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The risk with the approach as described is that it makes explicit assumptions, and this may lead to a lack of exploration of the theme. I suggest it is important that you try to pick apart the assumptions of your theme: Does understanding and/or helpfulness always overcome suspicion? When might this not be true? What is friendship? Are understanding and helpfulness an inherent part of friendship? If so, how and why? Are there not instances where understanding and helpfulness may block friendship?
But that's all assuming you want to write a story completely guided by a central theme. I prefer Stephen King's recommendations in "On Writing": (I'm paraphrasing here, too lazy to get the book off the shelf...) Tell your story first. When you read back over it you will notice certain themes, take the time to enhance them.
The risk with spending too much time working around themes is that, ultimately, readers will make their own choices regarding what you book is actually about (unless you hit them over the head with your pet theme, which is rarely a good idea). It seems to me that the most important thing is to be true to the story and your characters. The themes they reveal may surprise even you, the writer.
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