Next day at the studio the pressure was on again and Director Adolphi whipped them through the rehearsals at a terrific pace. Several changes in script were necessary and the director sent a page to the scenario department on the run. He returned in a few minutes with Jim Hill, the writer who had handled the continuity for the radio play.
“Listen, Jim,” he snapped. “This sequence is punk. It will fall flat on the air and too much money is being spent on this program. Get some punch into this or I’ll see that another writer gets the job.”
Jim Hill was tall, lean and pleasant, with dark eyes that shot back sparks at the director’s criticism.
“You okayed this script once,” he reminded Adolphi, “but I’ll see what I can do about it.”
Dark, pretty Rachel Nesbit stepped forward.
“I’m pretty good at that sort of thing,” she declared, flashing a winning smile at Jim Hill. “Perhaps I could help on the rewriting.”
The continuity writer looked at her glumly.
“Your stuff is all right for lighter things, but this is straight action drama,” he said shaking his head.
“But I can at least try,” insisted Rachel, and the worried continuity writer finally acceded to her insistent requests. He left the studio with Rachel accompanying him.
Janet turned to Curt Newsom.