lack many facilities now, but when
we d3 get them, the necessary buildings will
have to be provided.
I see. (PAUSE) Well, Mr. Starr. I'll tell you
what I'd like to do. I do one missionary job a
year for a worthy cause. And I can't think of
a cause that Would be any more worthy than the
work you're doing in re-shaping boys' lives. So
as my missionary project for the year, and as a
gift to the boys, I Ell; prepare a landscaping
plan for you.
Thank you, Mr. Phillips. The boys will be over-
joyed with what you're going to do for them.
(IN AND UNDER - cheerful..busy)
Thus, beautiful landscaping for Starr Commonwealth
was assured. And this plan has served as an

unfailing guide through the years of the school's

NARRATOR:

MUSIC:

5L

(CONT'D) growth. In 1919 Wilcox Cottage was
built, donated by a woman from Grand Rapids.

And in 1919 the need for a commissary arose.

That summer Starr and his field workers spoke

all over Michigan, and people gave generously.
One gift of a dollar was from a bell boy in
Mackinaw City who was, himself, a struggling
orphan boy, wanting to share in the work. And
through contributions like this, big and small,

the commissary was built---

(OUT)

 

NARRATOR:

REYNOLDS:

(1"

3
.
:0
:33

REYNOLDS:

-—-Then one summer day in 1921 the president of
the First National Bank of Palm Beach and former
head of the Reynolds Spring Company of Jackson,
paid a visit to the school. Re found Starr
(FADE) out in the fields.

Mr. Starr, do you think you can leave the horses
and plow for a moment?

(FADING ON) Oh, how do you do, Mr. Reynolds.
(LLUGHIUGLY) Yes, I think the horses and plow
can rest for a while.

I've been going over the grounds again, talking
with the boys and your social workers, Starr.

I must admit that I'm very much impressed with

the school.

Ql“ .“

ulhRR:

REYNOLDS:

LO

REYNOLDS:

‘TARR:

STARR:

REYNOLDS:

l

LUSIC:

(A

n.

’RATOR:

55
Thank you, Mr. Reynolds. I
You seem to have a way with the boys here, Starr.
They all tell me that Uncle Floyd is just about
the kindest, wisest and most wonderful person
in the world.
(EMBARRASSED) Well, we all g9 get along rather
well. Of course we have little problems come up
now and then, but somehow all of us manage to
solve them in some way or another.
Well, I've been thinking, Starr, that if perhaps
you had another cottage here you would be able
to help a few more boys. So as a gesture to your
work I'd like to donate another cottage to the
school.
Why, Mr. Reynolds, I don't know what to say. 1—-
Nothing needs to be Said, Starr. I - I would
like to do it very much. In this way I can have

a real part in helping a few unfortunate boys.

,~(FADE IN AND UNDER - triumphant, but not bois-

terous)

From that talk there gig_come another building
for Starr Commonwealth -- Reynolds Cottage,

named in honor of the donor. And some time later
Reynolds made another gift to the school. He

gave his beautiful estate in Jackson for the

NARRATOR:

"U010-
I'L J I

NARRRTOR:

VOICE:

56
(CONT'D) exclusive use of those Starr boys who
wished to go on and complete their high school
education at Jackson High School. In the following
years, up to l9tl, the Henry Gauss farm was added,
giving the Commonwealth a farm of its own -- the
five hundredth boy was graduated from the school
in 1932 -- then Choate Cottage was built, con-
struction of Webster Hall was completed, equipped
for complete shop training and with a gymnasium --
Arnold Cottage and Inglis Cottage were built and
the construction of Bassett Cottage got underway.
Then in l9hl Starr determined to provide a chapel
for his boys. It had been an ambition of his for
a long time, for Starr was a fervent believer in
religious training. The drive for the necessary
money and facilities began in l9Ll and ended in
l9h9. The day for breaking the first ground for
the chapel was April 11, 19L9. And during the
ceremony, Floyd Starr lifted the first shovelful
of dirt.
(SEGUE TO NOSTALGIC MUSIC)
When the ceremonies were over, a former Starr
Commonwealth boy gave a speech. These were a
few of his words:

To his boys, old and new, Uncle Floyd represents

57
(CONT'D) many things. To some he is a savior
for he has made new lives out of seeming wreckage.
To others Uncle Floyd is the truest friend a man
ever had. To still others, he is their first
real father. His influence was the force that
led us to a richer, fuller life. It was he who
set our sights on things worthwhile and beautiful.
Ris strength became our strength, and we carried
his banner wherever we traveled. This is a
history-making event, a milestone in the progress
of the Starr Commonwealth. This is another
example of Uncle Floyd's unceasing efforts and
unfaltering faith...It's building will be the
result of the active faith of people around the

world in the work of Uncle Floyd.

 

This is a real testimonial of the work of Floyd

Starr, from the lips and experience of a boy who

VOICE:
TLSIC (UP FULL AND OUT)
NARRATOR:

was part of it.
MUSIC:

(FADE IN AND UNDER - cheerful, medium tempo)

 

N ARR {LT OR :

Briefly, we have told the story of Starr Common-
wealth and its physical development. But the
school has developed in other ways -- in its
very modern and scientific approach to the

problems of these handicapped boys -- the

NARRATGR:

JHLSIC:

58
(CONT'D) understanding meetings with case
workers, house mothers, teachers, the consulting
psychiatrist and psychologist -- the excellent
social service department with its up-to-date
records. Nor has the place of religion in the
boys' lives been neglected. Starr, himself,
expressed his belief in religious training when
he said in his famous creed:

(OUT)

 

STLRR:

MUSIC:

NARRATOR:

MUSIC:

We believe that to attain the full stature of
man, spiritual deveIOpment should go hand in hand
with physical, mental and moral development.
(FADE IN fiND UNDER - as above)

Many distinguished visitors have come to the
school and have had a part in the shaping of the
boys' lives. There is Rabindranath Tagore, the
Hindu poet and Nobel prize-winner who, while in
India, heard of the Starr Commonwealth and
decided to visit it. Of Starr Commonwealth,

Mr. Tagore said:

(OUT)

 

VOICE:

Amidst a desert of unprofitable days my visit to
your place has been to me like some oasis with
its spring of the waters of life. Other things

of bigger dimensions will be forgotten, but the

VOICE:

NAthfCR:

VOICE:

NARRATOR:

VOICE:

NLRRATUR:

59
(CONT'D) memory of your little school will
remain a part of my life till the end because I
had a touch of truth there, and I Came away
richer than when I visited you.
And there was Helen Keller, Gene Tunney, Bernarr
Macfadden, Edgar Guest and Upton Close. When
George Washington Carver, the famous Negro
scientist, humanitarian and educator, visited
the school, he said:
In all the years of a long and active life, I
have had few experiences that meant so much to
me. I am a better man because of my visit to
the Starr Commonwealth. '
The list of distinguished peOple who have approved
the work of Starr Commonwealth goes on to include:
Eleanor Roosevelt, Kate Smith, Dr. Alexander
Ruthven, R. E. Olds, Gar Wood, Bruce Barton,
Senators Homer Ferguson and firthur Vandenberg,
Governor Thomas E. Dewey and Carl Sandburg, who
said of Floyd Starr some years ago:
What sort of an adequate degree could one bestow
upon a man who has gone to school to over twelve
hundred boys.
These people have merely approved Starr's work,

but the real proof of Starr, the dreamer who

60

NARRATOR: (CONT'D) believed there is no such thing as a
bad boy, is exemplified in the over two thousand
boys who have graduated from the school -- over
ninety per cent of whom have become useful and
good citizens. Of the ten per cent who somehow
didn't reap the full benefits of re-direction,
Starr has this to say:

STLRR: It isn't the boys who have failed - it is I who

' has failed.

MUSIC: (RADE IN AND UNDER - proud,_hopeful)

NARRATOR: But of the ninety per cent, Starr Commonwealth is
proud. Out of them have come college professors,
journalists, newspaper men, lawyers, artists,
aviators, an author, a mining engineer, a New
York broker, an exporter, a bank executive.

Some are even policemen, which is, perhaps, the
ultimate of re-direction. These boys and this

school, Starr Commonwealth, are an eternal monu-
ment to Floyd Starr, a dreamer who dared to say

and prove - that "there is no such thing as a

 

bad boy."
MUSIC: (UP EULL, SEGUE TO THEMEi DOWN UNDER ANNOUNCER)
LNNCR: You have just heard the first program in a series

of dramatic shows, designed to acquaint you with
the work of the Starr Commonwealth School for Boys

at albion, Michigan.

TUSIC:

(THERE UP AND OUT)

 

bl

LNNCR:

HUSIC:

NARRAT OR:

62

THE INVESTMENT OF A LIRETIHE

The following program is the second in a series
of dramatic shows on the Starr Commonwealth
School for Boys in Albion, Kichigan.

(ThEHB - UP LULL - PADE UNDER N RR TOR - bold,
commanding)

I am going to tell you a story -- a story about
boys -- homeless, wayward and delinquent boys.
And it is the story of a man who dedicated his
life to these boys -- a man who firmly believed
in these words by an unknown author: "If you want
a two year investment, invest in roses. A ten
year investment, make it trees. But if you want
the investment of a lifetime, invest in boys."
That man is floyd Starr, founder of the Starr
Commonwealth School for Boys at Albion, Michigan.
My first visit to this re-directional school is
one that I will never forget -- an experience

as memorable as floyd otarr himself. Hy visit
to the school took me first to Starr's office,
furnished with a stark simplicity -- lightly
scented with the odor of fresh pine. Behind the
desk sat Mr. Starr. A slight, grey-haired man,
with a soft charity in his eyes and a soothing

warmth in his voice, Starr evoked a feeling of

NARRnTUR:

KUSIC:

NARRATOR:

STARR:

P~LalUU1TOR :

STARR:

NLRRLTOR:

STARR:

63
(CONT‘D) tremendous force, a force that has
given comfort, faith and hope to hundreds of
frightened, bewildered, friendless boys.
(OUT)
When I entered Starr's office, he immediately
(RIDE) came over to me.
(WJRHLY) How do you do, sir? I'm so glad you
could come. Te have many visitors that come to
see the boys and the school, and we are always
happy to see them.
Thank you, sir. I couldn't help but be impressed
when I entered the grounds, Mr. Ctarr. All those
beautiful winding roads and old-English-type
cottages. why it almost looks like a boarding
school.
(LAUGHING) Yes, most people are surprised. They
seem to expect some kind of a reform school,
which, of course, it definitely is not. Here
there are no bolts or bars, no guards or uniforms.
We don't believe in them, and they are not needed.
I see. Then the boys are not considered "regi-
mented."
No, there is no obvious regimentation, and not
a single rule is posted anywhere. While the

boys are with us, they are surrounded by an

STARR:

N ARRATOR :

STARK:

STARR:

N ART-LLTOR :
STARR:

6h
(CORT'D) atmosphere of love and constant
activity.
Just what do you mean by "love and constant
activity", Hr. Starr?
By love we mean that kind of affection which so
many of our boys have not had, especially from
their parents. Here each boy feels that he
belongs, that he is wanted. Dy constant activity
we mean the boys' schooling, their extra-curri-
cular activities and the work they perform on
the school farm taking care of the cows, chickens,
horses and hogs.
Oh, then the school, itself, supplies much of its
own food?
Oh, yes. Our own dairy supplies the butter, milk
and cheese. And the fields supply the major food
items, such as corn, wheat, oats, alfalfa and
over twenty different kinds of vegetables.
That must keep the boys rather busy.
Yes, it does. But it is good for them. Youth
needs real work to do, work that is satisfying
because it is useful and because it means sharing
of interests and occupations. Boys like doing
things which challenge responsibility and the

develOpment of creative gifts. The boys have a

65
STARR: (CONT'D) lot of time for play, of course, but

play is a relaxation, not a vocation.

NARRATOR' You mentioned a while back, Mr. Starr, that a
parent's lack of love for a boy could make that
boy go bad. Could you explain that a little
more fully?

STARR: Before I go into an explanation of that, I would

like to emphasize one thing. We do not believe
that a boy is bad. We say that what a boy has
gggg is bad. The first article of the Starr
Commonwealth creed says that "There is no such
thing as a bad boy." That is not a catch-penny
phrase. Not only do we believe it is true, but
we've been furnishing the proof for over forty
years. To make myself clearer, I'd like to ask
you a question.
NARRATOR: Yes, sir?
‘ARR: Before you, yourself, would condemn a boy as "had",
could you truthfully state that as a boy you never
stole anything -- never told a lie -- never felt

the urge to run away?

NARRRTOR: (THINKING IT OVER) No - o, I can't say that I
have.
STARR: (TRIUMPHANTLY) Exactly. Therefore, you see, we

have no boy problem in America. Ours is a parent

problem. Crime prevention should start before

STARR:

NARRITCR:

STAR

"U

L

V." 01):} i. N :

STARR:

LELXJAPE:

STARR:

WCURN:

66

(CONT'D) the child is born. We have standards
in this country for almost everything but parent-
hood. Any trash can become the fathers and

mothers of children. And I also believe that

schools and colleges should have practical
courses in marital relationships in order to
prepare young peOple properly for the respon-
sibility of parenthood.

But perhaps many parents are unaware of how their
actions are affecting their children.

(SIGNS) Yes, you are right there. That is why
the responsibility is so great with the parent.
Take the other day for instance. A very wealthy
woman came to see me (FADE) about her son.
(SCATTERBRAIN, FLIChTY) So you see, Mr. Starr,
Charles here has become just too much to handle.
I see.

And I have tried so hard to be a good mother to
him. Why just last week I increased his allow-
ance to twenty dollars a week.

(DISAPLROVINGLY) That seems quite a large sum
of money to be giving to a boy of fifteen.

But he Spends every bit of it, Mr. Starr. In
fact, many times he has taken money without even

asking for it.

STARR:

ChARLES:

I I OI“ IA N :

L T FER:

‘wO: ELM :

2': OIL N :

U

‘TARR

0?
(OFF-RAND) Is that true, Charles?
(QUIETLY) I only did it once, hr. Starr. She
promised to take me to dinner one Sunday and
didn't.
(PROTEJTIHG) But I explained to you that I
couldn't keep the dinner date with you, Charles.
You Kggw that.
(POINTLDLY) Sometimes, it is important to a boy
that promises be kept, Mrs. Denton, if at all
possible.
(UNCOAEORTABLY) Lel-l-l, I suppose you're right.
(NURRIEDLY) But I gig promise to take him some
gghgp time.
And did you keep that promise?
Well, no, I didn't. (DEfInNTLY) But there are
so many things that --—-
I see. (PAUSE) Do you manage to spend much time
with Charles, Mrs. Denton?
Well, not as much as I'd like to, of course. But
I do have a lot of social activities - clubs and
luncheons and things.
I understand. (KINDLY, TO CHARLES) Charles, since
your mother is quite busy with her social activi-
ties, you must have a lot of time on your hands,

especially now, since the summer is here.

CHARLES:

STARR:

'.f.’*1§"f '. -_r ,
VI L’l'lnl‘l o

CH:RLES:

STWRR:

I‘\U‘1RR;~.TUR :

STARR:

68
Yes, sir.
What do you do with your time?
Well, there's a group of fellows that I chum
around with and -----
That's just what I've been saying, Ur. Starr.
You ought to see these -- ah -- friends of his.
I have never seen such a group of hoodlums in my
life. Sometimes they even scare me. And I g2
know that one of them has been in jail for
stealing thggg automobiles.
Aw, cut it out, mother. They're the only real
friends I got, and you know it.
There! See what I tell you? And it's not only
his friends that so upset me. Why, lately I
just haven't been able to do a thing with him.
Why just the other day I asked him (FEDE) to
mail some letters for me, and you should have
heard what he said to me —-—-
(IN FULL AND OVER PRECEDING) So you see, that
is the kind of parent I am talking about. The
only real crime that Charles had committed, it
seems, was having hgp for a mother.
I see. And did you enroll the boy here in the
school?

Yes. And he is living in Wilcox Cottage with

STARR:

NAHRLTOR:

S T ARR :

NARRATOR:

STARR:

69
(CONT'D) fourteen other boys.
And you feel that the school will do the necessary
correction for the boy.
With Charles, it isn't exactly a question of
correction because the boy has done nothing bad.
His development had not yet reached the delinquent
stage. But if correction were necessary, it would
be done with the simple thought of making the
child better understand the relationships of him-
self to society -- never with the idea of "getting
back" at him. And never, under any circumstances,
would that correction be administered with reform
school methods.
What do you mean by "reform school" methods, Mr.
Starr?
I mean by confining him within high walls, shut
off by bolts and bars and guards -— by giving him
a number instead of a name, and a lot of repres-
sive regulations. Human nature rebels. Regi-
mentation, military drills, uniforms, bells,
lack of Opportunity for conversation, demerit
system, and rhysical methods of punishment --
all these breed only a deep resentment against
society -- a society which has a regrettable

lack of understanding of adolescence and post-

STARR:

NARRATOR:

STARR:

NARRATOR:

STARR:

NARRATOR:
STARR:

7O

(CONT'D) adolescence. Such a so—called "reform"

school does not reform. It is a first-rate pre-
paratory school for our penitentiaries.

It seems then that Starr Commonwealth was some-
thing of a pioneer in practicing "revolutionary"
methods in dealing with juvenile delinquents.
Yes, indeed. And we all are very proud of that
fact. It must be remembered, too, that back in
1913 when the school was founded, no one would
even gggg to suggest that such methods as ours
be used with boys.

And that wasn't so long ago. (PLUSE) I under-
stand, Mr. Starr, that you started the school
with your own money.

Yes, that is true. Originally the school was
composed of forty acres of land on the shores of
a lake which the boys still use to swim in.

Were there any buildings on the land at all?
(LIUGHING) Yes, there was one building -- an
old, two-story barn, and a foundation where a
house had burned. Yes, how well I remember

The hayloft in the barn was the first
sleeping place that my first two boys and I had.
That was quite a humble beginning for the beauti-

ful school you have today, Mr. Starr. You d2

‘7 ..7- ,m,'\T‘
mnRRsloR:

ST ."RR 1

N :"=.RR!.'I‘OR :

S T ARR :

NLRRLTOR:

STARR:

N ARRITC‘R:

STARR:

71
(CONT'D) own the school, I take it.
Oh, no. The title to every bit of the property
is vested in a self-perpetuating board of
trustees.
I see. Well, Hr. Starr, outside of the food
that Starr Commonwealth provides for itself, how
does the school manage to pay for expenses?
Well, the main support comes from friends who
contribute in response to our Christmas seals
appeal -- and of course by contributions from
others who have an interest in boys. Then, if
they can afford it, parents are encouraged to
help pay for the care of their boys.
Then do the parents, themselves, send their boys
to the school?
Parents and guardians, yes. But many of our boys
are referred to us by courts, by private and public
social agencies and by schools and churches. And
no boy is accepted who does not enroll voluntarily.
Are there any entrance requirements?
Yes, there are a few general ones. The boy must
be of normal intelligence and must have normal
mental and physical health. They must qualify
for a grade within the seventh through eleventh

range, and must have a definite need of a

S T ARR 3

NARRgTUR:

STARR:

.'\' ._..) ...) I F“ ”I;
skunkion:

STARR :

T-TU‘EI!" 0
1‘. \I V.

72
(CONT'D) re-directional program. The ages
range from twelve to seventeen.
(LBhbfTLY) Hell, Hr. Starr, it seems to be
getting a little late. And I haven't asked half
the questions I had planned to. It's all been
so interesting, I guess the time went by before
I knew it.
(LLUGHIHG) Well, I'll tell you what. Why don't
you stay over tonight. find tomorrow you can take
all the time you want to look over the school.
Well, I - I wouldn't like to impose, Kr. Starr --
(GOOD-NATURSDLY) Nonsense. Many of our guests
stay a week or more. We have a guest room in
each of the cottages. Come along. I'll close up
shOp for the day and take you over to one of the
cottages.

(RIDE IN LHD UNDER - lightlisomewhat nostalgic)

 

PM‘JTRI‘KFUR :

So over to Inglis Cottage I went. But on the
way over, Mr. Starr told me a story that touched
me to the heart. It was the story of a Starr
Commonwealth boy named Danny. Danny, it seems,
arrived at Starr Commonwealth one black night
with a tag attached to his coat. He had been

"shipped" in with almost as much care as would

have been given a sack of potatoes. He was very

N AIIR AT OH. :

73
(CONT'D) thin, frightened, and dreadfully sad
and forlorn. The official papers that placed
Danny in the Starr Commonwealth remarked briskly
and unemotionally -- "Child, about eight, history
unknown." But "history unknown" was not quite a
true statement. It merely meant his history was
unknown to the writer of the papers. From the
story that Danny was able to give, three vivid
memories stood out. His parents had been circus
performers and until Danny was six, he knew no
home but the dreary routine of the small road
show. And one night, after a performance, Danny
remembered seeing some circus peOple drawing a
white sheet over the still face of his mother.
The second picture was that of his father return-
ing from a mysterious trip, his head lowered, his
face sad. He had gone on that trip with Danny's

little sister. And only his father came back.

 

 

(PAUSE) The third memory pictured Danny -----
{USIC‘ ngEGUE TO MUSIC DENOTING STREET SOUNDS - busy,
off-beat)
NARRATOH: ----- standing alone on a busy street corner in

the big city of Detroit. Traffic roared around
him. And none of the thousands of people who

passed by him noticed his terror nor saw his

NARRATOR:

HUSIC:
HAHRATOH:

HUJIC:

7h
(CONT'D) tears. Just a moment before, his
father had been beside him. Danny had paused
to glance into a window. He turned back again
and he found himself ----
(SEGUE To sonsER MUSIC - sad; slowi_sympathetic)
----alone. He never saw his father again. Danny
slept in hallways, on gratings, anywhere. He
ate -- nothing. On the third day the police
found him. (PAUSE) When he arrived at Starr
Commonwealth, Danny had the distinction of being
almost the only boy there who had never known a
Christmas. A matron put her arm around him.
At first he was frightened —- affection seemed
sweet but strange to him. Then the housemother
asked him: "Who loves you, Danny?" Danny gulped,
hesitated, looked about as if to picture someone
who could feel for such a lonely, lost little
fellow. And then he whispered: "I guess they
ain't nobody -- except just God." These were
heart-rendering words from such a little boy.

(SEGUE TO LIGHT MUSIC -‘gay,cheerful)

 

NARRATDR:

But Danny found out that he was wrong -- there was
Uncle floyd and all the good peOple who supported
his work. They loved him, too. So Danny became

one of Uncle Floyd's boys —- history unknown,

.‘_._

 

NARRhTOR:

75
(COHT'D) parents unknown, birth date unknown.
80 Uncle Floyd gave him a birthday -- February
twelfth -- the day that Abraham Lincoln was born.
And when February twelfth came along, there was
a cake for Danny —- a cake with nine candles,
for Danny had been carefully coached to tell
everyone that on that day he would be nine years
old.
(CUT)

 

NARRATQR:

When Starr finished telling the story, he told
me that today Danny is an Eastern importer, with
a wife and three children. And every year he
sends a sizeable check to the school to help take
care of other unfortunate boys like him. Then
Starr told me that last Christmas, Danny traveled
a thousand miles to attend the annual banauet of
the Alumni Association, the only organization

of its kind in any corrective school in the whole
world. And the first thing that Danny said to
Mr. Starr on this occasion was: "No tag on me
this time, Uncle floyd." (FnUbE) After Ur.
Starr told me this story, he left me in the

care of the housemother at Inglis Cottage. And
before I went to bed that night, she and I had

a long talk about her work (FADE) as a house-

NARRATCR:

"’r‘
-<

>; DD "‘13)
“hump. uh:

BAKER:

IARR’mUi

BAKER:

I! ILI‘IJ‘T UII:

U7
~r ,
F":
If]
:I‘

N I..II.II.: TU I

BIKER:

7o
(CONT'D) mother at Starr Commonwealth.
Hrs. Baker, this certainly is a beautiful cottage.
It's more like a home than a dormitory for boys.
Well, we try to provide a real home atmosphere
of a big family -- with, of course, the regula-

tions that are necessary in group living.
It must be difficult to maintain this kind of

atmosphere.

Yes, it is a little hard to attain -- especially
when the boys themselves come to us with so few
idea als of their own. Many of them seem so dis-

satisfied with their own homes.
You know, this living room is just like one you'd
find in any well-furnished home -- easy chairs,

drapes —- and all those bookshelves,

newspapers

and magazines. (II US D) Tell me, Mrs. Uaker, do

the boys all eat here, too. I noticed a long
table in the other room, but there's no kitchen.
Oh .

Well, you see, the food is prepared in a

centrally located kitchen. There the meals are
prepared for all the boys and the numerous
workers who are employed here.

Then the food is brought to each of the cottages?
Yes. And we're proud of the fact that the meals

are served with real silver and decorated dishes.

N ARRILT "R :

BA

N NRRATOR :

US

.
.X;
a
‘J

P;

KER:

‘9

O.

77
Do the boys, themselves, cook the food?
Well, not exactly. The boys help with the vege-
tables, wash the dishes and learn to cook. One
of the well-known airways has a Starr boy as a
cook in a mid-western city. And some of the
boats on the Great Lakes have cooks who are also
Starr boys.
You mentioned a while back something about regu-
lations, Mrs. Baker. Do the boys take very well
to them?
Well, we don't have too much trouble on that
score, but when a boy first coees here, he
usually considers rules and regulations as just

someone's idea of being bossy.

hiRRhTUZ: Just what are some of these regulations?

,“

)1“.

BA

TI

IIEI‘I:

T.’ '71 '\

ILLIL :

Oh, things like getting up when called and making
beds with square corners, for instance. And
taking a shower, dressing, and leaving his locker
in order -- all of which must be done in half an
hour, before going in for breakfast.

Timing, then, seems to be an important part in

the training program.

Oh, yes. Each activity must make way for the next.
Take for instance, those boys who carry food from
the central kitchen to the cottages. all of them

must be up fifteen minutes earlier in order to

B 1*. KER :

I!" .'- .RR I". T UR :

I‘M-RR; \TOR:

BIKER:

NARRLTOR:
BAKER:
NARRITOR:

78
(CCHT'D) have everything ready for the six-
thirty breakfast. All cottage assignments as
well as outside jobs are planned to meet the
school day which begins at eight-thirty.
It must be rather interesting to watch a boy
develop from the first day he was here to the
last.
Yes, it is. And sometimes, it is a rather sad
thing for us housemothers.
How is that, Mrs. Baker?
tell, a peculiarity of our work is that as soon
as a boy becomes responsible, he is given some
bigger and more demanding task which calls forth
all of his abilities. Then at the point where
he can give much, and is the hero of the cottage,
the announcement comes that he is considered as
ready to go home. That is why sometimes we are
sad. Because now he has become so helpful, in
which, of course, we have a lot of pride, and
then he leaves to make way for a new boy.
And then the task starts all over again.
Yes.
Since you've been acting as a housemother for so
many years here, Hrs. Baker, what would you say

is the biggest reason for a boy's being here?

79

BLKER: You mean an immediate reason, like stealing
cars? -- or something more basic?

NLRRLTOH: Something more basic, as you say.

BAKER: Well, probably one of the strongest reasons a
boy is no longer in his own home is lack of love.
The average boy who enrolls with us will immed-
iately build up a fine family for himself, even
though it is not so. Then, days will go by with-
out a letter from any of them. Some parehts have
to be asked over and over again to write to their
own sons.

NARflhTOR: Do you mean to say that some parents don't even
EElEE to their sons?

BAKER: Oh, yes. It's quite common. And then some
parents do other cruel things. Why I remember
just a few days ago, Tom there, sitting over in
the corner with a book -- Tom had a vacation
coming up, and he said to me: "I don't know
whether I want to ask about the mail or not.

Last week," he said, "I was to go home, and she
said she couldn't have me, and that's probably
what will happen again." And the boy was right,
because the very next day, we received a letter
from Tom's mother saying that she couldn't be

bothered by having her son home three whole weeks -

BAKLH:

YARRLTUR:

BAKER:

NLRRLTCR:

B A I‘ih‘h :

NARRhTGR:

BAKER:

80
(CONT'D) could an over—Sunday trip be arranged.
But it seems impossible that parents would do
such a thing.
Yes, it seems impossible to us. But neverthe-
less, it does happen. Many times I've also seen
boys wait all day, hOping for a visit from their
parents. And then if they don't come, the boys
will ask to go to bed without their supper. And
that seems to me the high point in homesickness
that parents could do so much to help avoid. As
Mr. Starr always says, "Never disappoint a boy
who already has more than his share of problems,
as his confidence in you is his security in life."
That certainly sounds like wonderful teaching.
(PLUSE) I was wondering, Mrs. Baker, is there
any one problem with the boys that seems bigger
than the rest?
Well, of course, every boy has an individual
problem that needs more attention than the others.
Yes, but I mean collectively —- as a group.
Well, perhaps you could say the school problem.
So many of them dislike school. Many parents are
lax in seeing to it that the boys d9 go to school.
Parents who aren't home much, and who treat their

Children as though they're excess baggage, aren't

BAKER:

NLRRATOR:

BAKER:

‘ ,‘ VI‘V‘ ‘
£513.1th :

N AhRnTOR:

81
(CONT'D) the type to instill ambitions. So
you see the children aren't provided with a real
incentive, a good reason for going to school.
Many homes don't even have a book or magazine
around. Or if they do, it's the wrong kind.
I'd like to find out a little more about the
educational system here. Would I be interfering
with the teaching schedule or anything if I
visited the school rooms tomorrow?
Oh my, no. Anyone is welcome to visit the
school. We have very fine teachers here, and any
of them would do his best to help you in any way.
Good. hell, Hrs. Baker, I suppose you think it's
about time for all of us to turn in. So I guess
I'll collect my notes together and trot off to
bed.
Well, if I can be of any help to you, please
don't hesitate to ask me.
Thank you, Mrs. baker. (PAULE) When I awoke the
next morning, one of the boys was just coming
into the room, with a steaming cup of coffee and
a plate of toast. he told me to take my time and
that he would be back up in about five minutes.
And sure enough. When the five minutes were up,

he walked into the room with a tray full of

NARRRTOR:

T EL. C H ER :

N Ia'rthal‘OR:

”UlCEZER:

82
(CONT'D) bacon and eggs and more toast and cof-
fee. I found out later that the food was part
of a code that the boys had. It seems that
whenever the boys dislike a visitor, they give
him just the toast and coffee. But if they like
him, the boys prepare a beautiful order of bacon
and eggs to go with it. At the time, of course,
I didn't appreciate the compliment that had been
given me. After breakfast I decided to visit
the Emily Jewell Clark School building. One of
the teachers there was more than helpful in an-
swering my questions. The first question I
asked him concerned the building itself.
The entire lower floor is given over to school
rooms, lockers and an office for the Director of
Education. The second story houses the business
offices, including Mr. Starr's, as you know, the
Social Service headquarters, the Christmas Seals
department, the Alumni and Starr Commonwealth
Jews rooms, the library, a reception room and
a women's lounge.
I was wondering about the name of the building.
Was it named for a social worker or a member of
the staff?

Oh, no. It's named after Hrs. Emily Jewell Clark

TEACHER:

T‘ r :‘m .!- mm.)
Nintfililxutz

TE 'thEi'i:

NAR‘L OR:

#3

::

TELCHER:

NARH ATC'R:

TEACHER:

NARRILTUR:

TEACHER:

83
(COKT'D) who donated the building.
Oh, I see. Then these rooms that also have names
to them -- are they named for donors, too?
Yes, or for those friends who have rendered
another service to the school.
In the question of transfer of credits -- is there
any loss if transferred?
Oh, no, none whatsoever. The boys transfer to
and from the public schools with no loss of
credits. Otherwise you see, it would be a little
difficult for the boys to continue their school-
ing when they leave Starr Commonwealth.
How many teachers do you have?
There is one instructor to every thirteen boys.
Most of the ten teachers have taken some graduate
work and four of us have advanced degrees. In
teaching the boys, we find that many of them
come ill-prepared to do the work of the grade to
which they have been classified. 80 provision is
made for remedial work in the lower grades.
You said, there is one instructor for every thir-
teen boys. That seems like a rather unusual and
ideal arrangement. Host of the public schools
don't have classes nearly that small.

Yes, and we're very proud of that fact. We feel

TEACHER:

NAHRATOR:
TEACHER:

N f; i-LR 2". T OR :

TEACHER:

NARRLTUR:

TEACHER:

8h
(CONT'D) that small classes permit staff mem-
bers to devote more time to individual instruc-
tion.
Just what classes are taught here?
We follow the standard curriculum in that res-
pect. And we also teach music in the seventh,
eighth and ninth grades. We also have a choir
of twenty one voices, which is the main musical
organization. And usually we have a quartette.
Both of these groups are often invited to sing
at public gatherings.
Do you teach any of the manual arts at all?
Oh, yes. Approximately sixty boys enroll in the
manual arts department each year. Students are
required to work for the shop three and a half
months each semester. They devote their time to
maintenance, repair and rebuilding and construc-
tion of new materials for the school. And the
remaining month of each semester is given over
to the student to build his own projects. Then
from four to five each day, an open shop period
for supervised hobbies is provided.
Most high schools have regular assemblies for the
students. Are those provided here?
Yes. We try to have as many as possible. Usual-
ly they consist of lectures, concerts, pictures

and other programs which contribute toward the

TEACHER:

N £‘-.HR!.TOR:

TEACHER:

NARRnTOR:

'3 .r1 “3

NARRATOR:

TEILCE LEE 2

85
(CONT'D) cultural training of the student.
Yesterday Mr. Starr told me that the boys have
quite a bit of time for extra-curricular acti-
vities. What are these activities like?
hell, during the summer vacation, the boys can
attend a movie at Jackson, Hichigan, and may go
swimming in Duck Lake twice a week. Then there's
the Stamp Club and a very active Boy Scout troop.
The troop has one permanent 0 mp, and temporary
ones have been established from time to time. We
also have a Senior Student Fellowship which meets
on Sunday evenings for a service of worship and
song. And, of course, the boys have many hobbies
of their own.
What about sports activities?
Oh, yes. That's one of the activities that
receives a great deal of emphasis. We conduct
interscholastic competition with local, small
schools in football, cross country, basketball,
baseball and track. And every boy participates
in these activities.
I can see that Starr Commonwealth has thought of
everything in taking care of the boys.
Well, of course, we do our best for them. find

from time to time new methods of training are

EACHEE:

M , r {'1'
lxv..f)bR‘.LurL:

TERULER:

NLRHATOE:

\T I‘L‘ "" ‘9
Int” Alix. LULL:
(”Ht :3.

L.) lILRLL:

HARRLTDR:

STARR:

86
(CONT'D) instituted when it is found that the
old ones don't quite measure up.
It all sounds like a wonderful program. (PAUSE)
hell, I guess I've bothered you enough with all
my questions, so I'll leave you with your work.
I want to see Mr. Starr before I leave anyway.
Thanks a million for your co-operation.
That's perfectly all right. And please feel
free to call on us again. We'll be only too glad
to help.
I left the school rooms and went upstairs to see
Kr. Starr. he was sitting behind his desk, busy
as usual, but he waxed me in (f DE) as I opened
the door.
Come in. Come in. I trust you had a good night
at the cottage?
Positively the best night's sleep I've ever had.'
Good. I'm glad we could make you comfortable.
I really don't know how to thank you for the
Splendid hospitality you've shown me, Mr. Starr.
I've thoroughly enjoyed every minute of my stay
here.
I am glad. Ne like to have people come here to
see for themselves what we are trying to do.

Re-directing boys' lives is a tremendous res-

"Y; _,T,‘,.1 ‘j.
1.111an: A. UIL:

S T ARR:

ff ;1_' nmq
Pilklbl AX-LkJR:

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L.\.‘ .’ o

87

(COHT'D) ponsibility. And we are proud of the

work we are doing.

(h‘

And you have every right to be, Kr. starr. You
certainly knew wh“t you were talking about when
you said that there is no such thing as a bad
boy. You've proved that many times by the boys
who have been graduated from the school.

Yes, we've had quite a few boys here at Starr
Commonwealth. Many of them are now aviators,
engineers, artists, newspaper men, university
students, farmers, mechanics and a host of others.
I understard that some of your boys have even
become policemen.

(LAUGHIEG) Yes, that is true. ind perhaps we
could say that that is the ultimate in re-direc-
tion.

I couldn't think of better proof of your work,
Mr. Starr. Thanks again, sir, for all your
wonderful hospitality.

(EASE IN LND UNDER - nostalgic; light)

 

NARRATCR:

With these words I left Starr Commonwealth, an
experience never to be forgotten. Many peoyle

have praised Starr's work in the re-direction of
homeless boys and delinquents. But perhaps

Carl Sandburg summed up all the praises when he

' T-

NARRATCi

O
L o

88
(COKT'D) visited the school in l9h3. Of Floyd
Starr he said: "What sort of an adequate degree
could one bestow upon a man who has gone to

school to over twelve hundred boys?"

 

 

MLSIC: (UP ECLL - EECUE TC THEHE — DOHN RED UNDER
LNNOUHCER)

AhNCR: You have just heard the second program in a series
of dramatic shows, designed to acquaint you with
the work of the Starr Commonwealth School for Boys
at Albion, Michigan.

EUSIC: (THESE UP AND OUT)

 

22DJIJC3ii :

KUSIC:

NARRATOR:

NUCIC:

NARRITOR:

UNCLE:

BOB:

89
CAR THIEF

This is a true story, taken from the files of the
Starr Commonwealth School for Boys at Albion,
Michigan -- a school for the homeless and delin-
quent, founded by Floyd Starr.

(THEME — UP FULL — FADE UNDER - bold,_commanding)
This is the story of Bob, a so-called "bad" boy -
a delinquent boy. Bob's early life was like that
of a great many boys who start out on a life of
crime. With his mother dead and his father
nowhere to be found, Bob went to live with an
uncle. But the boy did not make a good adjust-
ment at his uncle's home. He was hard to manage,
disobeyed at every turn and acquired a knack for
getting into trouble. Something had to be done,
so Bob's uncle made a decision.

(OUT)

One night the uncle sat up and waited for Bob to
come home. The door Opened and Bob stood there,
framed against the (FADE) early light of the
morning.

(QUIET DISBELIEF) Well, Bob, I see you finally
made it home.

(AGGRESSIVE) Yeah. So what?

'3

 

UNCLE:

UNCLE:

UNCLE:

BOB:

UNCLE:

BOB:

UNCLE:

UNCLE:

BOB:

UNC

t4

BOB:

E:

90
Five o'clock in the morning is a little late,
isn't it?
Well, ya didn't have to wait up for me, did ya?
What d'ya think I am, a kid? I can take care of
myself.
(IRRITATED) You're talking pretty big for a boy
of fifteen.
There ya go again. Leave me alone. (HIDE) I'm
goin' t'bed.
Just a minute. Come back here.
(OFF MIKE) Awwwww----
(WITH AUTHORITY) I said, come back here, Bob.
(FADING ON) Yeah? What d'ya want?
Bob, ever since your mother died and your father
left you here, I've tried my best to take their
place.
Look, "mommy" and "daddy", I'm not in the mood
for another one of your lectures.
(QUIETLY) You won't have to listen to any more
of my - ah - lectures, Bob. I have some news
for you.
Yeah? What's that?
I've arranged to have you enrolled in the Starr
Commonwealth School for boys where you'll ---

(BREAK HG IN) Oh, so I'm going to a reform

BOB:

UNCLE:

BOB:

UNCLE:

NARRATOR:

STARR:
BOB:

BOB:

91
(CONT'D) school.
It's not a reformatory, Bob. It's a school with
no bars or bolts to it, but with the kind of

people who know how to handle and take care of

you. I don't like to do this, but I can't see

any other way out. I've done my best for you,
but it wasn't good enough. Now someone else can
take over. Your things are all packed.

So that's how you're goin' to get rid of me?

I'm not getting rid of you, Bob. I'm merely
sending you to another school. You've got a good
mind, Bob - a mind you haven't even tried to
deveIOp. But I think that S arr Commonwealth
can do something for you. Get your hat and
coat, lad. We're leaving right now.

So Bob came to Starr Commonwealth. He was in-
terviewed by one of the school's psychologists,
given aptitude and intelligence tests, and was
then sent in to (FADE) talk to Kr. Starr.

Come in and sit down, Bob.

(GRUFFLY) Yes, sir.

(KINDLY) Now that you've had a day's rest and
have gone through the formalities, Bob, how do
you feel?

(OFF HAND) OK, I gues..

C?

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92
(HE RTILY) That's fine. (IAUSE) I have here
a report on the results of your examinations,
Bob. And I'm very pleased with them.
(SHOWING A LITTLE INTEREST) Uh -- yeah?
I see that you have an unusually high IQ, show-
ing an extremely intelligent mind, Bob. But
your school marks do not seem to indicate such
a high IQ.
(SLIGHTLY lEEVED) Well, the teachers never liked
me. They were always against me when I wanted
to do something.
(PAUSE) Lerhaps, Bob, it wasn't that the teachers

were against you, but that you were against the

teachers. Did you - ah - ever stop of think of
that?

Yell -— I don't know -— I --

(DISJISSING IT) Well, right now that's not too
important anyway. Because from now on, you will
have a chance to ghgw what your mind says you can
do. Ue have a fine bunch of boys here and very
capable social workers whose job it is to help
and direct our boys. I think you will derive

a lot of pleasure and benefit from working with
us. (PAUSE) I understand you were put up at

Newton Hall when you first came. Is that right?

93

 

BOB: Yes, sir.

STARR: Well, I'm going to assign you to Wilcox Cottage
instead. Your housemother will be Mrs. Clarke.
There are fifteen other boys living there, and
I'm sure you will find all of them willing to
give you a helping hand when one is needed. It
is a little difficult for a new boy, but with co-
operation and consideration from you, any ob-
stacle can be hurdled. I'm sure you will be very
happy here, Bob, as a member of our family.

BOB: Am —- am I to go to the cottage now?

STARR Yes, Mrs. Clarke is waiting for you outside the
door.

BUB: Thank you, sir.

STARR: Lll right, Bob. (PAUSE) Oh, just a minute, Bob.

BOB: (OFF HIKE) Yes, sir.

STLRR: Ah, perhaps "sir" is a little too formal, Bob.
Most of the boys eventually call me -- Uncle Floyd.

BOB: (Off MIKE) Yes, sir.

MUSIC: (FADE IN AND UNDER - slightly discordant; off-beat)

NARRATOR: That was Bob's first meeting with Uncle Floyd.

~ Bob didn't get along very well with the house-

mother or the boys at first. He kept to himself

and spoke only when he had to. And several times

he was caught stealing things from the other boys.

 

NARRATOH:

MUSIC:

9h
(CONT'D) But the workers at Starr Commonwealth
never lost patience with him.

(OUT)

 

NIRESTOR:

Sl‘fn‘LR:

. ,,
BUS:

STARR:

BOB:

STIRR:

BOB:

S T 45be3.. :

Then one day (FaDE) Uncle Floyd sent for Bob.
Bob, I have some news for you that I think will
please you very much.

Yes, Uncle Floyd.

Bob -- I'm going to send you to the high school
in Albion.
(EACEELY) To -- to the high school -- in flbion?
Yes, Bob. Do you like the idea?

(ENTHUSED) Oh, yes, I do, Uncle Floyd. (THEN

DLJECTEDLY) But maybe the other boys -- I mean —-
Kean what, Bob?

Well, maybe the other fellows won't like the idea
so much.

And why shouldn't they?

Well, I've done a few things now and then that I
know now I shouldn't have done. And maybe they
won't like it if you let me go to the high school.
Bob, that's one reason why I am sending you. You
have a fine mind, my boy, capable of great things.
And I don't want that mind to go to waste. An

IQ like yours is a fine possession, Bob. find I

firmly believe that this step will go a long way

TLRR:

BOB:

S '1‘ BER :

NARRATUR:

SUPT:
STARR:

STARR:
SLPT:

STARR:

SUPT:

STARR:

SUPT:

95
(CONT'D) in helping to iron out your diffi-
culties.
Gee, Uncle Floyd. I don't know how to thank you.
You can thank me by securing for yourself an
enviable scholarship and citizenship record.
That is all the thanks I will need.
Bob did make good at the high school, both in
his studies and in his conduct. Then one night,
Mr. Starr received a telephone call from the
(FADE) superintendent of schools.
(ON‘FILTL ) Hello —— Hr. Starr?
Yes, this is Mr. Starr.
Starr, this is Carlson, Superintendent of Schools.
Yes, Mr. Carlson.
Some of your boys are attending the basketball
game tonight, aren't they?
Yes. All of my boys who are attending the Albion
High School have gone down for the game.
Starr, for some time there has been a good deal
of stealing going on around Albion High School.
(APPBEHEUSIVE) Yes?
And the amount of that stealing has been so great,
that we finally decided to employ a detective to
find out who is doing the stealing. So tonight,

while the boys were playing their game, the

C0
C2
*0
F3

STARR:

SUPT:

STARR:

(n
C‘:
"d
a}

Slflyf:

96
(COHT'D) detective concealed himself in the
locker-room. He no sooner had hidden himself
when one of your boys came into the locker—room.
One of my boys?
Yes, Mr. Starr. And while the boy was going
through the coats and trousers of the basketball
players, taking money that didn't belong to him,
the detective caught him.
But that doesn't seem possible, Mr. Carlson.
I'm sure there must be some mistake.
There is no mistake, hr. Starr. He is from your
school. I'm very sorry that this happened to be
one of your own boys, but we have promised the
student body that when the guilty person was
found, we would prefer charges against him and
mete out the proper justice to him.
But, Mr. Carlson. You don't intend to send the
boy to Lansing tonight, do you?
But of course I do. The sooner the better.
But why do you not send him out to me?
Ie won't come out to you. You know that as well
as I do, Mr. Starr.
I know no such thing, Kr. Carlson. (DETEBHINZDLY)
You tell that boy that Uncle Floyd wants to see
him, and he will come.

All right, then, we will send him out. But

SUFT:

ST'ILL‘C:

N AHRn T011:

TU.IC:

(‘ ’7‘!
L.) .L Ajiitz

DOS :

om» ‘ L; .
U111 LL.

HUSIC:

97
(CONT'D) remember, Hr. Starr, you will be held
fully responsible for him. And don't forget.
be still intend to have the boy prosecuted.
(SIGNING) Yes, I understand, Hr. Carlson. But
please have the boy sent out to me.
An hour or two later Bob arrived. He walked into
Starr's office, shame—faced, his eyes lowered to
the floor, not daring to look Starr in the face.
(FIDB IN LND UNDER - somber, slow, anticipating)
Bob?
Yes, Uncle Floyd.
I could not possibly tell you how much of a shock
this has been to me. And you were doing so well.
All of your teachers have reported you as being
an excellent and well-liked student. I cannot
understand why you did it.
I - I really don't know why I did it either, Uncle
Floyd. I guess I - I just didn't realize what I
was doing.
(KINDLY) That's not a very good excuse, my boy.

(OUT)

 

BOB

[n
ZL'
:r.“

(DEFILNTLY) Well, maybe it isn't, Uncle Floyd.
But nothing can be done about it now. Let them
send me to jail if they want to.

(STRONGLY) Just a minute, Bob. That is not a very

S‘l‘nfiffi 2

98

(COUT'D) intelligent way of looking at the

 

situation -----
LHLSIC: (FFIUS IN 13H) Uwihdi - swane éwsjpreiixNislyj
STARR: ——--You have done something wrong.

FUSIC:

find an answer

for your conduct must be found. You and I are
going to have a talk, Bob, a long talk.

(UT LULL “up UNDER)

It was a long talk. The session lasted until
two o'clock in the morning.

(OUT)

 

FAHHIJTCR :

BUPT:

STLHR:

FRINC:

(,3
»3
rd
:1
O.

IJUFIH

Then early Monday morninm Bob and Hr. Starr went
down to meet the superintendent, the coach, and
the principal of the high school. Bob stayed
outside the office while the four (FLDE) of them
talked.

Mr. Starr, I cannot understand why you seem to
have such a ridiculous interest in the boy.

It is not a ridiculous interest, Hr. Carlson.
But the boy has committed a crime.
The detective caught him in the act. There is
no denying the facts. And as principal of this
school -----

I do not deny the facts, gentlemen. I am merely
saying that the boy made a mistake.

A mistake? Do you think we want this kind of

SUIT:

COACH:

COQ

C‘

UP

‘TJo
A}.

rp,

99
(JONT'D) thing repeated?
It may be a mistake as you call it, Mr. Starr.
But I'm afraid that the boys on my teams and in
my gym classes won't like the idea of nothing
being done to the boy.
Bob has done nothing but what each one of your.
boys might have done. Every one of us I dare say
has stolen something once in his life.
he are not here to discuss our personal histories,
Hr. Starr. We are discussing some petty thierery
done by one of your boys. As principal of this
school, it is my duty to see that the boy is
punished. he cannot break faith with the student
body.
Yes, but what about breaking-this boy's faith in
mankind. Bob, like so many of my boys, had little
or no faith in his fellow beings in his early life.
Many of them had miserable parents and an unspeak-
able home life. We at S arr Commonwealth are
trying to erase from the boys' pasts any trace of
these influences.
Yes, we know you're doing a fine job with most of
the boys. In fact I've had the pleasure of coach—
ing many of them who were fine athletes.

find they have brought credit to Albion High School

SUPT:

C. "'1 ’ T’ 1
U fiftf‘ud:

SUPT:

IIlIIJC:

STARR:

lOO
(CONT'D) and your own school, Mr. Starr. But
when one of your boys commits a crime, he must
be punished.
But punishment by imprisonment isn't going to
help the boy. He needs loving care, proper
guidance and the kind of environment that a good
home can give him.
I am sorry, Mr. Starr. The disposition of this
case does not rest in my hands. It is a matter
for the law. Don't you agree with me? (PAUSE)
Mr. Starr. I said, don't you agree with me?
Ah -- excuse me, gentlemen. I - I was just lost
in thought for a moment. ($.0ULY AND DELIBERaTE-
LY) I see that my plea is in vain. (WITH FEEL-
ING) But, Mr. Carlson, I just don't see why this
boy should be sent to jail for something which I
have done.
(SURPRISED) Something X22 have done?
Yes, coach.
(CONFUSED) But I just don't understand, Ur. Starr.
What do you mean?
I mean just this, gentlemen. Perhaps I was a
little over-zealous. You understand, sirs, that
Bob has an unusually high IQ. And by going to

school downtown he made his grades each year as

STARR:

SUPT:

STARR:
SUPT:
COACH:

PRINC:

lOl
(CONT'D) I thought he would do. I knew, how-
ever that before he was sent here to school, he
had committed several acts of petty thievery.
They weren't serious ones, and after the proper
punishment was given to him, I felt he learned
his lesson. But I guess he didn't. It's my
fault that he was sent here. If I hadn't been
so over-anxious with the boy, this never would
have happened. Don't you see, gentlemen. It is
not this boy's fault that this happened. fill
the blame rests on my shoulders. And if anyone
should be punished, I am the one who should bear
it.
Hmmm. I see. Then -- you honestly believe that
the boy will do better if he's sent back to Starr
Commonwealth? That the boy is not entirely at
fault?
Yes, sir.
Well, coach, what do you think?
Well, maybe we ought to give the boy another
chance -- that is if it's all right with the
principal.
I - I don't see why we can't give the boy another
chance, I suppose. (HAJTILY) Especially since

Mr. Starr evidently has acted unwisely in handling

PRINC:

(’J
l 1
‘jfi
pg
:20

SUPT:

STARR :

MUu102

102
(CONT'D) the boy, and is more to be blamed
than the boy himself.
Then, will you give me and the boy another
chance?
Well, it seems that the coach and principal are
in agreement. As for me, I suppose it's all
right. But of course, we must get the agreement
of the other staff members.
Thank you, Mr. Carlson.

(FLDB IN [HD UNDER - slow, deliberate)

 

HARRATOR:

SOUND:

The other members of the staff did agree to allow
Bob to return to Starr Commonwealth. But he
returned with several definite stipulations. Bob
could not re-enter Albion High School, nor could
he enter any of the public schools in the vicinity.
He could not visit in his uncle's home, nor could
he entertain visitors in the school. And he would
have to work certain hours each day and fulfill
various other requirements.

(013T)

fill of these stipulations were rigidly kept. The
weeks and several months went by. Then one day
Bob got into trouble again. He ran away from the
Starr Commonwealth and stole a car in Albion.

(CAR STLRTIUG UP AND RUNN'NG - DOWN rND UNDER MOR

NAHRRTQR)

 

._)UU1:D:

103
Bob looked at the gasoline sauge. There wasn't
much gas left in the car -- not enough to take
him to Tekonsha where he was headed -- about
twenty miles from Albion. Rob watched the miles
click away -- sixteen, seventeen, eighteen. He'd
have to get more gas and soon. Suddenly he saw
an old car parked on the side of the road. And a
short distance away, the owner of the car, a
farmer, was working in the fields. Dob pulled up
behind the car and stopped.

(CIR QTOPPING - DOQ' thflj fiND CLOSLS)

 

If ARRILTUR:

SOUND:

(OVLR AJOVE) Bob got out of the car, walked over
to the older one, and opened the door.

(Cidi DCXAL UIIIJJ)

 

I)" ‘1" T‘ 'J‘ ”1
radii». . 4.

SOUND:

.‘~' “f 121.1"?-
A\‘-l 4.LLILL{r.'- ‘ULL:

SOUND:

N [LRILLTCEM

SOUND:

\T

\J

-2.
5.

He looked at the ignition, and there were the keys.
Without a moment's hesitation, he closed the door--
(Cah DOCK CLOSLS)

-—--and started the car.

(CAR STIRTING UP)

he stepped on the gas and shot out on the road.

(C17

El {a T\_‘[_‘ C" )

. . L} .L.’\_.

:11

Before the car was out of sight, the farmer looked
up and saw it going down the road. he immediately
left his work and called (FADE) the sheriff's

department.

FLRIRUSR :

I] f 9111’ MTUR:

SOUND:

10h
Dang drat these operators. Ya can never git
'em when ya want 'em. Operator -- operator?
Git me the sheriff's office, will ya? An'
make it snappy. (HUJULLO) Ya can't seem to --
Hello, Sheriff HcCarty? This is August Dicken-
son. My car was just stolen while I was workin'
in my fields. (PAUSE) No, I don't know who did
it. Looks like they left another one an' took
mine. (PAUSE) All right. (IAUSL) ill right.
I'll wait out here on the highway, and ya can
pick me up.
Within a matter of minutes a sheriff's deputy was
dispatched, had picked up Farmer Dickenson, and
the two of them headed toward Tekonsha, in pur-
suit of Bob.

(CAR RUNNING — UP LND UNDER)

 

DEEUTI:

FARAER:

I'm afraid we might have a little trouble in
catchin' up to him, Dickenson. He's got some-
thin' of a start on us.

Well, I don't think he'll git too far, Deputy.
The old heap ain't as good as it used t'be. An'
he won't be able to go more'n thirty-five miles
'n hour. Somethin' wrong with the gas feed.
Then we might get him before I thought we would.

Say —- look up ahead there. Can you make out if

SQUAD:

SOUND:

NAILRHTOR:

LUUIID:

N [1. h hr. '1' CR :

CCUNU:
Fanhbh:

DEIUTI:

FALHLR:

DLIUTY:

l|.r‘ ."-“’T.:‘/ .
r ‘..1_;L- 1.11:1. O

105
(COUT'D) that one might be yours?
My eyes ain't so good no more. Let's see --
(EXCITLDLI) Yep, Deputy, that's it all right.
Ya see, the bumper's gone off'n the tail end.
OK, Dickenson, hang on. I wanna head him off
before he gets to the cross roads.
(cm 11? 112:1) OUT)
(ORR kaEp IN AND UNDER {OJ VIBE TICU - old car

sound)

 

In the car ahead, Bob suddenly realized he was
being followed. He quickly turned his head for

a better look -- the steering wheel leaped from
his hands ---

(SULELL OF DRULB; IUD CAR GOING NTO DITCH EON —-)
-—-and the old car careened into the ditch.
Dickenson and the Deputy saw what happened, and
pulled up alongside the road.

(CIR DOOLS OTEKIVC LUD CLOSING)

Land sakes, but did ya see that car go?

Come on. he'd better see if the fellow's hurt.
He wasn't goin' so fast, so there probably isn't
much damage done.

(Off KIhE) Here he is, Deputy. Looks like a
young feller.

fee if you can get the door open.

(ON HIKE, PULL) Yep.

SOUND:

11111

DEPUTY :

BOB:

DEPUTY:

NAHRLTOR:

SOUND:

1‘4 Ai’thfifl' O i :

106
(CIR DOCR O-ENIUG)
Look, his eyes are Openin'.
Lre ya hurt, son?
(BLEEDLY) No -- no -- I -- I don't think so.
Just -- just a little dizzy I guess.

Well, in that case, get yourself out of there.

Stay here, Dickenson, and I'll put the boy in

my car. 3e right back to help you. Maybe we
can get your car out. (GRUFFLY TO BOB) Come
on, kid. (FLDE) And no funny stuff, ya hear?

The deputy took Bob to the car and went back to
help Dickenson. Bob shook his head to clear his
blurred eyes. Then, looking down at the dash-
board, he couldn't believe his eyes. The deputy
had left the keys in the switch. Bob looked
toward the two men. Both of them were busy at
the other car. Without a moment's hesitation,
Bob started the car ---
(CIR STARTING UP LED RUNNIR? {OR ---)

—-—threw it into gear and sped down the road,
leaving the two men stranded with the farmer's

car in the ditch.

 

SOUND: (CIR FLDES)
NAHRATOH:

Bob abandoned the deputy's car after a time and

headed on foot for a small lake nearby. Early

N ARRJ -T OR 3

SOUND:
DEPUTI:

1' -: r; r
V'JUA'LA;DJ:

DEIUTY:

Ti,’ ,3, T.‘
HUA'JJJJ:

DEPLTY:
‘d. UJ 13.1“} :
DE? UT .r:

W ILL-lam:

107
(COLET'D)

C

the next morning, the deputy received
a (ELDL) telephone call.

(THUMB RINGS — nLCLIVLH UP)
hello, Sheriff's office. Deputy Horn speaking.

(ON FILTER) Hello. This is Mrs. Thompkins of

big Bear Lake. Last night, someone broke into
my cottage.

I see. Did they take anything of value?
Well, I don't know exactly what they did take.

I haven't checked thoroughly yet. But I do know
that some of my canned goods and perishables are
gone, some articles of clothing, and a small
amount of money I kept in a little bank on my
dresser.

Any idea who might have done it -- kids in the
neighborhood or something?
Well, I don't know for sure. But a neighbor
woman told me this morning before I noticed the
stuff was gone that she saw some young fellow
prowling around down on the beach.

How old? -- did she say?

About sixteen she said.

Any other description?

said it

Well, she couldn't see very well. But she

appeared he was wearing a dark jacket and light

v-Vl’~‘f Y

DErUTY:

V.'!"\‘ ~ r
Hug-13-}: 3

108
(COHT'D) pair of pants.
Well, ma'am that description could fit a young
fellow we're lookin' for. Are you at the cottage
IlOVJ?
Yes. Cottage eighteen.

All right. You stay there, and I'll be right down.

 

After investigating the robbery, the deputy felt
sure that Bob was the one who had done it. But
nothing could be done until a rep rt came in of
his being seen somewhere. A report was not long
in coming. About four o'clock the next norning,

a woman heard some commotion among some geese she
had in her back yard. She looked out the window,
saw someone prowling around her garage, and called
the police. An officer came out immediately. And
before Bob could get away, he was taken into one-

tody. A few hours later, as Mr. Starr was enter-

 

DEFUHY:
SOUIID: (PHONE RECEIVER Di‘f'fl‘l)
NARILATUR:
ing his office, (FADE) the phone rang.
SOUND: (PILOTIE R1133 - LECEIVELH U}’)
STARE: Hello.
VOICE: (ON EILTEH) hello. Hr. Starr?

VOICE:

Yes.
This is the sheriff of Cass County. One of your
boys has truanted from Starr Commonwealth, hasn't

he?

UT Juli—LIL:

VOICE:

r.

- In ," ."’, .
U La‘nILLL.

109
Yes, I am sorry to say that that is the case.
hell, I think we have him here, and Judge
Ferguson wants to know what you want to do about
it.
I see. Well, thank you, sheriff, I've been wait-
ing for a call like this. Just detain the boy

until I arrive. I'll be right down.

 

A short time later, fir. Starr wal_ed into (TIDE)

Judge Ferguson's office.

pOUHD: (LLCEIVER DUNN)
NARRATOR:

JUDGL: Come in, Mr. Starr.
OTHER:

JUDHL:

-“
A

(J .

:7)

(BADING ON) Judge Ferguson, where is the boy?
He's not in jail, is he?
Now just take it easy, Mr. Starr. The boy's all

7

right. 9e haven't done anything with him yet.
(RELIEVED) Good. I came down as soon as I could.
(LfUGHIHG) Yes, Starr, I knew you'd be down here
right away. I told the men that you were just
like an old hen hovering over a flock of chickens,
and that you'd be in asking us to give this boy
another chance.

(S.ChLY LzD SBRIOCOLY) Judge, this time I am

not going to ask you to give the boy another
opportunity to make good.

(OUkIR SED) You're not? Put -- but Mr. Starr,

JUDGE:

S T Milt:

JUDGE:

IUsIC:

NhRRAITJl:

OUEI

Ul
\.
o o

N i.l‘iR./“~.TO'IL :

SOUND

llO
(CCUT'D) I've never known you to go back on a
boy before.
I am not going back on the boy, Judge. And I am
not asking you to give him another charce. But
I am asking if you will give me another chance.
I have failed miserably with this boy. I have
pursued entirely the wrong course of action. And
if you will let me have him once more, I believe
I can succeed in developing him into a desirable
citizen. Perhaps if.I tell you something of his
past life, you may better understand.

(‘

All right, Hr. starr. I

re

you wish, I'd be only
too glad to listen.

(FIDE IN IND UNDER - sympathetic, slow)

And Judge Ferguson did listen to Starr and with
great sympathy and understanding. Nevertheless --
(OUT)

---Bob did have to have a hearing. The trial was
set for the next day.

(CROWD NOIS’ - FLDE IN IND LNDLH)

The courtroom was filled with spectators for the
hearing. Bob was summoned into the room and asked
to take the witness stand. The oath was adminis-
tered -—-

(CDLWJ) NLUILL H’ AID) DQAHI bfhi)

NARRATOR:

JUDGE:

T“ '.l‘\ .
HUD.

JUDGE:

U1
CI
LIL

BOB:

JUDGE:

BUB:

Ill
-—-and the Judge proceeded to question Bob.
Robert, Mr. Starr says that he is entirely
responsible for your latest actions.
Your Honor, that is not true. Uncle Floyd is
not to blame. 113 the one who's to blame.
I see. Robert, it has been your privilege for
the past two years to have been permitted to attend
one of the best schools of its kind in America.
The Starr Commonwealth School for Boys has tried
to make a good citizen out of you. They have
tried to teach you responsibility, co-Operation,
devotion to God and respect for other peOple and
their prOperty. Is that right?
(QUIETLY) Yes, your Honor.
(KINDLY) Then somewhere along the line, someone
has failed to hold up his end of the job. You
have admitted stealing three cars, food, clothing,
money -- and have admitted trying to steal another
car. Am I correct?
(QUIETLY) Yes, your Honor, I have admitted doing
all those things.
Then since you have admitted these acts, it might
appear that ygg were the one who did not do his
part.

Yes, your Honor.

JUDGE:

BOB:
JUDGE:

SOUND:

112
But Mr. Starr has said that it is his fault
because he did not give you the proper training -
that if he had, you would not have done these
things.
I -- I don't know what to say, your Honor. I --
All right, Robert. You may step down.
(NOISE OF COURTROOH UP - GIVEL POUNDS - NOISE

 

 

 

SUDSIDES)

JUDGE: We will have it quiet, please. (P USE) Kr.
Starr?

STARR: Yes, your Honor?

JUDGE: I have carefully weighed all the factors in the
case, and I have come to the conclusion that
you are sincere in blaming yourself for not
succeeding in re-directing this boy.

SOUND: (COURTROOM DOUND SLIGHTLY UP IND DOWN)

JUDGE: Therefore, I will grant your request to have him
sent back to your school. But I am going to make
this boy a ward of my court. Then you may take
him home.

SOUND: (MURMURS OF COUHTROOM UP IND SLIGHTLY DOWN)

STARR: Come on, Bob. We can leave now.

VOICE 1: (BACK IN CROUD TAUNTINC) Dell, Mr. Starr,

aren't you the guy who said "There is no such

thing as a bad boy?" Looks like you've got

VOICE l:

113

(COST'D) some explaining.

 

(LOW TO BOB) Bob, you go out and sit in the car.
I'll be out in a few minutes.
(SLIGHTLY Off MILE) But, hr. Starr. Do you

think your car will be there when you get ready

SOUIJ): ‘(Cd WU) LLLTUYPER)
VOICE 2:

to go?
SOUND:

(CROWD LAUCHT R AND NOISE UP)

 

or rt'i
..JQL’N' :

(ABOVE CROWD NOISE) My good man.

(caumn NOlEE hADES bows)

 

STARR:

You and all the rest may wait and see for yourself
what happens. I can assure you that both my car
and my boy will be there when I am ready to leave.
(PLUSE - CLLHLY) I am reminded of something

that happened a good many years ago when I addres-
sed the Rotary Club in this boy's home town. I
was introduced by a man who laid Special emphasis
upon the fact that I worked with "bad" boys. This
introduction was not a very gracious one. So I
turned to those Rotarians and said: "Gentlemen,
this is no Father and Son‘s Banquet. Your wives
are not present, and I am going to begin my ad-
dress this afternoon by asking you two very frank
Questions. In the first place I want to ask: Is

there a single man here who can truthfully say

SOUND:

S T ARR

SOUND:

llh
(COUT'D) that he has never in all his life made
a mis-statement? In other words, is there a man
here who can say in all honesty, that he never
told a lie. If so," I asked them, "will he
please raise his hand?"
(CROED UCISE UP LID DOWN)
There were a few sickly grins, gentlemen, and the
men glanced around at one another with some em-
barrassment. (PAUSE) But no hands were raised.
Then I said to them, "Is there a man here who
can truthfully say that he never in all his life
took anything that belonged to someone else? In
other words, is there a man here who has never
stolen anything in his lifetime? If so, will he
please raise his hand?" No one raised his hand,
ladies and gentlemen. And, as a newspaper re-
porter said in the paper the next day, "The Ro-
tarian hands remained clasped around Rotarian
knees."
(CROWD no:sa — LLUGHTTR — UP AND Down)
Now, ladies and gentlemen, I have every reason
to believe that if you were to answer honestly
and truthfully those same two questions, I'd find
that each one of you in your boyhood or girlhood
had been just as big liars and just as big thieves

as the boys that come to Starr Commonwealth.

SOUND:
STARR:

SOUND:

NARRATOR:

BOB:

(“A
f ‘3
or?
:r
.20

bill):

115
(MORE CROWD LAUGHTEH AND KURMURS)
But as I said to the Rotarians, I say to you:
"If you peeple have made good, then are you going
to deny this boy the privilege and opportunity
of developing into a desirable citizen?" Then
I told them how, some years ago, I had been in
the home of Frances B. Hillard, and how, on the
wall of her living room, was a large picture of
Christ. And at the top of the picture, in big
letters, were the words: "Neither Do I Condemn
Thee! Go Thy Way and Sin No More." And at the
bottom of the frame were the words of Frances E.
Willard: "Only the Golden Rule of Christ can

bring the Golden Age of Man." (PHUSE) If you
people here in this courtroom wish to cast stones
at this boy sitting in my car, do so. But I would
rather say to him, "Go thy way and sin no more."
(CROWD NOISS UP LED OUT)

With these words, Hr. Starr left the courtroom
and went out to his car. Bob turned to (kaE)
him and said:

Uncle Floyd, why did you tell the judge that it
was your fault?

Because I think that was true.

I - I've

No -- no, Uncle floyd. It is not true.

116
(CONT'D) just been making a fool of myself.
That's all.
Well, Bob, I'm not going to ar ue that point with
you. Terhaps I agree. But we have washed the
slate clean, and we'll start over. Now I think
we'll be on our way. The boys and the rest of

our family are waiting at the school for you.

(FLDE IN {ID UHDER - somewhat triumphant, but not

 

BUIRZUCPQR:

boisterous)

 

From this time on, Ir. Starr ceased to abide by
the regulations that had been imposed by the
educational authorities of albion. And Rob and
Uncle Floyd began working together. A year
rolled by, and in Spite of protests, Hr. Starr
sent Bob back to school in Albion. It the close
of the year Dob returned to live with his uncle.
Bob entered the high school of his own home town,
was on the honor roll every five weeks' period
but one, until he was graduated. he then entered
the University of Michigan and earned his bache~
lor's degree -- later his master's degree -- and
then his degree of doctor of philosophy. Today,
this boy whom Floyd Starr refused to think of as
a failure, a so-called "bad boy", is a professor

in one of Lmerica's leading universities -- a

117
NARRLTCR: (CONT'D) credit to himself, to Starr Common-
wealth and to his country. This has been the

story of Bob.

 

fithC: _(UF FELL - SEGUE TO TLLHE - OUT)
fiFNCR: You have just heard the third program in a series

of dramatic shows, designed to acouaint you with
the work of the Starr Commonwealth School for

boys at Albion, Iichigan.

1.11.510:

N AER; TOR:

ILQIC:

118

POINT OF RETTRN

mhis is a true story, taken from the files of the
Starr Commonwealth School for noys at ilbion,
nichigan —- a school for the homeless ard delin-
quent, founded by Floyd Starr.

(IthE - UT rULL - FLDE 'UDER - boldlcommanding)
This is the true story of Ted. This is not his
real name, of course. But it will serve. ( RU33)
Ted was an only child -- too small for his fif-
teen years -- small, nervous, intelligent -- and
overly-sensitive. He considered Harry Thompson,
a neighborhood toughie, his only real friend --

a friend that Ted looked up to and admired.
Coming from a deeply religious family, Ted had
been constantly eXposed to religion -- too much
so he thought, because eventually Ted rebelled.

(CUT)

 

"Y ! 73:) I
l‘dfnfilul" 1\

mr D. .

ij:

re'

17ft J»
l

iLL'Jt'.

o‘i'. 0

One Sunday afternoon as usual, Ted decided to

go and see Harry. As he got up to leaye, his
father rut down the Sunday paper (F DE) and said
to the boy----

There you going, son?
(TL-1LT) Just over to see Harry.

I thought you had some home-work to do for

tomorrow.

E1
f-
. .
.L—
I”
b
r
e-
O.

...—'3

1- m; y:\"‘ .
I; ill“; 0

’
*t
73
4

he
'—
or...
k
P11
c

f
O.

r t “r" J
2.41: o

Ffll‘hilsiz

HILL"; .

It’s all done. I did it last night while you
were at the prayer meeting.

That reminds me. I thought you were going to the
prayer meeting, too. You should have been there.
fie: said I could stay home.

You weren't home when we got Lac}, .ed.

(LCCLLSIIYSLY) I went over to H?"TY'9-

Kerry's, ah? liUuz) Ted, 1 don't want to keep

(1’
(I)
H

ling you about he 'zrry The:- mpson. You know the
reputat tie nhe's got. Your mothc:r and I ha a
repeatedly told you he's had company.

(’ufhlh") That's only what peepla say. He's

the only real yal I got, dad, and I ---
(IXT.RR’ITIBG) You na medn't ra is your voice, Ted.
(1303711) I'm not raising my voice. I'm rick

and ti red of being told what to do all the time

and what people any -a-

k3

ed! M

..-.a

.at‘s gotten into you. Raising yovr voice
at your father tha.t w? y You know I'm only trying
to help you.

( T 5.1212613; ) Al

F“,

right. So you're trying to help

I

ma. (HAIJIhG hlJ “3183) But only once in my

a

life I'd like to be able to make up ----
Chhh. Your mother's coming.

I

(TLDIHG ON) I was just looking for you, Ted. I

E-LOTE ‘ ER :

HCTHER:

MOTHER:
TED:

TED:

120
(CONT'D) thought you were in the back yard.
I was. What did you want me for.
Oh, I was just wondering if you were going to the
Young People's meeting tonight.
Mom, can't I please stay home from church for
one night?
Why, Ted. I thought you enjoyed attending the
services.
(PLTIEHTLY) I do, mother -- once in a while.
But not all the time.
But I don't understand.
Look, mom. Five days a week I go to school.
Saturday morning 1 have to get up at seven o'clock
to go and help dad clean the church. Then Sunday
morning it's Sunday School and the service after-
wards. And Sunday night it's the Young Peorle's
meeting with another service after that. I'd
like to have a little free time once in a while,
and maybe sleep in some Sunday morning for a
change.
No wonder you'd like to sleep in on Sunday --
getting in as late as you have these last few

Saturdays.

.(SARCASTICALLY) Yes, I suppose twelve o'clock is

pretty late. (PAUSE) OK, mom, I will go to

TED:

LOUHD:

ll .L.lLlir.Tqu:

“VD -
L 4L4 G

'__T ,h ‘rnr
hdhitl:

TED:

HfJUlY:

121

(OOKT'D) church tonight. But I'm warning you

(LIDE) it may be the last time.
(DOOR OIL S iYD OLOSES Off JILL)
Ted closed the door on two bewildered parents.
This was the first time he had rebelled against
his church activities. find his mother and father

just couldn't understand why. (F USE) Over at

Harry's house a few minutes later, Ted was
heatedly telling Harry (FADE) all about his
troubles.

I'm just sick and tired of the whole thing,
that's all. I can't go to the movies, or dance --
or even bowl.

Yeah, Ted, I guess ya got it pretty tough. But

ya gotta put your foot down, kid. Take me and
my old man. he ain't tellin' 33 what to do.
That's all right for you -- you're nineteen.
Look, kid, I was drinkin' 2223 with my old man
when I was rour age.
(OFF-BLED) Yeah.
Look, Ted, why don't ya come out tonight with me
and the gang?

New, 1 better not, Harry. I -- I promised mom
I'd go to church tonight.

Hmpf. I nights known.

TED:

HERRY:

HIRRYS
TLD:
liltliltff :
TED:
HARP. .. :
TLD:

HARRY:

122
Well, I can't help it, can I?
Sure you can. That's what I'm tellin' ya. Put
your foot down. (PAUSE) Come on, kid, why don't
ya lay off church for tonight and come with me.
The gang's been askin' more questions about ya --
wonderin' why ya don't come over once in a while.
Parson Barker they call ya.
Cut it out, will you, Harry.
Sorry, kid.
OK.
Ted?
Yeah?
Ya sure ya wouldn't like to go?
Sure I'd like to go, but you know ----
(INTERhUTTIUG) Oh. Look, one o' the guys got
himself a jalopy the other day. So we're goin'
out to Bass Lake tonight -- that is if everythin‘
goes all right.
What do you mean?
I mean —- we gotta get some gas.
Well, that shouldn't be hard to fix.
But we gotta have money, Ted, and -- ah -- maybe
you can help.
he?

Yeah. Look, you take the collection at the ~-

HARRY:

‘ED:

i ‘V Y if
infirilt

F-j
I?)
U

Iéxktfilf:

IIIAHH. .TOH:

MINISTER:

123
(UUNT'D) Young People's something-or-other,
don't ya?
Sure I do. (fiEGINHING TO UNDERSTIKD) But look
here, Harry, I'm not going ----
They won't miss it, Ted. And besides you said
you were sick an' tired of the whole mess.
Show 'em

here's your chance to get back at 'em.

who's boss. What d'ya say?
Well, I -—
Come on, Ted, be one o' the guys. You helped
swipe the beer last night, Ted.
Well -— I -- I suppose we could sorta - borrow
it for a while.
Sure, kid.

Well (PLUSE) OK. I'll do it -- but on one con-
dition. We've got to put back every cent.
Sure -- sure we will, Ted. Good boy, fella.

You're one of the gang now. (FIDE) Come on now,
let's go.

This was Ted's second taste of petty thievery.

He did take the money, and the whole gang went to
Bass Lake. But Monday evening, after dinner, the
minister paid a visit to (FADE) Ted Barker's home.
I'm very sorry to be coming over so early in the

evening, Mrs. Barker, but I'm here on urgent

124
MINIS ER: (CONT'D) business.
MOTLER: Oh —- well, just a minute, Revererd Logan -- I'll
call my husband.
JINISTEH: Thank you.
MOTHER: (‘LLLIHG Off MIKE) Hichael, would you come here

a minute, please?

FATHER: (OPE MIhE) What is it, Emma?

MOTHER: (CALLING OFF HIKE) Reverend Logan is here to
see you.

FATHER: (OFF HIIE) All right. Just a minute.

HOTHLR: (BULL ON MIKE) He'll be right in. He was help-

ing with the dishes. And he's finishing up.
M N STER: Thank you.
FATHER: (FHDING ON) Well, Reverend Logan. This is a
surprise. How are you, sir?

LINISTLR: Fine, thank you, Hr. Barker.

HOThLR: It's some urgent business, Michael.
b ThER: Oh?

filNlSTEn: Yes. And rather painful business. As you know,
Kr. and Mrs. Barker, your son, Ted, has charge

of taking care of the Young People's collection

money.
FAThER: Why, yes. He has for some time.

MINISTER: Yes. Well -- I just don't know quite how to say

it -- but it seems that last Sunday the entire

125

is
H
2,7
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U)
*3
[‘1
:3.)

(COHT'D) collection disappeared.

(N
*3
E3
EU

Disappeared?

HlNlSTEh: Yes. ind I'm sorry to say that all indications
seem to point to Ted.

kahBR: But that's impossible.

JINISTER: I thought so, too. But there is just simply no
other way the money could have disappeared. I
have thought of every possibility before coming
here.

FATHER: Well, we'd better ask Ted about this. (TO HHS.
BARKER) Go out in the back yard and get Ted in
here, Emma.

MOTHER: (ELDIHG) Yes, Michael. Right away.

FLTHEH: You're sure about this, Reverend Logan.

AINISTEL: Of course I can't be positive, Er. Darker. But
the only other people who handle the money are of
unimpeachable character. And besides -— I have
found out that Ted went to Bass Lake right after
the Young People's meeting with Harry Thompson
and some of his —- ah -- friends.

FATHER: (SLOVLY) I see. Just a minute. Here comes Ted
now.

MINIOTLH: Hello, Ted.

TLU: (ELDING ON) Did you want to see we, Dad. (TO

MINISTER) Ch, hello Reverend Logan.

1f) 71
.L

‘ ‘ n1 nu
I‘ llnflutz

FATHER:

TED:

TDD:

IINISTER:

126

Yes Ted. I do want to see you. The Reverend

’
here tells me that some money is missing from

the Young PeOple's collection. Do you know any-
thing about it, Ted?

honey? Missing? Of course I don't dad. How
would I know about it?

You handle the money, don't you?

Sure, but so do some other people.

You were seen out with Harry Thompson last night,
Ted.

OK. So I was. What about it?

I understand that the Thompson boy and his friends
aren't exactly good company, Ted.

(COCLY) That's some peoyle's opinion, Reverend
Logan. But my being out with the gang doesn't
mean I stole your money.

Very well, then, Ted. I'll take your word for

it. I've always thought you an upright and honest
boy. And I'm sure that if you knew anything

about this, you would tell me.

Thank you.

I hOpe you're telling the truth, son.

I don't see why 12E should doubt my word, dad, if
the minister doesn't. Excuse me. (ErDE) I have

some work to do in the back yard.

MINIS
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RARRY:

TLD:

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127
I'm very sorry about this whole thing, Kr. and
Mrs. Darker. It wasn't a great deal of money
to be sure. Just twelve dollars. But I would
like to get at the root of the matter.
Of course. And if there's any way I can help
you to find the one who did it, I'll be only
too glad to.
And I'm sure that Ted had nothing to do with it,
Reverend.
Of course not, Mrs. Darker. I am sure that Ted
is telling the truth.
Vhen the minister had gone, Ted left his work in
the yard and immediately went over to see Harry.
Harry was lying on the grass in the front yard.
Ted was just finishing (FADE) his story.
Harry, I'm - I'm a little worried about it.
Thatta ya got to be worried about? Ya got out
of it, didn't ya? An' I'm proud of ya, kid.
It shows you're one of us, an' ya got what it
takes.
Kaybe so. But I'd still feel a lot better if I
told my parents about it, Harry.
Don't be crazy, Ted. You're talkin' like a loon.
You had a good time at the lake, didn't ya?

Yeah.

non-

lbdiRY:

::U;;..Ic:

12?

OK, then. An' we're goin' to have a lot more fun,

kid. But I guess maybe we ourhta lay low for a

while. Let this thing cool off.

Yeah -- I -- I guess you're right.

I know I am, kid. 80 don't you worry. Everythin's

gonna be all right.

(EID’ Iii!) J UNDER - scmfimn‘L_deliber?tmg, slow)
And for the time being everything Egg all right.
For several months Harry and Ted dig -- lay low.
They both attended meetings with the gang. But
neither one of them tried any more schemes for
getting money.

(OUT)

 

NARRLTOR:

HARRY:

TED:
HARRY:

TED:
H [a RRY :

Then one night Harry called Ted on the phone

and asked him to come over. Ted left his un-
finished school work on his desk and went over
immediately. He met Harry on the front porch
(FADE) of the Thompson home.

I called you up, Ted, to tell ya that the gang's
gettin' a little peeved about us not supplyin'
any dough for the organization.

But they know about the other deal.

I know, kid, but they warned me tonight.

What did they say?

Remember the jalopy we been usin' to get around in.

HfdfliY:

TLD:

hARRY:

TED:

hrr'.RI‘(. 3

TED:

HARRY:

TDD:

H f-LRIZLY 2

TED:

hAhRY:

129
Yeah.
Well, one o' the guys rammed into a tree last
night and smashed the front end pretty bad.
Gee —- that -— that's too bad.
Yeah. It gg too bad. And E2 gotta d9 somethin'
about it.
How do you mean?
The guys voted you an' me to get the money to
have it fixed.
But we haven't any money ---
( HTERRUPTING) I know -- 1 know. Look, kid.
You know where that Reverend of yours keeps his
money, don't you?
Sure, in a drawer in his desk -- Oh, no you don't,
Harry --
Just a minute, kid. You wouldn't like to have
your old man find out about the other job, would
you?
You wouldn't do that, Harry?
Oh, wouldn't I? Look, Ted, we gotta get the
money -- and tonight. And I wouldn't wanna have
to say a few things to your old man, kid.
I -- I --
Ya can't lose, Ted. Nobody found about it last
time. Vho's to know? How about it? (PAUSE)

CK, kid?

TED:

HARRY:

'l‘ L'} o
kriJ. lbYO

MUSIC:

130
(AIR OF FINALITY) I'll -- I guess there's
nothing else I can do.
Good boy. 23E —- to make ya feel better, we'll
both do it. What time is it?
It's (PLUSH) nine o'clock.
OK. You go home now an' meet me in front 0' the
minister's house at two o'clock. T at should be
late enough.
OK, Harry. I'll - I'll be there.
(FADE IN AND UNDER - off—beat, slightly discord-
ant, slow)
Ted went home and tried to finish his school
Hut it was no use.

work. He went to bed, but

he couldn't sleep. He watched the clock slowly
move around to one-thirty----

(OUT)

 

NERRATOR:

----Then, he got up, dressed and quietly left
the house. Harry was waiting for him when he
arrived at the (FADE) minister's home.
(HLISPERIHG) Did ya get out without being seen?
(HHISTEHIHG THROUGHOUT) Yeah, I guess so.
CK. I've been lookin' the place over. Which
one 0' those windows is near the desk?
The one by that big tree.

Good. The branches will hide us from the street.

 

IARHY:

131

(COHT'D) That blasted moon would be shinin',

too. Aw, but the tree'll give us enough cover.

Now when we get to the window, I'll raise you up

so ya can get in. Come on. (TAUSE) Keep in

the shadow as much as you can. (PAUS ) Walk

around the other side of the tree. (PAUSE)

Here we are.

There. Put your foot in my hand,

and I'll heave ya up. (SLIGHT GRUHTIHG SOUND)

OK now. Open the window.
SOUND: (LIUDOH OTBFING - SLIGHT SCRAPE OF BODY)

 

IT/;I(E{{_lf{lfi:

(LOW, OTIETLY) Ted crawled through the window
and stood on the floor —- silent-for a moment.
Then he slowly walked over to the desk and

quietly pulled out a drawer.

 

LOUHD: (DRAWER SOFTLY OPENING)
HARRATOR: He felt around

a DO ND:

NARRATOH:

and his hand hit the metal box

that contained the money. He opened it and

pulled out the cloth sack inside. Then he closed

the drawer .....
(DRAWER SOFTLT CLOSING)

----and walked back to the window. He shoved
himself through and fell to the ground.

(SOFT THUD)

 

Harry lifted him up again to close the window.

(WINDOU CLOSING)

132

R! (MhISEEhIIG) Good boy, Ted. Now let's (ELDE)

O.

:3

HA
get outta here.

MafiRnTUR

Seemingly the whole plan went off well -- until

the next morning, Saturday. Before Ted got up

to help his father clean the church, the minister

paid another visit to the Barkers. This time he

wasted (FADE) no preliminaries.

EINISTEz: So you see I know it was Ted this tine. I watched
him throughout the entire procedure. With the
moon shining through the Open window, there was
no mistaking the fact that Ted was the boy.

JOThBh: But it can't be -- not my boy.

hAThER: There, there, now, mother. We -- we can't let
ourselves get completely upset over it. (TO
HINISTEE) What should we do, Reverend. We ~-
we can't go to the police.

MINESIERI I don't want to do that any more than you do,

Mr. Barker. But obviously something must be done.
If we went to the police, Ted would probably end
up in a reform school. And sometimes the atmos—
phere of a reform school is not exactly to be
desired. And it certainly wouldn't help Ted's
reputation any.

FhTLEfi: But what else is there left to do?

.1 A ”(WMT‘

“Idluiuflz I think I might have a solution. Are you

MINISTER:

HOTHER:

FATHER:

HINIQTEL

'T ‘.T“'ffm
.(II (1.1.x) 4.113-»:

133
(COUT'D) aCQuainted at all with the Starr
Commonwealth School for Boys?
Why, yes -- I - I believe that's the school
that sends out Christmas seals every year, isn't
it?
Yes, to help pay the cost of running the school.
In fact I understand the seals are a major source
of their income.
But it's still a reform school.
No, Hr. Barker. It is a re-directional school,
with no bars or bolts or militaristic discipline
that characterizes so many schools for delin-
quent and homeless boys. I happen to know Mr.
Starr and of his work. And I think the school
would be the best place for Ted. It will provide
a home-like atmosphere where he will learn to
respect the rights of others.
I see. (PAUSE - TO MRS. nthhfi) Emma, what do
you think?
I — I don't see any other way out. If the Rev-
erend recommends the school, I - I'm sure Ted
would be well taken care of.
Of course I can't promise that Ted will be able
to enroll in Starr Commonwealth. The school

receives hundreds of requests a year they cannot

MINISTER:

LULIC:

III-'LiihhTQh :

X‘SIC:

13h
(CONT'D) fill. But I will do the best I can.
(FADE 1N LID UZJDER - off-heat, expectant)
Lfter the minister talked to Ted's parents, the
boy was called downstairs. And after the minis-
ter talked to him, Ted confessed the whole thing.
Then, realizing that Ted was not alone in the
theft, Reverend Logan decided that the police
must be notified, because this was not the work
of an individual boy, but of a gang, a gang with
Ted Barker and harry Thompson as members.

(OUT)

 

NARRATGI’J

QTA
TED

Ra:

The court was lenient with Ted, however, and he
was sent to Starr Commonwealth. As soon as he
arrived at the school, Ted was given a physical
examination and intelligence and personality
tests. Khen these were over, he was sent in to
(FhDZ) see Mr. dtarr.

Come in, my boy. And how are you feeling?

Lll right.

Good. I'm glad to hear it. hell, Ted, I'm
sorry I didn't have much time to talk to you
when you first came, but perhaps we can talk a
little more now. Hhat do you think of the school
now that you've had more of a chance to see it?

It -- it's very nice. It's - not quite what I

11.1

.L

hh:

STERR:

135
(CONT'D) expected to see.
Most people are surprised when they see the school,
Ted. It seems they eXpect all kinds of big brick
buildings surrounded by an iron fence, instead of
the home-like cottages that we have. You're
staying at Newton hall, aren't you?
Yes, sir.
hell, we have a fine bunch of boys there, Ted.
You will, of course, find things strange for a
while. But after you get to know the boys and
our daily routine, I'm sure you'll be in the
swing of things in no time. He like to think
of Starr Commonwe 1th as a big family, Ted, and
of each of our boys as a welcome and useful mem-
ber. Your mother told me that you were quite
active in church activities.
I - I thought she'd tell you that.
Why —— what do you mean, Ted?
hell -- Hr. Starr, I've been going to church
ever since I can remember -- whether I wanted to
or not -- and I - I —-
Yes?
Well -- I thouyht that if I came here, I might
get away from it for a while.

But religious training is necessary, my boy.

(\
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TREK:

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13o
(CONT' ) Spiritual development is equally as
important as physical, mental and moral develop-
ment.
I know that, Mr. starr. But when you get reli-
gion thrown at you from all directions, a fellow
gets pretty fed up on it. Why —- I couldn't
even go to the movies or go dancing -- or even
go bowling.
I see. (TLUCE)

(FADE IN RFD UNLEh - low, tranquil, slow)

 

STLHR:

Ted -- you have been exposed to a certain kigd
of religion -- and perhaps you feel that it makes
too many demands of its members. That may or
may not be true. But every religion has its own
principles that serre as a guide for those who
are members 9f that religion. We, here at Starr
Commonwealth, have our principles, too. Of course
they may not be as strict as the ones that you
have been exposed to. But that is necessary
since we are an un-denominational and non-sec-
tarian school. We have church services here
every Sunday, and all the boys are asked to
attend. But we try to make the services a
pleasant experience.

Oh, I don't mind going to church, Mr. Starr.

”1"“.
1.141.).
STAR}:
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ibd.
0"“ J").
L31. . ILLLO
rvr‘r
11.31.).

STARR:

TED:

STARR:

HUJIC:

137
(COJT'D) It's just that I'd like to be able to
decide for myself about religion instead of
having someone tell me what to think.
hell, my boy, you will be given every opportun-
ity in that respect as any of our boys will tell
you.
Mr. Starr ---
Yes?
I - I was talking to one of the toys at the cot-
tage, and he mentioned something about a choir.
Yes, indeed, Ted. We have a very fine choir of
which I am very proud.

Well -- I was wondering -- You see, we didn't

have a Eggl choir at our church, and I've

always liked to sing and -- well, I thought that
maybe I -- that is --

Of course, my boy. You would like to sing in
the choir?

Yes, sir.

Fine. We'll make arrangements for you to talk
to the choir—master. In fact, we'll do that
right now.

(LP ANT UNDER)

 

NAHHATCR

And it was done. Ted had an audition with the

choir-master, and was assigned to work with the

RUSIC:

NARRATLR:

KUSIC:

NARRLTCR:

HSHTHR:

S T ARR :

KSMTHR:

138
(CONT'D) choir as part of his extra-curricu-

m

lar activities. l0 Hr. Starr this seemed like
an amazing beginning for Ted's re-direction---
(SEGUE TO THOUhLLD ILSIC - off—beat, low)
--——But trouble was soon to come. About a week
after Ted's entrance to Starr Commonwealth, he
was seen to be more and more in the company of
the so-called "leader" of the cottage. Hank was
a big, aggressive boy, also quite new to the
school. He imposed his leadership on the other
boys by bullying and threats.

(OUT)

Ted's house mother noticed Ted's association
with Hank, and brought it to the (FRDE) atten-
tion of Mr. Starr:

Kr. Starr, I've tried my best to warn Ted about
being in Hank's company. Before long the boys
are bound to acquire a dislike for Ted purely
on this basis.

I see. And that, of course, would have a
definite, adverse effect on Ted. We must do
something about this.

The association between the two wouldn't be so
bad in itself, but I have noticed that the two

of them have lately been talking together in

STEELE:
HSMTiR:

STERR:

'1TC‘TI‘ (r117 r
“UNIILR:

I’MI’ZRATQR :

139

(CONT'D) guarded tones. And they stop talking
as soon as anyone approaches them.
These are not merely suspicions?
No, sir.
(FONDERIUG)

Hmmm. Then, obviously, they both

are up to something. I think the best thing to
do is to have Ted sent in to see me immediately.
Yes, Mr. Starr. I'll (ELDE) get him right away.
30 Ted was called in. He left his work at the
dairy barn and went up to see Mr. Starr (FADE)
right away.

Come in, Ted.

 

Won't you sit down, please.

count: ( eta CLOSING)
STARR:
TJBD: Yes}, Sir.

F3

1??
C}

1‘ [T1 .4, I I ' o
L) l {ka11 .

Ted, your housemother has reported to me that
you and Hank have been seen together a little
too much for your own good.

I — I don't see why she said that. I'm just a
good friend of his, that's all.

Perhaps. But ever since Hank has been here, Ted,
he has been a somewhat difficult boy. he is, of
course, not entirely to blame for his actions.

We will probably have a difficult time in trying
to show him that his aggressiveness is not good
But it will take

for him. And that we can do.

time. However, in the meantime, we can be

r1" 'Y‘
AHIJ.

IQ

LP
F:3

mm 1D .
LLJ o

LTLRL

"
:11-
.AL .L O

lhO
(CONT'D) greatly helped if we have the complete
co-operation of all the boys in the cottage --
including you, Ted.
The other fellows won't haye anything to do with
llinl.
But is that the boys' fault, Ted? Isn't it partly
Hank's, too?
Well ~--
I can understand why you should sympathize with
him, Ted. You figure that it is your duty not
to shun him -- to show him that he does have
friends. But I am wondering if perhaps you have
let your kindness go a little too far.
I don't know what you mean, Uncle Floyd.
I mean, Ted, that there have been some indica-
tions that you and Hank might be up to something.
That's not so, Mr. Starr. Vho told you that?
It is immaterial who told me. (lives) I want a

definite answer, Ted. Are you or are you not
planning something with Bank?

No, sir. Hank and I are just good friends. And
that's all.

We have had situations like this before, Ted. And

most of them we have managed to nip in the bud.

You are definite in your answer?

*3

U‘IC'
;. ‘1‘ . O

1&1
As I told you before, Hr. Starr, hank and l are
just good friends.

(FLDE IN I‘D UNDER - off—beat, troubled)

 

hnHlUffeH:

LUSIC:

Getting nothing more out of him, Ir. Starr ended
his talk with Ted. for the next few days Ted and
hank kept away from each other. Then something
happened that brought the whole situation to a
head.

(CtT)

 

'—

7. I )7,— Im, T).
111.Ftll.:zl. VII. o
T.‘-" '\ ‘
\Ulbbi

C‘Ifl T- ‘1

LI iJI-ItIL:

VOICE:

L3 '1‘th :

VCICE:

z“ r

'1 I" ‘ '3 o
u ruin.

VOICE:

Late one evening, Hr. Starr was interrupted in
his study by a (FLUE) telephone call.

(UN EILTEE) Hr. Starr?

Yes?

This is Doctor bricker at the dispensary. Some-
thing awful has happened.

What is it, doctor?

hank hishoy stole your car a short while ago and
crashed into an embankment just off the school
grounts. He managed to get the car by slugging
your driver who was locking up the car for the
night.

Yes, yes. But the boys. Are they all right?
The driver just has a nasty bump on the head.
But I'm afraid that hank is very seriously in-

jured. I have just made arrangements for him to

VOICE:

\',:-~‘_.r~1,r ~
llxafliu;l uh:

C" F" T7)
U11.Rl :

mv-Tw
1. up:

ST .-m-c :

142
(CUhT'D) be sent to the hlbion hospital im-
mediately.
Good. Do everything you can for the boy. I'll
be right down.
(ELTLCILIYIJR 131:1.'II)
Starr hastily threw on his coat and headed for
the front door. he had no sooner opened the
door, when he stood face to face with Ted Barker.
(fiDE IH LED thbhh — agitatedl slowly mounting in
intensity)
(HlLf—JUBBIIG) Uncle Floyd. The housemother just
woke us up and told us about Hank. And I knew
it all along, sir. I know I should haxe told you.
What do you mean, Ted?
I knew he was going to take the car, but I couldn't
tell you the other day when you asked me. he
threatened me, anle floyd. he said he's beat
me up if I told. I kept talking to him, trying
to change his mind, but he wouldn't.
You should have told me that before, Ted. he
could have prevented the whole thing. Now the
boy is seriously hurt. But we must not waste
time. Go back to the cottage and stay there. I
(FADE) must go to hank at once.

Starr wasted no time in getting to the dispensary.

143

N!F”1an. (CC”T'D) When he arrived, the attendants were
putting Rank in the ambulance. Then the doctor
and Mr. Starr climbed in beside Rank, and the
ambulance headed for the Albion hospital at full
speed.

HCIIC: (OUT)

NARRATLL: The next morning, after breakfast, Ir. Jtarr
ordered the entire school to assemble in the
gymnasium. Everyone knew it must be about Hank.
The entire room was hushed when Starr came in

(fth) to talk to them.

(q
.0

STA Ri As you all know, one of our boys had a terrible
accident last night, an accident which could
easily have been prevented. It is true that
hank Bishop has not been able to make the proper
adjustment since his arrival here at Starr Com-
monwealth. We cannot lay the blame on any egg
shoulder for that. But this is no time to talk
about mistakes. hank is in the hospital -- very
near death. I received a telephone call from
the doctor only a half hour ago. And he holds no
hope for Hank's recovery.

SIUEI): (LRHLI’R LU“ U'U 131) (UT)

(“
L.

t.-J

B'RR: It is in moments like this, that the human being

is in so great a need for spiritual comfort,

m 1" ‘7
J. hldu 2

14a
(CONT' ) guidance and help. That is why I have
asked that the entire school be assembled here.
We are here to pray for the life of Hank Bishop.

(PAUSE) I now ask that Ted Barker lead us in

 

 

(FALSE) Our Heavenly Father. It is with heavy
hearts that we ask You, O Lord, in this moment of
sorrow, to Spare the life of Hank Bishop. He

has made some mistakes, mistakes the like of
which we all have made. But we ask that You
forgive him, Lord, for what he has done. We

know that if it is Your Will, Lord, that (FADE

TO CUT) Hank should die, then let Thy Will be

prayer.
SOUND: (JURTUR UP LJUD RAD OUT)
TLD:

done. But we pray, Lord —-——
HUSIC:

(FIDB IN th UNDER - somber, dignified,;slow)

 

T‘JJ'LRRILTUR :

MUSIC:

When the prayer was over, the boys silently went
back to their cottages. Each night for the next
three nights, the entire school prayed for Hank's
life -----

(SRGUE TO LIGIT EUSIC - happy but not boisterous)

 

['3 RECEPTOR:

—---And on the fourth ay, the prayers were
answered. Hank would get better. Soon after, a
remarkable change came over Ted. He indulged

more and more in the church activities of Starr

1A5
NARRATUR: (CONT'D) Commonwealth. He taught Sunday School,
still sang in the choir and held special classes
in Bible teaching. And when Ted left Starr
Commonwealth, he continued his religious work.
He enrolled in a seminary and was later ordained
into the ministry. low, married and the father
of two children, Reverend Ted Barker has his own
church in his own home town - a credit to him-
self, to Starr Commonwealth and to his community.
This has been the true story of a boy we've called
Ted Barker -- living proof of Ployd Starr's

philosophy that "There is no such thing as a bad

 

boy."
LUSIC: (UP PULL - SBCJR TO TRJHE - OUT)
LNNCR: You have just heard the fourth program in a series

of dramatic shows, designed to acquaint you with
the work of the Starr Commonwealth school for Boys

at Albion, Michigan.

RNUCH:

LUSIC:

NARRATQR:

-v‘\~. '11
”bulb:

NARRATUR:

Y‘Dl)\l’ .
J AL;LJ-O
4,1‘ 0

l rial

A

w-a .~ r
J‘ ‘1-< ‘- ‘
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F

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‘ILKJiIA O

140

UNUALITL‘D

This is a true story, taken from the files of
the Starr Commonwealth School for Boys at AlbiOn,
hichigan -— a school for the homeless and delin-
quent, founded by Floyd Starr.

(TEJEE IN PULL - UUDER — bold, commanding)

This is the story of Jerry. This is not his real
name, of course. But he is a real boy -- or

rather, a man now. Jerry, like many boys who

come to Starr Commonwealth, was a very active
lad who was always looking for something better.

He was ashamed of his shabby home, his mother
who wasn't too careful about her house-keeping,
and of his father who worked -- sometimes.
(OUT)

ArriVing home from school one night, several
hours late as usual, Jerry greeted his mother
(PLDE) in the kitchen.
(UUEJTHUSILQTICALLY)

(SnLnPLE) Tell, Jerry. Late as usual I see.

Seems like a boy of sixteen would have enough
sense to get home on time for a change.

And why should IT Does dad ever get home on
time for supper?

You don't have to do what your father does.

1 EM

1 . \Tif‘
i‘Lb’L'l

JER

J Eh

'r‘~ _.
ilk/1';

32V -
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hYZ

JER”

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LLU.‘

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lLJ.‘

J ERRY :

lh7
(CCNT'D) Heaven help you if you do. He's
probably drinkin' beer with some of his -—
friends again.
Seems like he might buy something for the house
instead of spending money on that stuff.
Hmpf. That'll be a cold day.
(QNIFEING) Don't tell me we've got fried cab-
bage and boiled potatoes again.
Don't you like it?
We've only had it three times this week.
Well, there ain't any money to get fancy on food.
Yeah .
Get yourself washed for supper.
I'm not stayin' for supper.
And why not?
(VOICE RISING) I said I'm not stayin' for sup-

per and —--—

 

SOUND: (DOOR OIEIIS AND CLOSE?) OH" I'Ilhlfi)

I05: (LO¥) Hush up. That must be your father.
JERRY: or, 0:.

thhEK: (FADING OH) 'Lo, ma —— Jerry.

MUM: Hhere've ya been?

FRTREP: (TIRED) Just had a couple with the boys.
HCM: Every night this week.

bell, a man's got a right to some once in a while,

ain't he?

fl; "1‘!
1‘ ATLQLI:

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FATHLR:

JaRkY:

148
9&3; in a while! It wouldn't be so bad if it
was. But every night, every night. When do I
have some time for myself?
You can take time if you wanna.
Yes. And let the house go.
House don't look like you're killin' yourself.
Well, what d'ya expect. I got nothin' to clean
with. Look at the sink there. I can't even
pour water down the drain without it leakin'
over everything. But you can buy an outboard
motor, can't ya? Why don't you use some 0' that
money on food for a change.
What's the matter with the food?
Ask your son. Even he's complainin' about it.
(SHARILY) Is that right, Jerry?
Aw, leave me alone. I'm sick of gettin' in your

arguments.

FAThzd: I said, is that right?

JbRRY I said leave me alone -- will ya?

FAThnR: (ANGRILY) Oh -- leave ya alone, will I? Well,
I‘ll show you ----

SOUND° (HITS JERRY ON THE FACE - SILLKCE)

 

(SLCNLY) You shouldn't have done that. You've
hit me just once too often.

Jerry ---

. , r .
AHUL‘l o

\

SOUND:

149

he's gettin' too big

Let the young whelp go.
for his pants anyway.
Where ya goin', Jerry?

(DOCR CELLS)

 

 

 

Jade: (DEE HIKE) I'm going to see Kary. She's the only
one I can talk to.

QOUHD: (DOOR SLAHS SHUT)

NARRAFOR: Jerry did go to see his girl friend, Eary, kick-
ing stones and rocks on his way, trying to get
rid of his pent-up emotions. It was a fifteen
minute walk to Mary's. And by that time Jerry
had cooled (FADE) down a little.

:UU D: (h -uk CN UCCF - DLuR 0: HS)

'IKY: why, Jerry.

J Ell/51' :
MgnY:
JLRLLI 1
DIARY 3
Juth:

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lufkfil:

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Hi, nary.

It's a little early, isn‘t it?

I couldn't stay around the house.
Hell --- have you eaten dinner yet?
l-Jo .
(DCLK-CAJI) Ch -- and we've just finished.
(BdIGhILY) But I could fix you up a little
snack in no time if you'd ----

(IHTERnUIIIHC) Ho -- ho, thanks, Mary. I'm not
hungrY-

Xaybe when the show's over, you'll feel like

ith-Y:
Jnan:

r ' ' {j .
L'AbL‘blLY o

‘

Jzkki:

JERRY:

(‘ , v~:g ' y;
N) 4", ~4_stf\

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l-L21gtif :

150
(UCAH'D) eating.

(DISGCSTIDLY) Yeah -- the show.

 

Why, what's the matter, Jerry?

Oh, I'm just sick of going to the movies all
the time, that's all.

But I'm satisfied, Jerry. Besides it's inex-
pensive.

Yeah, that's just what I mean. If I had a car
or a little extra money once in a while, we could
do s mething different for a change.

(E HInG CH) day -- what's this I hear about "a
little extra morey once in a while?"

(Lhfili 5.0 CCCL) Never mind, Squeak. It's
nothing inportant. And besides, it's between
Jerry and me.

flow is that a nice way for a sister to talk?

Ya know I got both your interests at heart, sis.
Your only interest is in Jake's poolroom. (TO
JERkY) Excuse me a minute, Jerry. I have to
help men (EAQL) with the dishes.

Guess I'll go and help her, Squeak.

Just a minute, Jerry. fnat's a woman's work.
That's all they got to do, ain't it?
(AUIBLES) Yeah, I guess so.

So you're not satisfied with your pocketbook,

O qUEhA:

JEfiL-‘LY:

5%

('4

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3 $51.7 ELK

...,
Jib

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JEth:

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SQUEAK:

JERdY:

Q nIULDrJX:

15l
(CCKF'D) eh Jerry?
It's not for me, it's for Iary.
Yeah. (raven) Say -- ah -— Jerry. Would ya
like t'get a little extra cash?
(ANDICIIeIIH?) I'm not going to do anything
crooked, Squeak -— if that's what you mean.
(THREETZNIKG) Now lookit here, Jerry boy.
Don't try that lily white stuff with me. You've
helped me in a few things before, y'know.
All right. So I have. Eut that was kid stuff.
(BHUJHIRG II CFr) Yeah, I know. Stealin' pop,
candy 'n beer 'n stuff. Ch. 50 that was kid
stuff. (ELLE AUD Lngd) but this time I got a
good deal, Jerry.
(UNinthSIAoTlC) Yeah?
Fifty bucks a piece, Jerry.
No, Squeak.
It might mean somethiné else besides double
features for you 'n fiery, kid.
Look, Squeak. Don't start workin' on me, you
hear?
Some new clothes, too, Jerry. Eight even be able
to eat out for a change. (FAUTE) What d'ya say,
Jerry? (FAUSL) It's a fool proof job, kid.

Fifty bucks for each of us, you say?

152

Sabina: Yeah. And there might be more.

JLRnI: what's the job?

Q%bbhfi: know Cld Jake who runs the poolroom up on Kain?
JLKKY: Yeah?

biUnsK: Hell, look, see. Jake's got some hot stuff in

the back room —- left for safe keeping by a ——
friend of his.

JJRJY: What kind of stuff?

iglEfiK: -h, cameras, a few rings 'n stuff.
JIRAY: Yeah, go on.
Lglh E: Tell, Jake wants me to get a car and take the

stuff to one of the towns near here.

JIRIY: Doesn't sound like much to it. Put where's the
car?

JQULLn: (GEE-h LL) Chhh -- we'll just pick one up.

JudnY: You nean, steal it?

Subbkk: Look. There ain't no harm in borrowin' a car for

a couple of hours and then leavin' it outside 0'

town, is there?

Jnde: Do you think it'll work?
Seiflmh: I know it will. Come on, kid. he'll no there
now.

JERnY: Wait'll I tell Kary I'm going.
SELEAK: Come on, kid. You know she'll ask all kinds of

questions. Hurry up. he ain't got a minute

153
( OTT'D) (FADE) to lose.
(FADE IN £70 UIDER — expectant, off-beat, deep
tones)
Jerry and Squeek hopped a bus and went over to
the North side. Jake's Poclroom was in the South
end. But Squeak thought it better to get the car
as far from Jake's as possible. They walked
down the parking areas of two streets in the
business district before they found a car with
the keys Still inside. With Squeak at the wheel,
they hurried away with the stolen car without
being noticed. Within a matter of minutes they
pulled up in an alley next to Jake's Poolroom.
Jake greeted them (FADE) ----

(OUT)

 

J“
H
A.J

l

R“

liY:

' o
L.) a

S;UEAK:

-—-- at the side door.

Hello, Squeak. What's he doin' here?

A friend of mine, Jake. (TO JERRY) Jerry, this
is Jake.

Hi, Jake.

He helpin' ya?

Yeah, Jake. Thought it'd be a little safer and
faster with two of us.

Ya sure he's all right?

I wouldn't a brought him along if I didn't would.I?

 

 

 

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OK. OK. Just wanna make sure. Whose car did

‘et?

‘<
0)
(n

we -- ah -- picked one up.

What d'ya mean, picked one up? Ya got a hot car?
Look, Jake. I didn't hear ya tell me how to
get a car.

But I didn't mean to steal one, ya stoop. I
ain't gonna have nothin' t'do with a hot car.
You're talkin' funny, Jake. There's a difference
in hot goods and a hot car?

OK. So maybe there ain't a difference. But ya
can't hide a stolen car in a suit case, Squeak.
OK, so we'll get rid o' the car. Get somebody
else to take care of your stuff.

Just a minute. I gotta get rid o' the stuff.
There's been a cop comin' in here every day.

An' he's doin' too much snoopin'.

That's what ya get for gettin' caught with some
hot stuff in here last year.

Shut up. I paid for that. Just a minute. Let
me think. (PRUSE) Anybody see ya take the car?
No, Jake.

Ya sure?

Look, Jake. (dlenST CALL ) He didn't stand

around waitin' t'ask somebody if they did see us.

oibnhh:

MUSIC:

NARRATOR:

C 'L'

155
(TO JERRY) Heh, you. What about you. Anybody
see ya take it?
No, Jake -- not --- not that I know of.
Look, Jake. Time's a-wastin'. D'ya want us to
take it or don't ya?
OK, 03. It's all back there in three suitcases.
Come on, Jerry.
CK, Squeak.
Just a minute. I think ya better take one o'
the side roads out to the highway. Ya can keep
away from the state c0ps that way. And remember.
You'd better not say a word about fie if ya get
caught. You know that, don't ya, Squeak?
Yeah, yeah. Come on, Jerry. he ain't got a
(FA‘E) minute to lose.
(FADE IN AND USHER - same as preceding)
Jerry and Squeak loaded the stuff in the car and
headed toward one of the nearby towns, taking
a dirt road that lead out to the highway. In
the meantime the owner of the stolen car notified
the police of the theft. A call was immediately
sent out to the state and local police. Two
state policenen, cruising on the highway, have
just heard the (ngE) announcement.

(CUT — LLJUE TO ---- )

ILLICE

IcLICE

156
(GAR M‘TCR IN AND UNDLR)
Aw, that's all we've been getting for the last
runaway kids and stolen cars.

couple of days —-

Yeah. Wonder who got the urge this time -—

probably a couple of young punks with nothing
else to do.
Well, I won't bet with you on that. Wouldn't

want to lose my money. Seems like a lotta kids
have been ste~ling cars lately.
Yeah. But I don't think you can blame the kids
so much. If families would stick together like
they used to ---

Look at that car coming out of
Looks like thct might be the car.

look at the

 

In a minute,

That's it, Joe. That's

PQLICE : hold it a minute.
that side road.

IULICL : Speed up a little so we can get a
license number -—--

SOUND: (JCT-R SFELD UP SLIGHTLY)

POLICE : ---— Can't quite make it out yet.
though. (FA 53) Yep.
the car.

a a

acu-

OK, here we go.

’- any-1 r‘ T)
. {U L LII-l.

SORWH) I? UITHHCR)

They're getting up speed. They must know we'ye

'em.

spotted

Put the siren on. he'll catch up to 'em and

157
FCLICh l: (CCNT'D) edge 'em to the road.
D: (dlhnd UP)
POLICE 2: I don't suppose they've got a gun, Joe. They'd

have been using it by now.

chICE 1: It does look like a couple young kids.

ICLICE 2: Yeah. 3 art edgin' over to the side. (VOICE CEE
AZD RISING) CK, you guys. Full it over. (BiCK
CE) They're pullin' over, Joe. Get up in front
of hem.

ICU.£: (CLd qui) ALB UCCJ CEETS — ZIRIH LUT)

 

PCLICE 2: Ch, boys. Get out 0' there. Both out this side.

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iCLICh 2: Frisk 'em for weapons, Joe.

I, ' 1 7— V II“ 1' I ‘ '1". ,—‘ ‘ '-. fi 1' ' ’:
JULIUU: (gnarl In“; bl‘ AJL‘JIJJ guru.) I‘LLLI‘iKJ)

PULICE 1: No, nothing here.

SWUEAK: Yeah. Disappointed, ain't ya?

JLRRY: Seueak I told 'a we shouldn't have ---
l ,

SQLEAE: Shut.up, Jerry.

POLICE 1: Oh, a wise guy, eh. And a tough talker, too, eh,

‘ "V. ‘1

toughie. (Titan) 52y, by the looks of the suit-

! '23

cases, you planned on quite a trip, didn t you.
Well, maybe we can arrange that for you, toughie.
But you won't need much luggage where you're goin'.

ECLICE : Three suitcases, eh? flell, mijht as well take

 

 

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159
NARRATOR: (CCNT'D) the Starr Commonwealth School for
Boys, a move which orened up a new world to him.

KUiIC: (OUT)

 

hLRhJTCh: On the day that Jerry was sent to Ctarr Common-
wealth, a probate judge from Detroit was visit-
ing the school. After looking around the grounds,
he sat talking with Hr. Starr in (FACE) his
office.

JJudE: I can't believe it, 3r. Starr. I can't believe

that such a beautiful re-directional school like

this could come about in a man's life time.

QTAER: Well, it was hard work, Judge Berkley. But with-
out the help of a great many souls who shared my
interest in re—shaping boys' lives, the school
would never have been possible.

JUDGE: I understand you started the school after your
graduation from college in 1912.

STARR: Yes. And it seems like only a short time ago.
But those years have been filled with a great
treasure that I value above anything else.

JUDGE: find to think you started all this with a few
acres, an old barn and two boys who needed a
home.

argue: (LlGnTLY) hell, I'm afraid I didn't provide a

very good home for the first two boys.

a

as
c
[1:
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A
.-

160
How's that, Mr. Starr?
Well, as you know, the only building we had was
a barn. So the three of us slept in the hayloft
until Gladsome Cottage was built.
That was the first cottage built, then?
Yes, and it still remains as my home today.
Well, you've got a few more cottages to your
credit today, Ar. btarr -— eleven of the finest
buildings that anyone would be proud to call a
home.
But a great deal of the credit goes to the boys
themselxes and to our social workers. They've
all had a part in getting the things we needed:
a school and manual arts building, a gymnasium
and -- a chapel -- for which I've dreamed a
great number of years.
You'd haxe to have a lot of co-operation, Kr.
Starr, to take care of plantin: and harvesting
of your thousand acres of farmland.
Not to mention our herd of Holsteins, the dairy,
and our chickens.
Trying to do that with one hundred and sixty
five boys of all ages, and at the same time re-
directing them seems like an impossible job.

Not if they're all good boys, judge. And there

 

 

STLRR:

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STARR:

Jmittl:

lbl

(CULT'D) is g9 such thing as a bad boy, you

know. I incorporated that bit of philosophy in

my creed of 1912. And it's been my guide ever

since.
L”D CLCSES)

Excuse me, judge. esCLBTARY) Yes, Kiss

Johnson?
Hr. Starr, this is the new boy, Jerry Simpson.
We're all done with the processing.

Come in and sit down, Jerry. Jerry, this is

his honor, Judge Berkley of Detroit.
how do you do, Jerry.

(LEA, EVLN) Fine, sir. Thank you.

Well, Jerry. I'd like to welcome you to Starr

Commonwealth. we're very happy to have you

here. What do you think of the school -- what

you've seen of it, I mean.

It -- it looks very nice, sir.

Good. I understand you've been assigned to

Y

Inglis Cottage. fie have a fine bunch of boys

there, Jerry, as all our boys are. I know it
will be strange to you at first. That is to be
\
expected. But you'll become an active me“ber
of our family before you know it.

I hore so, sir.

blank:

JERiY:

(l: (K 1"! T"-I
u vb NU:

JUDGi:

Fine, my boy, fine. And

to me at any time you like.

glad to talk with you.

tomorrow to see how you are gettinf

Thank you, sir.
All right, Jerry.
arrange to take you back
Thank you, sir.

That's all right, Jerry.
just a minute -- most of
Floyd after a while. We
friendly and informal as
Yes, sir. I'll remember
(
(

quent boy!

COR UFQNS AHI CLOSLS)

C

v

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lV-DLJLLLJIJ

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162
please be free to come

I shall always be

I'll look in on you

along.

C)

And now, Kiss Johnson will

to the cottage.

(PAUSE) Oh, Jerry --

the boys call me Yncle
-- ah -— like to be as

possible.

that, sir.

Don't tell me that's a delin-

A so-called delinquent -- yes.

But he seemed so polite -- so mannerly.

Yes, I suppose that surprises you.

my boys can be polite when they want to.

But all of

They

don't do it more often when they first come

here because they really

show how decent and nice they can be.

haven't had a chance to

(‘
do many

times, you see -- as in the case of Jerry here —-

the boy's environment has forced him to assume

STARR:

STARR:

JUDCE:

S'LRR:

JUUSL:

MUSIC:

MAI-{It}. 10:11:

163
(CCNT'D) an aggressive attitude that he deep
down doesn't really like.
Yes, it's too bad that parents can't be a little
more understanding and patient with the problems
that confront their children. So much of a
delinquent's trouble stems from the home.
That's why we do our best here at the Common—
wealth to provide a home-like atmosphere for
the boys. And once they completely learn that
control comes from within the boy himself and
not from without, he has hurdled the biggest
obstacle in his way to becoming a useful citizen.
It must be fascinating to watch a boy's develop-
ment like Jerry for instance.
It is, Judge Berkley. A boy like Jerry will
have trouble adjusting at first, but all of that
will be ironed out.
And for everybody's sake, I hOpe so, Ir. Starr.
But, of course, only time will tell.
(FADE IE AKD UHDLfi - troubled, off-beat)
Jerry did have a difficult tine in adjusting to
the routine of the school. He fought with the
boys and refused to do the jobs he was asked to
do. But Jerry never once stole anything. His

actions were purely aggressive ones. Take, for

 

EARRATOR:

n" . - v- '. \ .
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JERAY:

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Jenni .

L'I.U .113:

164
(CCNT'D) instance, a little thing (FhDE) like
showering.
Jerry. Aren't you going in with the other boys
to take your shower?
I don't feel like it.
But you know, Jerry, that everyone takes a shower
here once a day.
Well, I never had to do it at home.
There is a reason why we do it here, Jerry.
Cleanliness is the next thing to godliness. And
as Ir. Starr says, "A clean body is a healthier
body." (GEHTLY ILSISTE T) how will you take
your shower?
Awww---
Jerry!
Oh, all rirht then. But I'm not doing it because

I want to.

(UP LED UhLbn)

 

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Actions like tkese, however, gradually fell off.

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And a noticeable improvement in Jerry appeared.
There were minor infractions once in a while of
course, but nothing serious. -----

(SLGCE TC PJLEIUtS JLQIC)

 

','.‘9\”‘-'1v'f_';
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----Then something happened that nearly all but

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PL-L‘L C

165
(CCkT'D) ruined the improvement in the boy.
One day a letter came to Starr. And after he

;d it, he immediately called for firs. Berg-

\U

I"

(D

lund, Jerry's housemother.

(or)

Mrs. Berglund, I hope you will not mind my dis—
turbing you just before the lunch hour. But
this letter has me very upset.

Letter?

Yes. It's - it's about one of your boys.

One of E1 boys! Which one, Hr. Starr?

Jerry Simpson.

But I just saw Jerry -- only a few minutes ago.
Ch, no. It's nothing that fig has done. It's
something his parents have done. As you know,
Hrs. Berglund, Jerry's eicellent improvement and
behavior has merited him a week's vacation at
his home.

Yes, I know, and he's \ery excited about it.
fhat's what has me so worried. I wrote to his
mother and father about his coming vacation.
And gggg is what I received in reply. It seems
that his own parents d) not want Jerry to gggg
home. Maybe for a day perhaps, but £2; for a

week.

 

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But that's terrible, Ir. Starr. Jerry has his
heart set on going home.
Yes, I know. And the only reason given by his
parents is that they couldn't stand the talk
that would go around among the neighbors. (LCW)
To think that Jerry is being shunned by his own
mother and father. It will be a terrible shock
to him.
But -- but do you think we should tell the boy?
Of course -- we must. There is no other way out.
The boy will wonder why he won't be going home
for a visit. And we cannot be dishonest with
him. That is something I will not tolerate.
But what will we do?
I must have time to think, firs. Berglund. And
don't breathe a word to Jerry about this, please.
I asked you to come here to make sure that Jerry
would be near the cottage after dinner. I -- I
think by then I will be able to talk to the boy.
(F DE IN fi”D bNDSi - exrecta“tJ slow, dee: tones,

symrathetic)

 

This was a new situation for bncle Floyd Starr.
Never before had a boy's parents turned their
backs on their own son. But as the afternoon

wore on, Ltarr decided on a plan of action.---

wn’lc-
Agv V.

(J .

167
(CUT)

 

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oinfifl.

————Shortly after dinner, Starr walked over to
Inglis Cottage. The housemother told him that
Jerry had none down to the lake for a walk.

Starr went down to see him. Jerry was sitting on
a stump at the lake's edge, looking (3 DE) out
over the water.

Good evening, Jerry.

Ch. hello, Uncle Floyd.

Enjoying a bit of night air?

Yes, tncle Eloyd. It's always so peaceful down
here. It helps me to think about a lot of things
Yes, it's good to sit down and do some hard
thinking once in a while.----

*1

(‘ADm IN 3-0 LLDLK — same as_;receding)

Flj

 

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--—-Terry.

Yes, tncle Floyd?

Jerry -- I - I haxe something to tell you.

Yes, Uncle Floyd, -- what is it?

You're planning on going home for a visit in a
few days, aren't you?

Yes, that's all I've been thinking about ever
since I found out. Gee, it sure will be wonder-
ful to see mom and dad again. It's been quite a

while.

 

 

 

 

 

 

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JERRY:
STARR:

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23 .L .31th 2

(jhoh AUD u'oIIAfth) Yes -- yes it has.
Wnat's the matter, Uncle Floyd. Something
wrong? I - I'm going to get the week, aren't I?
Jerry, before I tell you something, I'd like to
ask you a question.

Yes, Uncle Floyd?

You like your parents very much, don't you?

Of course I do. I'll admit that when I first
came here, I didn't have much love for them.

But all of us make mistakes.

Yes, Jerry —- even parents.

What do you mean, Uncle Floyd?

I mean, Jerry, that many times parents make
foolish mist kes concerning their children.
Mistakes which they somehow do not realize
they're making. mistakes for which they should
be forgiven.

What's all this got to do with me, Uncle Floyd?
I don't like to tell you this, Jerry. But your
mother ahd father wrote to me the other day and --

and asked if I might not let you come home some

other time -- for a day perhaps.

(OUT)

 

LTD" Q ' o

J...) v'.‘— C

(UNBYLIEVIKG) Hy -- my mom and dad don't want

me to come home?

Q'I‘Infli:
Jail—{my :

a faith:

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JERRY:

“TARR:

U

109
I'm sorry, Jerry.
But why, uncle Floyd. I haven't done ---
They're afraid of what the neighbors and friends
would say, Jerry.----
(FADE IN AND USDER - same as preceding)
——--Please, my boy, I know what this must mean
to you. But remenber, your mother and father
don't realize what they're doing. Perhaps later
on they will know that they have done an unneces-
sary and cruel thing. But we must not have it
in our hearts not to forgive them. Forgiveness
takes a great deal of courage, Jerry.
(BITTLRLY) That's an easy thing to say, Uncle
Floyd.
Yes, it is, Jerry -- and a much harder thing to
do. But we must remember that Jesus, himself,
forgave His tormentors when they nailed Him to
the cross. (PAUSE) I -- I'm very sorry, Jerry.
It's -- it's all right, tncle Floyd. (Talia TO
LAUGH) I guess I'll get over it. Maybe - may-
be a good night's sleep will ielp me to think a
little more clearly.
That's a good idea, Jerry. Sleep is a wonderful
balm for a troubled mind. I'll see you in the

morning.

7" 3:. M 1’"
LHL'U‘LU

170
(U P ELI-ID U TDZR)

 

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Jerry silently walked back to the cottage and
went to bed. But not to stay.—---
ICU?)

 

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LERGLUND:

-—--Early the next morning, Jerry's housemother
excitedly burst into (FADE) Starr's office.
(FADING LN - EXCITED) Hr. Starr. Mr. Starr,
something terrible has happened.

What in the world is the matter, Hrs. Berglund?
It's Jerry.

What about Jerry?

He's gone, Kr. Starr. Completely disappeared.
Cone? Jerry?

Yes. One of the boys noticed it when he woke
the rest of them this morning.

Calm down, Mrs. Berglund, please. This is not
the first time something like this has happened
Let me think. (Feeds) firs. Berglund. I think
I have it. I can't be sure of this, of course,
but I'll bet anything that Jerry has gone home
to his parents.

Oh, I hope not, Mr. Starr. he might do some—
thing terrible to them.

Please, hrs. ferglund. I'm sure that he will do

nothing of the sort. He's a good boy -- an

STARR:

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(COFT'D) intelligent boy with a logical mind.
Jerry knows what the consequences of such a
thing would be.
But perhars we should call the police.
No, no, no. We must not do that. (PALCE) Just
a minute. One of our social workers is in
Jerry's home town right now, isn't he?
Yes, sir. Mr. Burke, i believe.

I must call him immed ------

 

S'ARd:

3CUND:

Just a moment.

(IZECEEIVER UP)

 

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JERRY:

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(CH FILTER) Uncle Floyd, this is Jerry.

Jerry! Where are you, my boy?

Please, Uncle Floyd. Don't worry about me.

I'm here in my home town. fnd I'm just going to
stay long enough to see my parents. I'll be
back, so please don't worry. I give my word of
honor, Uncle Floyd. I just want to talk with my
mom and dad, and that's all.

Jerry ----

Good bye, Uncle Floyd.

(PHCEh CLICK - RECEIVIR ncwn)

 

SERGLUNF:

What did he say, Ir. Starr?

 

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I think everything is all right, firs. Berglund.
Jerry is home to have a talk with his parents.
He will be back.
But, Mr. Starr ---
he said on his word of honor that he would be
back. And Jerry will not go back on his word.

13433 N AID USDER - slow4_deliberate, quiet,

 

V'LT

CIC

sympathetic)

 

With this deep conviction of Jerry's honesty,
Floyd Starr just waited -- waited until Jerry
came back. And Jerry did come back.----

(our)

--—-Late that evening, Starr was aroused from
his work by a knock on the door. The door
opened, and there stood Jerry, a little shame-
faced, but with a smile on (FflDE) his face.

(FPDE IN fi‘D UNDER - sane as preceding)

 

T 7-; T_) . i “7

"1

I'm -- I'm back, Uncle bloyd.

Jerry -- I knew you'd ccme back.

Thank you, Uncle Floyd. I know I did wrong in
leaving like I did. But I knew that you'd never
let me go -- so i just did the next best thing.
I —- I hepe you'll forgive me.

Of course I do, my boy, because you have learned

an unforgettable lesson in humility -- and so

I! lulu vlilllt I I
ll

 

 

STRRfl:

5 PALM:

Jiliile:

dffidfi:

173
(CCVT'D) have I. You -- you talked to your
parents, did you?
Yes, sir. I just told them that I understood
and —- and that I still loved them. They (raves)
they both cried, Uncle Floyd.
Then they, too, learned a lesson in humility.
(SLIGHFLI EMBAhhAJSiD) I also told them what a
wonderful man I thought you were, too, Uncle
Floyd -- and how you taught me that disappoint-
ments in life were not obstacles but stegring
stones to learning.
Thank you, Jerry. That was very nice of you.
I took time out to talk to Mary, too. I thought
I might as well while I was at it.
Ch, yes, Iary. She's the girl who always writes
to you, isn't she?
Yes, sir. And she still feels the same way toward
me, Uncle Floyd. I feel kinda good about that.
I told her about my plans to study law, and she
seems to think it's a wonderful idea.
And I think it is, too, Jerry, as I've told you
before. But, of course, it will mean a lot of
hard work. But if you do work hard and have
faith in yourself, you will be a credit to your-

self, Jerry, your family, and your community.

vlwwle l'
I..blulb.ti\4'. O

f ' “...
ALsLiLllL:

17h
(UP AID UUDER)
Today, Jerry is all these things. Then he left
the Starr Commonwealth School for Boys, Jerry
went on to college and obtained a degree in law.
He worked hard throughout the years until today
he is a prominent lawyer in one of America's
great cities. There you have it —- the story
of Jerry Simpson, a so-called bad boy who was
re-directed on the right rath to becoming a
useful citizen —- another success story from the
files of the Starr Commonwealth School for Boys.
(UP lULL - Side: 30 rhhfih - ct?)
You have just heard the fifth program in a series
of dramatic shows, designed to acquaint you with
the work of the Starr Commonwealth echool for Boys

at Albion, Hichigan.

175

BIBLIQGhAth
bbbnd

A.) (t; r nou‘V‘J , 21
1‘ V
neatn

("J
o

p-

 

rik handbook of Radio Iriting. Boston: 3.
(A .-8r13,7’ 1924.90

Cowgill, Rome, Fundament ls of Lritin; for nauio. few

 

 

York: Rinehart h Jomr. y, Inc., IQAQ.

Valoney, Kartin, The Rad io flay. Evanston, Illinois:
Stude t Pook Exchange, 1 #9.

fieaver, Luther, The Technique Radio Vriting. New
York: Prentice-Hall, enc., lQhE.

l;-

 

., arite for Radio. Lew York and
p, .. . o ,_'W '7- . '* C r?
undon. ”Gurqw-ulll Hook oonp 1y, inc., l/BL.

 

Jillis, E.gar 3., Foundations in Broadcasting - L"a lo
and Television. New York: txford university Tress

 

 

Mylie, Lax, Radio Iritiné. New York and Toronto: hinehart
any

and Comp ,, Inc., 1939.