Lux Radio Theatre - Is Zat So

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Episode Transcript

Speaker 1 (00:00):
Hollywood, California.

Speaker 2 (00:01):
Monday, September seventh, the Knucks.

Speaker 1 (00:15):
Radio Theater presents James Tagney in Is That So? With
Robert Armstrong and Boot Smaller Rays Luck presents Hollywood. During
the next hour, the makers of luck Blake bring you

(00:35):
an entertainment headed by such famous Hollywood celebrities as James Tagney,
Robert Armstrong, Boots Mallariye set will be De Mille, doctor
A h g Ninny Sheila.

Speaker 3 (00:45):
Graham, and Louis Silvers.

Speaker 1 (00:54):
In the Motion picture Studios, I found the greatest collection
of costumes in the world, and we know of no
higher recommendation for luck Flakes. And the fact that all
the leading Hollywood studios protect these wardrobes by washing them
in Luck order them tomorrow. You will find that stockings
and all clothes that are watchable last longer and look
newer when cared for with these pure gentle flates. There's

(01:16):
no harmful alkali, no cake soap rubbing, with inexpensive, wonderfully
effective luck Flakes. And now our producer, ladies and gentlemen,
mister Steckel b de Mill Greetings from Hollywood, ladies and gentlemen, Yorkville,

(01:40):
one of the rollicking, follocking sections of New York City
is famous for its fine German citizens and fine German food.
It's burgers and it's the Hamburgers. Speaking of James Cagney
coming from there is almost as hard as imagining Hitler
a native of Doublin. Yet it was in Yorkville that
James was born, a harp in a German band. Before

(02:01):
he started swinging his fist at various screen villains.

Speaker 3 (02:04):
Jimmy was a bell hop, a bundle wrapper, and a
tea room waiter.

Speaker 1 (02:08):
With the money he earned, he studied art at Columbia University.
But the most remarkable thing he ever painted was a
verbal picture of his career as an actor, when he
talked his way into a job in vaudeville. Some years later,
Jimmy won his first dramatic part by a hair, in fact,
a whole head of hair. They were looking for an
actor to take the part of a swaggering hobo in

(02:29):
a play called Outside Looking In the first requisite for
the role was.

Speaker 3 (02:33):
That the actor have red hair.

Speaker 1 (02:35):
Other players were after the job, but Jimmy took his
hat off to the producer and went to work. When
his biography is written, it will probably be titled so
Red the Head.

Speaker 3 (02:46):
To moviegoers.

Speaker 1 (02:47):
Cagney has since become the perfect example of a wise,
cracking irishman with muscles of steel.

Speaker 3 (02:52):
And the heart of gold.

Speaker 1 (02:53):
In reality, there are a few more cultured gentlemen in Hollywood.

Speaker 3 (02:57):
His taste run to music, especially the.

Speaker 1 (02:58):
Piano and ah He's quite accomplished in both. In Tonight's play, however,
he appears in the type of role that has made
him successful on the screen.

Speaker 3 (03:07):
He is hap Hurley, a prize fighter's manager. The unmanageable
fighter being managed.

Speaker 1 (03:14):
Is Robert Armstrong, one of the stars of the play
when it ran on Broadway for two years. We shall
hear him as Chick Power, who rates is a lightweight
both mentally and physically. Our leading lady tonight is Miss
Boots Mallory, who plays the part of two and Now
The Lux Radio Theater presents the first round of our
comedy Is That So? Starring James Cagney with Robert Armstrong

(03:36):
and Boots Mallory. We're in the dimly lighted dressing room
of the Bronx Tale Fight Club in New York City,

(03:57):
where we find hap Hurley and his fighter Eddie Chick Towers.
The pride of Brooklyn chicked ready for the next bout
because just had his hands bandaged. But there's a dreamy
look in his eyes, which seems to cause half a
great deal of concerns. Half tastes the floor nervously offering
last minute of advice.

Speaker 3 (04:13):
Okay, I'll kick this is just number one thing with it.
He didn't mind on a fight. Don't think of nothing else.
Just think about the.

Speaker 1 (04:18):
Fight, ruht fight. Remember you're fighting a night you have
Do you think she'll be there about crying out? Not? Well,
you forget days in a minute, I'm talking about a fight.

Speaker 3 (04:28):
How this is important? If we don't win, we don't need.

Speaker 1 (04:31):
She just got just pretty eyes on our look, chicks,
I'm gonna tell you just once more, every nicker we got,
I'll hold into the price.

Speaker 3 (04:37):
Everything's riding on that. What's this nozz?

Speaker 1 (04:38):
All of yours?

Speaker 3 (04:39):
I want you please, for my sake, for your mother's sake,
will you please forget that game.

Speaker 1 (04:43):
For a while? Why has she got pretty seats just
like uh, just like corn on a cap, No kidding,
I wish it.

Speaker 3 (04:48):
I broke a leg before he went to that bookman yesterday.
I wish you had.

Speaker 1 (04:51):
Born on heymt okay, you're right, you're okay.

Speaker 3 (04:55):
Oh they were home night up, Come on kicking.

Speaker 1 (04:56):
He looks just like I was telling you this guy.

Speaker 3 (04:58):
The suck of her straight left.

Speaker 1 (04:59):
Say you wish I or who was sitting? I like
the way store.

Speaker 3 (05:01):
I'd bet she liked that. Oh right, all right, don't
listen to me.

Speaker 1 (05:05):
Go ahead and get your head punched off. I don't
see how much that dame will think of you that, sup?

Speaker 3 (05:09):
Yeah? That stop and fighting when I just you get it?

Speaker 2 (05:11):
Come in?

Speaker 3 (05:16):
Oh boys, you know the roll clean breaks and clean bikes. Okay,
rep My boy always fights clean. Hey day, vogt b
to the corners and come out fight. Come on, come on,
come on, let's check from what I said when he
comes out puny. Hey, when are you looking around for that?

Speaker 1 (05:31):
That's hurt setting over there?

Speaker 3 (05:32):
Will you stop thinking about that game?

Speaker 4 (05:34):
How that's a fut?

Speaker 1 (05:35):
It too quick for there.

Speaker 3 (05:36):
I don't forget that.

Speaker 1 (05:36):
Next chick.

Speaker 3 (05:37):
Check get in there, get on that, get into it.
Stop looking around.

Speaker 2 (05:40):
With this chick, Get up with your clean bring up,
packing me hot, get on your PI, bet on your face.

Speaker 4 (05:49):
For six happen.

Speaker 1 (05:51):
Come on you.

Speaker 3 (06:02):
Alright, come on, come on, come on. Check it off
the grad.

Speaker 1 (06:05):
Huh the grass?

Speaker 3 (06:07):
Get off it?

Speaker 1 (06:08):
What first you dragged me out to the park and
then it doesn't even sit on a grass.

Speaker 3 (06:12):
It's what your dummy. You want to catch your death
of cold. You're on a pensure of prop your ones.

Speaker 1 (06:17):
That's a yes, that's so, that's fun with show me
on man. Okay, okay, stay on a grass, fall under
to your wanna. I should grieve over a risin FuMB
like you bumb oh yo, I made bomb.

Speaker 3 (06:30):
I'm done with you, you and your James.

Speaker 1 (06:32):
You mean I'm done with a fighting Jame.

Speaker 3 (06:34):
I mean you better go back to the navy. Leave
box fighting. Then you can stand it. You are fighting, yee,
that's a hot one. You are fighting.

Speaker 5 (06:42):
Oh I get your set up.

Speaker 1 (06:45):
A guy that couldn't punch his punch a horse to
a lace. Click and then what happened? I put the
whole roll on you know was the worst.

Speaker 3 (06:50):
And you deliberate yourself, chick you off knocked out sort
of fighting your manager. Get to deliberate.

Speaker 1 (06:53):
Oh see, I told you I could have sworeish her
there my messing Brooklyn.

Speaker 3 (06:57):
Dame Dame, always looking for Dame where she now? No
do no, dame, it's all alight.

Speaker 1 (07:03):
Oh he I'm sorry about that. Go tonight. I honest,
I am half no kidding, happ I s I'll never
look at another dame again, so help me.

Speaker 3 (07:11):
I wouldn't get get shouted.

Speaker 1 (07:12):
I hear him.

Speaker 3 (07:13):
We washed up.

Speaker 1 (07:14):
See Oh, good evening word. Hey mister, he drops your watch.

Speaker 3 (07:18):
So that's all right. It's purply all right.

Speaker 5 (07:20):
I meant to rob it.

Speaker 1 (07:21):
I was gonna come back in the morning and get
it today. You want to fight, sure, we want to fight.

Speaker 3 (07:27):
I'm his points minute. Don't you fight anybody? Say all right?

Speaker 5 (07:30):
Tell him to take off his coat.

Speaker 3 (07:32):
Come on, fight you? Hey, take it in, you take
it anything? Hey, you know who they.

Speaker 1 (07:37):
I don't care who he is. I'm gonna knock his
black rm and then I'm going home and do the
same thing to my sister's fiance.

Speaker 3 (07:44):
Now listen, jump it, say dad, he kick cor in
of Brooklyn. I don't care if.

Speaker 1 (07:48):
He's an admiral in full uniform. Come on, mister kicking
horses and I'm gonna knock your head off.

Speaker 3 (07:53):
Oh now, listen, mister. Look, he would want to take
advantage of a poor sick man, would you sick?

Speaker 1 (07:59):
Oh? Sick half see.

Speaker 3 (08:00):
Yeah, yeah, shap you are shut up? Yeah, poor take
a sick as anything. He had kind of a bad
fallen night.

Speaker 1 (08:07):
Oh is that so? Are you really sick?

Speaker 3 (08:09):
Yeah?

Speaker 1 (08:10):
Yeah, I ain't trying.

Speaker 3 (08:11):
Just feeling very good today.

Speaker 5 (08:12):
Well no that's too bad.

Speaker 1 (08:14):
Look some day when you're feeling yourself again, you come
around and I'll knock your head off.

Speaker 3 (08:19):
Is that all right? Sure?

Speaker 1 (08:20):
Sure that's fine?

Speaker 3 (08:21):
Is that soo? Who said it's fine? That said?

Speaker 1 (08:24):
Miss?

Speaker 3 (08:24):
Say you just get his head knocked off? When?

Speaker 1 (08:25):
And where? Why?

Speaker 3 (08:26):
Telling her? How much mad I to take?

Speaker 6 (08:28):
Oh?

Speaker 1 (08:28):
You are well? Now let me tell you, mister Piley
hardy hap hoily quite so?

Speaker 3 (08:33):
Mister, And this young man is any kick conrok it
is chick?

Speaker 1 (08:37):
Come yeah? It seems to me that I've heard that
name somewhere.

Speaker 5 (08:40):
You have just told us to you.

Speaker 3 (08:42):
Oh yeah, that's where I heard it.

Speaker 1 (08:44):
I knew I was.

Speaker 5 (08:45):
Oh I figure your pardon, gentlemen, my name is this
is in my car?

Speaker 3 (08:49):
Thanks? And it said say black pins just make a
black point chicks please me. You missed the black boy.

Speaker 1 (08:55):
You know. If my head would stop going around for
a minute, I could think, didn't I see you.

Speaker 5 (08:59):
With young here any last month.

Speaker 3 (09:01):
Oh and what a lady he gave that bumb And
when I think of what he gets the knight or
that makes it even worse. Something go wrong. Yeah, he's
trained around to look for a day lay for the
stock half.

Speaker 1 (09:12):
I'm awful hungry. I'll forgetting a couple of handboy yourself.

Speaker 3 (09:15):
Yeah, how about the knife bread the chicken on the glass?

Speaker 1 (09:17):
Now, I think I'll get a nice soiler insteak.

Speaker 3 (09:19):
And why do you think you're gonna use some money?
Slugs hunts me?

Speaker 1 (09:21):
But do you boys me in the drug bro broke?

Speaker 3 (09:25):
It's a missing Tomorrow we start borrowing from the church
mice get it?

Speaker 1 (09:30):
Oh that's terrible. No, I tell you what you boys,
come on with me and we'll get something to eat.

Speaker 5 (09:35):
What do you say to them?

Speaker 3 (09:37):
Nicey but not a bird?

Speaker 1 (09:38):
We will take a taxi. I live way over that
way in Brooklyn. Oh no, no, no, Park Avenue isn't
in Brooklyn. Well, huh all, I'll get a taxi taxi.

Speaker 3 (09:49):
Hey, hap your sports.

Speaker 1 (09:50):
It's all right. I think this guy is not.

Speaker 3 (09:51):
Hey, you get shaped? Did I tell you your stuff
on me? But live on park?

Speaker 1 (09:54):
Have y mm?

Speaker 5 (10:03):
Come night in boys. Thanks Johnson.

Speaker 1 (10:06):
Johnson, Oh, I'm an awful headache.

Speaker 3 (10:09):
Oh you'll be okay in the morning. Johnson, Well, mm
pretty well, join ah chick to Berry.

Speaker 1 (10:14):
I'm sorry, boys, but the servants seem to be ours.
You just just dropped your things over there will be
see if we can.

Speaker 5 (10:19):
Find something in the kitchen.

Speaker 1 (10:21):
Thanks so much, coming Johnson now.

Speaker 3 (10:23):
Oh or a deal?

Speaker 5 (10:25):
Parker, Eh, the need to turn again.

Speaker 1 (10:27):
I was beautifully mister hamp Hurley, mister Eddie chicktown of Brooklyn,
my future.

Speaker 5 (10:32):
Brother in law, mister Robert Parker.

Speaker 1 (10:35):
Why would you make a little less noise? Vince. You
needn't bother calling for Johnson with anyone else.

Speaker 3 (10:39):
The servants have left, Oh they've left.

Speaker 1 (10:41):
They well right, don't have to wear it for where's
my sister? He'll be home presently that she know the
servants have left, But let me they left because I
told him to leave. I hope that's the pical a colis.
When s comes, tell her I'll be in the library.

Speaker 3 (10:56):
Oh you will that guy? Get along fun? Don't you can't?

Speaker 1 (11:00):
Yees?

Speaker 5 (11:01):
Don't we?

Speaker 1 (11:02):
Oh?

Speaker 5 (11:02):
I wish I had enough nerve to do what I'd
like to do.

Speaker 1 (11:04):
That there, huh, it's worth than the Hey, I think
you boys can do something for me if you will
want me to take a poke at that time. Hey,
you've always taken up pocket somebody if you want, you
want to do it at the right time, and then
you want to hit the match.

Speaker 3 (11:16):
So wall show.

Speaker 1 (11:17):
Yeah, that show that show.

Speaker 2 (11:19):
I shut up.

Speaker 3 (11:19):
We didn't get you. Yeah, go ahead think shop.

Speaker 1 (11:21):
Well, as I was about to say, I'm almost convinced
that my brother in law to be is a crook,
no kidding whoa at any rate, He's made some insinuations
against one who can't defend himself, one whom I well,
you understand, No, I don't understand.

Speaker 3 (11:36):
That. Ain't nothing new, never understood nothing in your whole life.

Speaker 1 (11:40):
That shot.

Speaker 3 (11:41):
Yes, that, So you got shut up and listen? Okay,
go ahead say now. Now there's plenty of room here
in the house.

Speaker 5 (11:46):
You boys might just as well stay here and I'll
take you intit.

Speaker 1 (11:49):
You're back on your feet again. All I want you
to do is to get me into some sort of
good shape again physically.

Speaker 5 (11:55):
Then I can attend the prodcut on myself.

Speaker 3 (11:57):
What do you say, dons go to me?

Speaker 1 (11:58):
Hey?

Speaker 3 (11:59):
Checked when the way, Oh it's no you what are
you gonna do what a guy like that?

Speaker 1 (12:05):
Oh, su I want you.

Speaker 3 (12:06):
To meet some friends of mine.

Speaker 5 (12:08):
Mister Hurley, my sister, how do you do a maik him?

Speaker 3 (12:10):
It's like one and this is Eddie Chick Kohn, my
sister chick. My okay, got out?

Speaker 1 (12:15):
That saved Stop yell luck half. Why don't you want
check your into the kitchen and help yourself? I want
to speak to.

Speaker 5 (12:19):
My sister for a moment.

Speaker 1 (12:20):
Sure, I don't talk bad about us. We'll be okay
the kitchen straight back, Just get working fight, it's all.

Speaker 4 (12:24):
My conject Plenny, Where on us.

Speaker 1 (12:27):
Did you ever?

Speaker 3 (12:27):
Who are they?

Speaker 5 (12:28):
Now? Listen to you, dear.

Speaker 1 (12:29):
They're going to stay here and get me into shape
again physically.

Speaker 4 (12:32):
Stay here, Oh Kenny, don't be ridiculous. You know pratically well,
Robert will make a terrible wrong.

Speaker 3 (12:36):
We'll let him.

Speaker 1 (12:37):
After all, this house is mine, or rather ours. You're
not married to Parker yet, and I'll be done.

Speaker 4 (12:42):
I mean, you know, we can't afford to antagonize Robert.

Speaker 5 (12:44):
I'm not so sure anymore.

Speaker 1 (12:46):
I don't believe everything that crook says. I don't care
if he did handle his safe. I still don't think
poor Jerry had anything to do with him pezzlement or
forgery or anything Else's plnny.

Speaker 4 (12:55):
How can we afford to take a chance, Bob be
swear that Jerry.

Speaker 1 (12:58):
No, I know, but I'd be willing to said that
Parker took that money himself. You know as well as
I do that our brother never gambled, So how did
he possibly evode all that money and forgery? Jerry never
does anything to tuck it.

Speaker 5 (13:09):
In his life.

Speaker 3 (13:09):
But what can we do, Clanny?

Speaker 4 (13:10):
We can't afford to drag Jerry's names of the courts.
It's different if you were alive and here to descend himself.

Speaker 1 (13:15):
Really, isn't.

Speaker 4 (13:16):
And Parker has enough evidence to black and his name
and ours too. We'll just have to keep on this way.

Speaker 1 (13:21):
Well, I still don't see why you have to marry
the crook.

Speaker 4 (13:23):
You certainly don't the good guy like the idea any
more than you. But he holds all the cards, Clenty,
We've got to play his way.

Speaker 5 (13:28):
I sure it's you.

Speaker 3 (13:30):
I've got it.

Speaker 1 (13:30):
You've got what an idea, A tremendous idea. Harker fired
those of the men servants tonight. Why not make happen?

Speaker 5 (13:37):
Shakes the butler and.

Speaker 4 (13:38):
Second clanny you're talking nonsense?

Speaker 1 (13:40):
Well why not?

Speaker 3 (13:41):
Well, because they know nothing about it.

Speaker 4 (13:42):
They'd be terrible, you know, they wouldn't last a day.

Speaker 3 (13:44):
I'm not so sure.

Speaker 1 (13:45):
Or half half right up?

Speaker 3 (13:47):
Hey, Klin, what do you take to kick? Up around here?

Speaker 1 (13:49):
Half?

Speaker 5 (13:50):
There's something I'd like you to do for me, if
you will, Lenny.

Speaker 1 (13:52):
Please don't and then you say, clin you know me?

Speaker 3 (13:54):
Or frightful? How flight ain't good?

Speaker 5 (13:56):
Two of our servants left suddenly tonight.

Speaker 1 (13:58):
Yes, my sister's fiance, mister Parker, you know, is rather fussy.
So we thought perhaps that you boys would accept the
situation just for a week or two you.

Speaker 3 (14:06):
Have, you could be the butler.

Speaker 5 (14:08):
Butler what would have happen to, you know, sort of
look after things?

Speaker 1 (14:12):
Man?

Speaker 5 (14:12):
Is the household?

Speaker 3 (14:13):
Poor America? Oh sure, I can say? What about kick?

Speaker 5 (14:17):
He'd be the second man? Footman?

Speaker 3 (14:18):
You know whatman? What'd you gotta be?

Speaker 1 (14:21):
Okay?

Speaker 3 (14:21):
But a kid foot white?

Speaker 1 (14:22):
Swell?

Speaker 5 (14:23):
Well, then he's all settled, you sees you?

Speaker 3 (14:26):
Yes, I see.

Speaker 4 (14:27):
Well, as long as you're going to remain here, you
may as well begin now, Hurley, straighten up the kitchen,
and you may retire. I'll give you detail instructions in
the morning. Good night, Hurley, good night bodam.

Speaker 3 (14:37):
Boy. Was that gird with that cord?

Speaker 4 (14:40):
Was fine? Good night?

Speaker 5 (14:41):
Good night to you.

Speaker 3 (14:43):
Now in the morning you like go drag him in?

Speaker 1 (14:46):
Hey, you love her? Set up for the amp start? Hey, twin,
who's that guy in a big picture in the hall?

Speaker 5 (14:51):
The one would all a parade all over him.

Speaker 1 (14:52):
That's my older brother Jerry. He was killed in a
flame crash several years ago. Hey, then I used feeing Navy.

Speaker 5 (14:58):
Yes, he was in the navy.

Speaker 1 (14:59):
When he does, I thought, I know that guy actually
done his ship once swellfalla.

Speaker 5 (15:03):
Yes he was, wasn't it.

Speaker 1 (15:04):
Yeah, well, I guess I'll grab up HARKing to take
out there. Hey, come back here, you what's the matter?
Take your mind up your stomach and get your wife.

Speaker 3 (15:11):
You got a new job. Oh yeah, yeah, you are
a footman.

Speaker 5 (15:15):
I'm what Maybe i'd better explain to him half.

Speaker 3 (15:17):
Won't do no good. All right, I'll leave it to you.

Speaker 5 (15:20):
I'm going to bed. You'll find your quarters right off
the kitchen.

Speaker 3 (15:23):
Boys.

Speaker 1 (15:24):
Oh well, will you.

Speaker 3 (15:24):
Need anything tonight?

Speaker 1 (15:25):
Well how about the loan of a toothbrush?

Speaker 3 (15:27):
Shut up with Hey, we'll be fine, can I don't
worry about that. We see in the morning, right too?

Speaker 1 (15:31):
Are good night boy? Not cunt?

Speaker 3 (15:32):
All right?

Speaker 1 (15:35):
Great guy? Ain't yeah a dance? Okay to now listen, mugs,
I'm telling you for the last time, cannot dame stuff.

Speaker 3 (15:42):
She's a lady.

Speaker 1 (15:43):
See no, kay, I an't say.

Speaker 3 (15:44):
Nothing, you know, chick. The only thing I don't like
around here is that guy Parker.

Speaker 1 (15:48):
Yeah, me too, say say.

Speaker 3 (15:50):
Chick, don't you remember that guy in someplace?

Speaker 1 (15:52):
Sure he's the dam fiancee.

Speaker 3 (15:53):
Yeah, I know, but what else?

Speaker 1 (15:56):
What else?

Speaker 3 (15:56):
Let me see?

Speaker 1 (15:57):
Excuse me?

Speaker 3 (15:57):
I met that guy some place before?

Speaker 1 (15:58):
Yeah, met him when we come in. Yeah, but before
I mean before before, Yes, it seems to me I
sin before. Hey, you should eat to live in Brooklyn?

Speaker 3 (16:09):
Oh, you and your brook Brooklyn and James Brooklyn and James.
That's don't even take a pot. Yes, that's so.

Speaker 1 (16:15):
Yeah, that's.

Speaker 3 (16:17):
R y.

Speaker 1 (16:30):
In just a minute, we'll continue our presentation of is
that so? But first a little domestic drama Between the scenes.
We're in the modern apartment of Jim and Elsie. They
are dressing to go out in the evening. Elsie is
putting off her stockings and pops another run.

Speaker 3 (16:43):
Just listen to Jim. What again, say, but I could
cut down on a little stocking one.

Speaker 4 (16:48):
Oh yeah, we'll put your mam with brain to work.

Speaker 1 (16:50):
Say another stops working. I'm followed up on the question
right now.

Speaker 4 (16:53):
Well, still a big boy, but make it snapping.

Speaker 1 (16:55):
Okay, here's the first tip this. You know I heard
Sis pulling a mouf full of bud ones the other day.
No that she was crap. That's where your bonnie baby.
She's got the runs problem licked. Come on, Sis says,
I tell a guy how you do it? Else he's
one said drive, I mean here and she says nothing
to it hardly a run of my hands. Since I
switched to look, hey, that's an idea, I'll say so, cupcake.

Speaker 3 (17:12):
And here's another another.

Speaker 1 (17:13):
What another juicy bit.

Speaker 3 (17:14):
But the secretary spill us one on the phone.

Speaker 4 (17:16):
I suppose head stockings never pop a run right the
first time?

Speaker 1 (17:19):
And you know why she uses look.

Speaker 3 (17:22):
Ell you x brown.

Speaker 4 (17:24):
I's not goal too.

Speaker 2 (17:25):
Is where I switched to lum clever.

Speaker 1 (17:28):
Women everywhere are learning how Lucks cuts down on stocking runs.
It saves elasticity. You see cake soap rubbing and soaked
with harmful Alkali weaken elasticity, then even a slight strain
on your stockings may snap a thread and start a run.

Speaker 3 (17:42):
Try luck, You'll be amazed at how much longer your
stockings wear.

Speaker 1 (17:47):
And once again, mister de Mill, we present the second
round of our comedy Is That So? Starring Jimmy Cagney
as hap Hurley and featuring Robert Armstrong and Brute's Mallorey.
It's one week later, and all is not well, despite.

Speaker 3 (18:04):
The fact that they've tried their beds.

Speaker 1 (18:06):
Happened? Chick don't seem to be cut out for domestic service.
We find them preparing a buffet breakfast for Sue and Finance.
They Robert Parker happened Chick are standing at the buffet,
clumsily juggling in the hot plate as Parker glared at
them from the table.

Speaker 3 (18:21):
Hurry you please hurry that breakfast? Yeah?

Speaker 1 (18:24):
Sure, come on, right up, come on, come on, step on,
wi a check clams doing the best I can. And
I'm what do want to know about cocon eggs or
what do you know about anything?

Speaker 3 (18:31):
Look?

Speaker 1 (18:32):
How what was I think I dropped the plate? Pick
it up?

Speaker 3 (18:38):
Yet, y'all? Pick it up?

Speaker 1 (18:38):
What first short pos anymore. I God, I slug it.
Give me that ham if it's for Parker, season it
with Tayanie. G your breakfast mistook your I forget that
Parker guy, get two three minute egs. Preak someone of
the con Will you please remember to play a mister
before my name and you speak of me? Keep your
short ones, talk about your all chip picked the eggs.

(19:03):
Oh wait, that that can help us, I'll show you.
I've never heard of such impregnant sue. I don't see
how you tolerate such servants.

Speaker 4 (19:09):
Oh, they're making such a change in cunning. I think
we can put up with them for a week or two.

Speaker 3 (19:13):
It's correct, mister Parker. Mus you do that? Oh, stop
beefing with it. You don't have to wait. Things are
down around here. Want you do yourself.

Speaker 1 (19:23):
I'm sorry, but I refuse to tolerate such treatments when
you touch your servants more respects as a return for
my breakfast.

Speaker 3 (19:30):
Good morning, Charlie.

Speaker 4 (19:31):
I'm afraid I must insist if you'd be more careful
than man in which you treat my yeads. And after all,
mister Parker, is my yet?

Speaker 3 (19:37):
Yeah, what my prince tells me that guy in exactly
what coome around here?

Speaker 1 (19:41):
Please?

Speaker 4 (19:41):
Early fresh toes?

Speaker 3 (19:43):
Okay, I get it tomorrow post chick.

Speaker 1 (19:45):
See, I can't wait that toast then suk. Can't appoint
myself three times? Yes, trying to wake it? Why can't
eat bread? Prayin around here all the time? More toast?
More tools, more tools. Okay, you'll just go on up
to the gym and tell cleaning comdaba breakfast.

Speaker 3 (19:57):
I'll make a tote myself.

Speaker 1 (20:00):
I don't get no consideration around here.

Speaker 3 (20:01):
A tall always still just that. I'm hey, yeah they yet?
So I speak you a minute? Yes, yeah, that's one
of the things that doesn't bother me. That's the holy business.

Speaker 4 (20:12):
I don't understand.

Speaker 1 (20:13):
I mean, you've been teaching me all that etiquette stuff
and how to talk and say the right thing and
all that, But I've just been wondering, is it etiquette
for a name, I mean a lady to call a
guy a man by his last name. To me, it
just don't seem right.

Speaker 4 (20:26):
You mean, it doesn't seem right happy, Yeah, yeah.

Speaker 3 (20:29):
It doesn't seem right down sort of clock eye.

Speaker 4 (20:31):
Well, the customary to call servants for their last name.

Speaker 3 (20:34):
Yeah, but tee, what I know stuggling. You know that
I'm a fight manager and a good one. I'm only
doing this to help clears out and you too. I
bet I couldn't stuck it out this long if I
hadn't been talking about you.

Speaker 4 (20:45):
We really appreciate it, Helen.

Speaker 1 (20:46):
I'm sure that.

Speaker 3 (20:47):
Oh there you go with that holy stuff again. Can
you just call me happy?

Speaker 4 (20:51):
What's the bird we compromised? What's your Christian name? I'll
tell you by that. I'm sure Happy isn't what you're
a Christmas Nah, that's.

Speaker 3 (20:57):
Only shut how happy? But I tell all out.

Speaker 1 (21:00):
I'll tell you right name, and I'll make you a promise.
The right name is Alfred. I mean, middle name is Boyfrien.

Speaker 3 (21:08):
And I promise is I'll stock anybody. And I knows
that calls me a boy from all right, the first
we settled on Elson, that's the idea.

Speaker 5 (21:14):
I'll call you Sue.

Speaker 4 (21:15):
Oh I'm gonna say that wouldn't be quite the thing
to do.

Speaker 3 (21:18):
After all, someone might hear you all right now? Children?

Speaker 4 (21:21):
Okay, well, unless Susan would be better.

Speaker 3 (21:24):
After all, you are.

Speaker 4 (21:25):
Supposed to be the busting here.

Speaker 3 (21:26):
Ah, that's only a gay I know. But as long
as you here you'll have to act like a butler.

Speaker 1 (21:30):
Okay, okay, I'll call him a slackburn or a Susan
or anything you want.

Speaker 3 (21:35):
And I'm gonna think of you just playing sue all
I clip three more one.

Speaker 1 (21:47):
So three shoo?

Speaker 5 (21:54):
What's that a work hut?

Speaker 3 (21:55):
How you feel great? Yeah? If't wait, is good for you.
I may kick to what every day?

Speaker 1 (22:00):
Send me that towel? He asked.

Speaker 3 (22:01):
You know I didn't tell you.

Speaker 1 (22:02):
I like to arrange your back for Chick, that is,
if it's okay with you a fight wait night here?

Speaker 3 (22:07):
No, oh, I get it. You want to about that
pock a guy around?

Speaker 1 (22:11):
No, no, I'll be able to bounce him around myself soon. Now,
I'd like to arrange a regular bats for you for
a week from Wednesday against regular fighter. Who is he?
Have you here? Johnny Duffy Duffy, Yeah, I know him well.

Speaker 5 (22:22):
He's driving a car from Major Fitz Stanley, a friend
of mine. We got talking. We thought it might be
fun to have a bout.

Speaker 1 (22:27):
Right here at the house, Chicks versus Duffy at the
house here is we could ring up for rig ring
out in the garden and have some friends over. I
thought it would be good training for chicks. Yeah, it
be kind of a way got form. But if look
like Johnny Duppy you know much, my boy, I want
to tell him.

Speaker 3 (22:41):
To take it easy. Chick's coming around, or ride coming
around right now? You can like Niger rillas.

Speaker 1 (22:46):
Hmm. Well, of course this is just sort of a
friendly match with Duffy. But uh, half do you think
we could trust chick with a real bounce?

Speaker 3 (22:54):
What do you mean? Can we truck him?

Speaker 1 (22:56):
Say? I keeen a guy, open him two thousand blucks
to show one of the Navy can't means give fights
and check nearly to him walk up both. That isn't
what I mean have I don't doubt his honesty. I'm
talking about women. Is he likely to repeat that less fiasco?

Speaker 3 (23:08):
I don't know.

Speaker 1 (23:08):
Clint, Well, I'm pretty sure we got a real important
fact and keep his mind on it.

Speaker 5 (23:11):
You really think he's ready to go?

Speaker 1 (23:13):
Oh?

Speaker 3 (23:13):
I had drop my hat all right, hand me that phone.
What are you gonna do?

Speaker 1 (23:16):
I'll show you, you know, Pat Kelly, kay, sure you
might to get stock of goodman I heavyweight chan.

Speaker 5 (23:20):
Yeah I know he does. That's why I'm calling him.

Speaker 1 (23:22):
Hello, mister Kelly, Please, this is mister Blackburn.

Speaker 5 (23:26):
Just tell him Clint Blackburn, he'll know.

Speaker 3 (23:28):
Hey, you mean a thing you go to? Hey, chick,
Hei yet come up here? Hello, Pat?

Speaker 5 (23:34):
How are you?

Speaker 1 (23:34):
Well?

Speaker 5 (23:35):
That's fine, say Pat.

Speaker 3 (23:36):
Do you know Eddie Chick Collin?

Speaker 5 (23:38):
Well, I've acquired an interest in the boy. How about
doing business? No, no, no, I mean for about with
socker of course for the championship?

Speaker 3 (23:47):
Oh oh you do?

Speaker 5 (23:48):
Uh huh, well how much? Wait just a second, Pet,
say half yes?

Speaker 1 (23:55):
Is it the usual thing for a champion?

Speaker 5 (23:56):
Samandi Cante before agreeing to fight for his title.

Speaker 3 (23:59):
Yep, I tried kinda line.

Speaker 5 (24:00):
I see all right, Pet, it's a deal.

Speaker 1 (24:03):
I'll be down with happairly tomorrow and we can discuss
this thing in the tail. It's only half about four, right,
see you? Then, Pest, well help it's in Yeah, yeah,
that chick with like a chap, don't kid. We signed
the paper tomorrow and post a guarantee of ten thousand
dollars for Goodman's enter the purse.

Speaker 3 (24:18):
Then Grinn of course why not? Yeah, but damn Grant,
that's a lot of toe.

Speaker 1 (24:23):
I've seen chick work up, and I think he's worth
again to.

Speaker 3 (24:25):
See that chick I'm match with the socker right right
in your laugh.

Speaker 1 (24:28):
Hey, I'm gonna call up that famine footmen should be
stickle at test.

Speaker 3 (24:31):
Listen, listen, now you ain't call it no dame, Juanna
stand ain't jo ain't oh shut chaw, I say shall.

Speaker 2 (24:36):
Yeah, yeah, that's that's.

Speaker 3 (24:39):
That's what happy?

Speaker 4 (24:47):
Did you get the ring?

Speaker 1 (24:47):
Six steps? Yeah?

Speaker 3 (24:48):
Yeah?

Speaker 1 (24:48):
Set ready for the saw chick a mighty That jumpy
guy fellow half not guy all right.

Speaker 3 (24:53):
All right, but he might have in many ways.

Speaker 1 (24:55):
You know what. I can't get here to that fancy language.
I've been doing some heavy rest and what a do?

Speaker 4 (25:00):
Why don't corretch you out of mean this hat? It's
only that, well, I do want to improve yourself?

Speaker 3 (25:04):
Oh yeah, sure, shine over that.

Speaker 1 (25:05):
So that's draw.

Speaker 4 (25:05):
You don't want to be a prize by his manager
all your life, do you?

Speaker 1 (25:08):
Why not?

Speaker 3 (25:09):
What's the matter of being a price for his manager?
But there's no future in it future? Why do you
think you ever want to stop fighting?

Speaker 4 (25:15):
But it's now that you've got to look ahead to
what you intend doing.

Speaker 3 (25:18):
Yeah, yeah, that's right. That's if I want to talk
your box, you know, check me to the champ.

Speaker 1 (25:22):
In three weeks now you think you'll have a chance,
a chance, there's that stuck a lot. I got life
and when he does, well, that's what I want to
speak your boss, right.

Speaker 4 (25:32):
I'm afraid I don't understand.

Speaker 1 (25:33):
Well, we'll chick a champ that sort of change things around,
you know what I mean. I'll be in a big
donor as soon as I get this English gag like,
why yes, I'll be a couple of different guys. See
now what I mean is you see uh the.

Speaker 3 (25:46):
Oh, I'm no good at this sort of thing.

Speaker 4 (25:49):
What on earth are you driving here?

Speaker 1 (25:51):
Well?

Speaker 3 (25:51):
Look, look it's how it goes when to lose the drawer.
Were putting a night me and Chick by the head
to the w scrap quitting. But why oh we've got
some heavy training are doing?

Speaker 1 (25:59):
We can't do it eating coffee pots. Now help me
out of here. That means I ain't a servant. And
when I ain't a servant, got the horse in a
different garage. See when I'm a sopbreederst pilot.

Speaker 3 (26:08):
I'm in a doe. Well then uh then, uh, how
about it?

Speaker 4 (26:13):
Do you realize happen? You haven't said one thing yet
that makes any sense.

Speaker 1 (26:16):
Yeah, yeah, I guess no, Oh, it's only just Missedeu.
All my life, I've been hating women. I've been staring
chick away from them. I've been giving them the crow
show to myself or they was bad medicine anyway, that's
what I thought. But I was wrong, see ibund one
hundred percent wrong.

Speaker 3 (26:30):
I'm well, here we go.

Speaker 1 (26:35):
I'm crazy about you, Miss Sue. What I've been crazy
about you? This twice time I laid my eyes on you.
I know I ain't good enough for you. I know that,
but then nobody is nobody or nothing.

Speaker 4 (26:44):
What I hardly know what it's doing.

Speaker 1 (26:45):
Well, I'll do anything for you, Miss Stuel. I'd even
stop picking on chick. I ain't no good at telling
things like this. There's a lot of guy's got more
brains than I've gotten, and more doe and better looks
and all that.

Speaker 3 (26:55):
But there ain't nobody in no work to think more
than I do.

Speaker 4 (26:58):
I'm terribly sorry that we have.

Speaker 3 (27:02):
Is there no chance to me?

Speaker 4 (27:03):
How can they be? Why we live in different worlds?
It's just impossible, head, Oh.

Speaker 3 (27:09):
Why is it impossible? What makes it impossible?

Speaker 1 (27:11):
Oh?

Speaker 4 (27:12):
Hundreds of same family position family?

Speaker 3 (27:16):
Huh, what's the matter? With my family. I go to
a nice family. Give a scene.

Speaker 1 (27:21):
I'm irish, see stay too, I'm irish, and I got
a plot of king to me back in my like
and eye in my family with the top from way back,
and all we ain't got now all is money. You
make it so terribly difficult. Half that only got to say,
make it difficult?

Speaker 4 (27:36):
What can I say?

Speaker 3 (27:38):
Okay, okay, I get it. I don't know, worry about
the idea I should a chance with a care like
you anyway, what do you not mean not?

Speaker 4 (27:46):
I'll see you don't feel that way about it. Half,
I like you. I like you a lot, really I do.

Speaker 3 (27:51):
It's just that, Oh I'm sure, sure, I know. I
don't let it worry you. Well, just to get the
whole business.

Speaker 4 (27:55):
Tap help come back, I'll give it.

Speaker 5 (28:07):
A hap.

Speaker 1 (28:08):
Get a look at you all, one too, one two
one toe boy. When I landed on ducking night, hey
hap the virus you'll hap and spent at touching to me.
Huh huh, yeah, yeah, I ain't never seen her like
this before. But speaking oh nothing, I mean nothing, No,

(28:31):
I mean nothing. Oh that's Susie Dame. Huh you guest
he get two cents out of this go on like
up you show it waity if you waiting for it's
uptown stairs? Okay, I I guess she's stuck on that
Parker guy.

Speaker 3 (28:43):
All right, huh you know biggish foot that cooking got
up four for a minute.

Speaker 1 (28:48):
Say hap, are you sure that guy Parker? I never
lived in Brooklyn. I've got swear I've seen him before.

Speaker 3 (28:52):
Yeah, me too, me too. But there's one thing I'm
telling you. I'm never going to see him again. I
still need it.

Speaker 1 (28:58):
I was never any good at that dame racket now
goes Jobbles.

Speaker 5 (29:02):
What does happen?

Speaker 3 (29:02):
It wasn't good enough for yet a pie fight manager family,
wasn't good enough for I guess you didn't know that,
did you? Well? I guess I had a wait, that's all. Yes,
I had to wait here kat it's.

Speaker 1 (29:12):
Oh see, yeah, I didn't know you felt like that.

Speaker 3 (29:16):
Stop it? Well you stop it ready? Boys?

Speaker 1 (29:19):
Yeah in a second, Clint, fine, We're all set outside.
Make it as fast as you can, I think quick.
It's all that's fit kick coming down? Now?

Speaker 3 (29:29):
Is your boy ready? Oh?

Speaker 1 (29:30):
Quite quite flash?

Speaker 3 (29:31):
Your bought that little bit of ours still on the
right right?

Speaker 1 (29:33):
Did I hear you? Say something about a best So, hello,
poker is betting the order of the day.

Speaker 5 (29:37):
Clint well fits and I have a small bet. Is
that what you mean?

Speaker 1 (29:40):
Why?

Speaker 3 (29:41):
Just a li thought I'd like to play a small
wader on about my throw?

Speaker 1 (29:44):
What are the odds?

Speaker 5 (29:45):
I'm giving fIF five to one on chick for one
hundred five.

Speaker 1 (29:47):
To do I get the same of if you want
them five thousands to one thousands everything. That's a bit
stip searched.

Speaker 3 (29:55):
In so well, of course you're not gay by Parker.

Speaker 5 (29:58):
It's a bet five to one for about like you are.

Speaker 1 (30:02):
Well, I'm going out for a moment, see you later,
cleaning old boy stuffy, Yeah you want to see me,
mister Parker, give in the lobbrary a moment. Sure well,
Duffie all's got all the fires to run on you
to night. How do you feel about the prize?

Speaker 3 (30:17):
Okay, okay, but this guy's coming.

Speaker 1 (30:19):
He now push over miss and Duffy. You've got to
win when a clinks out there and they count, isn't
the reason there's one thousand dollars in it for each
of you. If he laid down and let you win.

Speaker 3 (30:28):
A thousand fucks, I see, mister pucker. I'll try, but
all I can promise you is I'll probably get a shock.

Speaker 1 (30:34):
On the notes for talking about of times. All right,
get out there, you know, okay, kick shus Well, all right,
but remember this.

Speaker 3 (30:43):
There's a lot of teams here tonight.

Speaker 1 (30:45):
If you turn them out to look at one of them,
I'll lay you out cold. Remember what happened you went
for Papa? Turning around, he'll worry about me. It's in
a bag.

Speaker 3 (30:55):
And takeable.

Speaker 1 (30:56):
Oh I say, quaet, please please quiet every part? Well here,
we aren't call it hells evening to the relative medister
of too forward futilism, my servant Duffy and clinics, Eckman's
footman chick collars is that corner, ladies, and gentlemus, mister Duffy,
who weighs something in the neighborhood of I think seventy
five paus, thanks, thanks very much. And in the other

(31:20):
corners calling curacy.

Speaker 6 (31:22):
For no earthly reason at all, is the other sports
Clinia's footman chick collars. He weighs roughly the same as
stop it, but you can say he's not nearly as
welcome directly. Right now, let's get over the old hostilities
they ready boys, show it right here, cliny.

Speaker 1 (31:43):
Right off the chattering white up, how listen?

Speaker 3 (31:45):
List on a second? Will take let mean twenty a second.

Speaker 1 (31:48):
We are I ain't gonna cannot tell you see on chess,
I can cut your.

Speaker 3 (31:52):
Wait a minute, black time.

Speaker 1 (31:53):
We are as a friend in a point.

Speaker 3 (31:55):
Let me think sei tak a star about it?

Speaker 1 (32:01):
sEH, I don't I I was only throw him what
pocket told me to see Parker told you to comment
at him?

Speaker 3 (32:07):
Yeah, Parker, I got him. I cut him. Okay, don't
turn around your surp.

Speaker 2 (32:15):
All by six?

Speaker 1 (32:24):
Ye hidden enough to do the duffy.

Speaker 3 (32:35):
Come on, chick, snap out of its Come on, you
have dumb eggs, Snap out of it so I can
take a pupet to meself?

Speaker 1 (32:41):
What hit me?

Speaker 3 (32:43):
Duffy hit you? Your egg had a dope?

Speaker 1 (32:45):
Why that? Lemme at him? Backs down?

Speaker 3 (32:48):
You always want to fight address all over? Well, why
are you looking for this time? Christmas?

Speaker 1 (32:54):
He had? I remember him, Oh his nips, fucker, I'll
remember him now. That's why I wasn't paying attention to Duppy.
All of a sudden, I remember who this Parker is.

Speaker 3 (33:01):
And then now isn't that just dandy?

Speaker 1 (33:05):
Don't you remember m huh, well maybe if I call
him in you like to slip a nice little chick. Nah.
You don't get me, hap Parker. We've been trying to
figure him out all this time. Well, listen, he's a
guy that tried to slip me two thousand bucks for
trowning the Navy Championship fight.

Speaker 3 (33:16):
Why he is that? Can you He just tried to
do the same thing tonight. Stuffy told me, well, I'm.

Speaker 1 (33:19):
Not making the guy would kick out of the Navy
on that posy rap.

Speaker 3 (33:22):
Sure, Hawker, Holy smoke that shoor it is huh oh boy,
this is a terrification. Will be chickled. Huf Oh, he's
got about chits all around a look, oh boys, he
was the guy, said Pete hurt.

Speaker 1 (33:30):
Sure it was soccer, all right, and he offered me
two grants to hold up sit.

Speaker 3 (33:33):
You're okay, oh mam, I cause you would those gash
that news or you're a wonder.

Speaker 5 (33:36):
Yes, it was very clever of both of you.

Speaker 3 (33:38):
Oh say Klin, we were just talking about that. I know,
I admire you're cleverness.

Speaker 1 (33:42):
In fact, you're too clever to be.

Speaker 3 (33:43):
Wasting your time here. But Clint kick you told me this.

Speaker 1 (33:45):
I heard and as soon as both of you can
dress for the streets, please go throwing me down for
a few measly dollars. Well a minute, Clinch, you got
this all wrong, but you're wont safe.

Speaker 3 (33:53):
You're listening, Clint Kick just remembered.

Speaker 1 (33:55):
Way really, no discussion necessary. If you live in the dress,
I'll send your wages to you in the fight with it. Yeah,
let you off unless you can find another idiot supposed
to guarantee of ten thousand dollars.

Speaker 3 (34:05):
Okay, okay, un Chick that keeps going?

Speaker 1 (34:08):
Well, I don't want to go letting Clint think back wordy? Oh,
come on, he knows what he's doing. The black boyans
always know what that's doing.

Speaker 3 (34:15):
Why am I happy? Here, Sue, she'll.

Speaker 1 (34:17):
Fix it for us.

Speaker 4 (34:18):
Where are you boys going?

Speaker 1 (34:20):
Listen to you? Tell Clint first?

Speaker 3 (34:21):
William make him listen? Oh? Come on, Chick ain't no use,
she ain't gonna do no listener needed. What is it, Lenny?

Speaker 4 (34:28):
What's wrong?

Speaker 5 (34:28):
Parker bribed Chick to throw the fight.

Speaker 4 (34:30):
I don't believe it.

Speaker 1 (34:31):
I can't start my own eyes and ears. I heard
Chick telling Happy he was offered money to throw the fight.
Then they danced around like a couple of lunatics. I
saw them, I heard them.

Speaker 3 (34:39):
I still don't believe it.

Speaker 4 (34:40):
Lenny, I'm sure there's some mistake.

Speaker 1 (34:42):
Chee clent if you don't only listened for a second.
I didn't even talk to Parker about this fight. I
was telling Happy, I'll be inside if you want me to. H.

Speaker 3 (34:50):
I guess that's that.

Speaker 4 (34:52):
Come on, chick, hap have I'm off the sorry about EVERYTHINGH.

Speaker 3 (34:56):
That's all right, kid, But I do wish you tell
plenty we never do nothing with in our lives. Tell
him that with it he wanted. We got the news
that or enter him. There's go.

Speaker 1 (35:15):
We called for staking identification.

Speaker 3 (35:17):
This is the Columbia broadcast in system. How word is

(35:48):
famous for a good looking girl, but they're not all
in the movies.

Speaker 1 (35:52):
Walter Winshow recently termed Tonight's guest the prettiest newspaper woman
in America. An English stabutan. She was presented at court
a few years ago to the King and Queen, but
gave up a whirl in society.

Speaker 3 (36:03):
The were on the stage.

Speaker 1 (36:05):
After dancing in the chorus of London musical shows, she
became understudied to Jesse Matthews. Then she jumped to fame
with a leading part in Noel Coward's play This Year
of Grace. As a dancer, she was noted for her
ability to kick. In fact, it was one of her
kicks that started her off as a colonist. A newspaper
published an article about chorus girls, to which she objected,
And she's been writing ever since.

Speaker 3 (36:27):
She came to Hollywood a year ago.

Speaker 1 (36:29):
And today her gossipy news about picture stars, syndicated by
the North American newspaper Alliance, is read daily by twenty
million people in newspapers all over the world. Ladies and gentlemen,
Miss Sheila.

Speaker 3 (36:40):
Graham very nice in the ducks, listed the mills. After all, Sheela,
you have twenty million readers.

Speaker 4 (36:50):
What would you like him to speak about your job?
Nothing about luck.

Speaker 1 (36:54):
Luck speaks for itself.

Speaker 4 (36:55):
I wish more stars spoke for themselves. For example, Geane Arthur,
star of your new picture, is extremely shy. She sincerely
believed she has nothing of interest to her a reporter,
but not on the radio. You'd be in a spot
if I followed that advice.

Speaker 3 (37:08):
Right now, then let's just gut talking stars or.

Speaker 4 (37:10):
Shooting stars like Gary Kopos I saw him on your
seat yesterday doing some fancy work with a sick shooter. Incidentally,
he's the only star I've seen in Hollywood who's even
better looking off the screen.

Speaker 1 (37:20):
Than Arn't is that so.

Speaker 4 (37:23):
I've never regretted giving up acting and running my career
into a newspaper column. To me, reporting is much more exciting. Still,
I can't forget my chorus girl days abroad. In every
studio I visit here, I bump into luck stakes in
the Water's department, just as I found it backstage in England.
In that respect, they're just as a bannce of Hollywood.

Speaker 3 (37:41):
So that's not new Shela. Can't you give us some
facts that aren't so well known? All right?

Speaker 4 (37:45):
Here goes One of the biggest money makers on the
screen is the radio stars Bob Burns.

Speaker 1 (37:50):
But Bob still.

Speaker 4 (37:51):
Drives the twenty five dollars automobile. He's convinced his success
is just the dream and that any minute he's going
to wake up.

Speaker 3 (37:57):
Maybe that noise we've been hearing isn't the bazooker after all?

Speaker 1 (38:00):
The maps of justice.

Speaker 4 (38:01):
Morring perhaps, But the champions leaver in Hollywood is Ned's bark.
Ned can take a nap any time and any place.
Merl o'bron has a most considerate figure. She eats anything
and never puts on an excess oum eating is probably
Louise Ryan's favorite habit. She loves to visit friend's eyes boxes,
so does Fred mc murray. Incidentis Simone Simoons, a new friend.

(38:23):
Star also has her weighty problem, but has shed ten
pounds since coming to Hollywood. Paul Muney tells me he's
anxious to leave pictures and get back to the stage. Paul,
by the way, has a curious habit of lying down
on the floor when he's eating or being interviewed. Ronald
Colman will do anything to prevent his picture being taken,
but is the only male star who doesn't powder his
nose with photographic purposes. Your start to Night, James Cagney

(38:46):
just told me that women can take a sock on
the nose in pictures. That is much better than mess.
Clodette Colbert is the most superstitious star I know of.
She always leaves the building by the same door she
entered it for good luck. Leslie Howard seldom look to
the person to whom he's talking. He prefers to play
with his pipe or the.

Speaker 3 (39:03):
Heel of his shoes.

Speaker 4 (39:04):
And as for me, mister de mill, I must prefer
to play with a tipewriter for a microphone. But before leaving,
I'd like to ask one question, and that is is
it true? The fan mail for this program is sometimes
addressed to says will be the luxe?

Speaker 1 (39:20):
Is it true that you're going to publish a book
of witticisms like that last one known as Graham Crackers.

Speaker 4 (39:24):
Ow, I think I've said enough, good night, good night.

Speaker 1 (39:35):
We raised the curtain on the final round of his
that so, starring Jimmy Cagney as the unhappy half Hurley
and featuring Robert Armstrong and Boots Mallory. A month has
passed and Chick had won the championship. In the library
of the black one home who has arranged a meeting
with Parker Clint Chick and happen the Fighter.

Speaker 3 (39:58):
And his manager have still not a inish chair.

Speaker 1 (40:04):
My DearS, you might I think that you why I'm here.
Please be patient, Robert, I'm afraid to my patients is
uply being exhausted. Wouldn't because as well we postponed this
the gathering of yours on some more practical times.

Speaker 4 (40:16):
Oh, I couldn't think of putting yourself any longer.

Speaker 3 (40:18):
Robert.

Speaker 4 (40:18):
This is something I've dreamed of for you. Clinny, will
you answer that?

Speaker 1 (40:22):
I have to Hi clannel boiled too, power boy, hire Clent,
come in, Oh thanks, come on, Stobart, good eating hap
Hi a joke making a worldcham congratulations Kick. It was
not noth metal high apoco old bean hot tecks. That's
what the meaning of this too.

Speaker 4 (40:39):
Sit down, Robert, I'll explain everything.

Speaker 3 (40:41):
Yeah, sure, pull up a chair. Party well too, the
Saint Robert. I'd like to make a public apology.

Speaker 4 (40:47):
I've made it privately several times. I think I'll see
a lot better. I'll make it again here.

Speaker 3 (40:51):
So let's look united, sink tap I want to.

Speaker 4 (40:53):
I want to apologize to have heard is having them
such a prompious little snob? I'm sorry? Has really? Then
I do feel better.

Speaker 5 (41:01):
You didn't hold this little party for that?

Speaker 1 (41:02):
Did you take?

Speaker 4 (41:03):
Sence plenty?

Speaker 3 (41:04):
We now come to a second life of points.

Speaker 4 (41:06):
My engagement to Robert Parker is here, and now I
brought definitely to an end.

Speaker 5 (41:11):
Shut up, yo, Well that's the first good news I've
had in week.

Speaker 1 (41:14):
So the engagement is broken.

Speaker 4 (41:16):
Is definitely no.

Speaker 5 (41:17):
That's too bad.

Speaker 1 (41:19):
I was hoping they'll be known on Saturday for something ugly.
Are you quite sure?

Speaker 5 (41:23):
Too?

Speaker 4 (41:23):
Quite sure?

Speaker 1 (41:25):
I imagine we shnna have to go to the law
about a little matters embetulness and forgery. After all, of course,
that's such a bother.

Speaker 4 (41:31):
Oh, I don't think you'll be bothered with courts night
beating about the bush sew.

Speaker 5 (41:34):
What does he get up your sleeve?

Speaker 4 (41:35):
What is the matter of that, Clint? I don't think
the missus Parker is going to remain this country very long.

Speaker 1 (41:39):
Do you have?

Speaker 3 (41:40):
Personally?

Speaker 1 (41:40):
I think you want to find it kind of hot
around here. For if you want to stay, that's up
to him. What if he's wide, You're scram and scram quick.

Speaker 4 (41:48):
South America would be nice.

Speaker 3 (41:50):
Don't you be so sick?

Speaker 1 (41:51):
Yeah, it's all right, but a lot of guys like
Canada better not me too. But ought you a little
premature about my plans? You're forgetting about your brother, even
involving the little difficulty as I remember it, I think
his memory should be considered.

Speaker 4 (42:04):
It's being considered, Robert. I assure you now comes the
third vite upon Robert Parker. It gives me the greatest
pleasure possible.

Speaker 1 (42:12):
To inform you that we know you to be a
liar on the thing and a double face of water
right in a bargain.

Speaker 3 (42:16):
Why you set out set I'm a boy, slap you
that slate. We've got the good dwn you, Parker.

Speaker 1 (42:21):
I took it on myself dad, to investigating for still here,
and I found out plenty way I understand it.

Speaker 3 (42:26):
You showed Plint and so proof that some Joe has
been lifted out of their estate.

Speaker 1 (42:30):
Then you show them notes their brother was supposed.

Speaker 3 (42:32):
To afford them to make as of gambling lords. But
you didn't hand over the notes, did you.

Speaker 1 (42:36):
No, you've kept him the hole over their heads. Well
that's called blackmail, yees.

Speaker 4 (42:42):
Blackmail. You've known all along that I've hated you, and
they couldn't hated you if you used our love for
ows other, Jerry, just as the means of marrying a
person of the blackburned money, well it didn't work. I'm
going to marry hep fairly too. I mean to think
what you're saying, Well, I have thought I love half
just the way he is, and I wouldn't change him.

Speaker 3 (42:59):
For Oh geez, that's too bad.

Speaker 1 (43:02):
Think of the shock when members of the social Register
read the Jerry worried.

Speaker 3 (43:05):
Don't worry, there won't be nothing.

Speaker 1 (43:07):
No read We've been looking into your past, Parker, and
we've got you all lined up for a nice room
in a bed in a stake prison.

Speaker 3 (43:13):
Really yeah, really he was in a navy for a while,
wasn't you. I am a Navy, Yeah, you.

Speaker 1 (43:19):
Were apport a master on a Texas and that's where
you met Sue's brother for rods. I've never been on
a battleship in my life.

Speaker 3 (43:25):
Ah, yes, yeh was but you what you was? The
name of Collins? Then this is all pretyposterous, really too,
I'm not talking.

Speaker 1 (43:30):
Me what it's time to be this joke in the navy.
Edwards found that you had bought the senior officer's name
to some important receipts.

Speaker 3 (43:35):
That's correct, isn't it? So Okay?

Speaker 1 (43:36):
Well, I think you've got this far far, far enough too.
I would argue with you the whole thing is too silly.
But you've made a lot of ridiculous accusations that you
can't possibly substy.

Speaker 3 (43:44):
Oh can't I chick?

Speaker 4 (43:46):
When was the first time he's saw mister Parker.

Speaker 1 (43:47):
Well, I'm the favorite to win the Navy Championship in
the right heavy servation. See, and that's sky Parker. He
was a quartermaster on our ship. He comes up to
me and offers me two grants to take a die.
Wait a minute, listen, Is that what you.

Speaker 5 (43:58):
And Schick were discussing? The matter of the fright was dusting?

Speaker 1 (44:00):
Yeah? Sure, sure, that's what we're trying to tell you.
How much? Tell him? Happy? Did I recognize Parker? That
was the reason I come around. He told Buppy to
offer me a thousand bucks, and all of a sudden
I put two and.

Speaker 5 (44:08):
Two together and it spelled Parker.

Speaker 1 (44:10):
Right.

Speaker 5 (44:10):
I don't know what to say. Boys, I've never been
so ashamed in all my life.

Speaker 3 (44:14):
Off, I get it, I get it. It just took
you a little time to get out of things, that's all.

Speaker 5 (44:17):
But the fight. I've been wondering about that all night.

Speaker 1 (44:19):
Who provided the.

Speaker 5 (44:20):
Guarantee for Sucker Goodman?

Speaker 1 (44:23):
It was Sue You do you mean you put up
ten thousand dollars?

Speaker 4 (44:27):
Yes, and it proved to be a very good investment.
I now have a half interest in Chick and a
full interest in half, and then you.

Speaker 1 (44:33):
And half really, Oh she was only kidding about that Clinton,
You've got not no worry about?

Speaker 3 (44:36):
Did I say anything about being worried?

Speaker 4 (44:38):
And did I say anything about not being serious?

Speaker 1 (44:40):
Oh?

Speaker 3 (44:40):
Now, wait a minute, so I can say kids just
so long? None, it ain't kid no more but the half.

Speaker 4 (44:45):
I'm ended of course if you've changed your mind.

Speaker 3 (44:48):
Oh gosh, no, no, I just.

Speaker 1 (44:50):
I mean I would well, I get names all the time, tames.
They ain't no good such him?

Speaker 3 (44:57):
Got yet strap egg head? When I want you help you?
Like you first?

Speaker 1 (45:00):
How was that shot?

Speaker 3 (45:01):
Yes? That's chat? Why do you boys?

Speaker 5 (45:03):
Settle you a little difficulties?

Speaker 1 (45:04):
I'll see to it that mister Parker gets safely through
the front door. Come, miss Parker, you are leaving? Check Clint,
just one poking and foister.

Speaker 5 (45:11):
Oh no no, I'm going to.

Speaker 1 (45:13):
Show miss Parker out alone. Come dear missus Parker. Oh
this is and very clever. Don't alight scram before I
take up puck again? Can you imagine that half? Let
me not truck that off like that? Like?

Speaker 3 (45:24):
What did you hear that?

Speaker 1 (45:26):
Stock? Well?

Speaker 3 (45:28):
I still wish I could have punched a couple of
us takeoff? Listen you do nor more pointing around here.

Speaker 1 (45:32):
You see. Only when I tell you this, I mean
I insue. Oh her, Yeah, and you ain't going to
be making so many tips a book, Nita, You've got
an a fight coming up.

Speaker 3 (45:41):
Oh but ha, take no argument.

Speaker 4 (45:43):
It is justice hoptails.

Speaker 1 (45:45):
That show, yeah, that show, that show, Yeah, that show.

Speaker 3 (46:13):
Tonight.

Speaker 1 (46:13):
Star James Cagney returns to the microphone shortly. Oh you
have never seen him.

Speaker 3 (46:18):
On the screen.

Speaker 5 (46:19):
Oh.

Speaker 3 (46:19):
He is never credited with a single film.

Speaker 1 (46:21):
No man exercises more significant influence in Hollywood than doctor
a HGNNA, banker to the motion picture industry, son of
Italian immigrant and subject as a boy to all the
struggles besetting people in straightened circumstances.

Speaker 3 (46:35):
This man, who loans millions of.

Speaker 1 (46:36):
Dollars yearly to the picture studios, began his professional life
in medicine. As an intern, he once volunteered to treat
a man dying of typhus. The victim lay in a
pest house in San Francisco, confined with lepers. Doctor Jeanne
and the nurse went to his side, but it was
too late. The patient died. Forty eight hours later, the
nurse was dead. Doctor Jeanenna himself stricken. Another came to

(47:00):
treat him. That doctor died, but the young intern survived.
During the Spanish American War, he again volunteered to administer
the twelve hundred Negroes desperately.

Speaker 3 (47:10):
Ill with smallpox.

Speaker 1 (47:11):
For this service, San Francisco publicly honored him. Doctor g
and Anne left his practice to follow his father and
brother in a small banking business. Today, practically every major
studio in Hollywood owes its start to him. He is
now directly connected with films as President and Chairman of
United Artists Corporations and trustee of both Columbia Pictures Corporation

(47:33):
and Universal Pictures Corporation. His presence is distinctly an honor
to the Lux Radio theater ladies and gentlemen.

Speaker 3 (47:40):
Doctor A. H.

Speaker 7 (47:41):
G Anny, Thank you, mister Demil. It's a pleasure to
appear in the Lux Radio theaters. The importance of the
motion picture industry in the world today is second to none. Lately,
there has been a tremendous interest in films abroad, particularly
in England. Its significance cannot be underestimated. Foreign nations realize

(48:06):
that if a country requires a permanent monopoly in this field,
that nation will eventually dominate the world. In a sense,
Europe today is governed by the slogan I care not
who makes the laws of a nation.

Speaker 1 (48:19):
If I can make its motion pictures. A trade used
to follow the flag, you may now it follows the
film exactly. Girls in foreign capitals constantly keep their eyes
on Hollywood for new ways of dressing their hair and
new styles and clothes. More and more American phrases are
found in English publications. Our traditions, culture, language, and social

(48:40):
values are gradually Americanizing the globe. The end result is
that the proper element in pictures abroad has become its
secondary consideration. Their prime consideration right now is to maintain
their own tradition and history. Twenty five years ago, doctor
banks not only refuse to loan a penny demotion pictures,
but I know at one bank it said they preferred

(49:01):
not to have the account of any motion picture company.
You ended all that foot prompted your participation in pictures.

Speaker 7 (49:08):
First, I realized that the motion's picture was the only
commodity in the world for which people were willing to
pay sight on thee, any merchandise that can influence people
to that extent, must I conclude it be worthwhile Second,
motion pictures have an almost limitless field. They are made
to be enjoyed by everyone. Third, they appealed to children.

(49:30):
To me, that was and is yet the best assurance
for the future of any business. I've seen what children
can mean to banking. Many years ago. I started the
first school savings system in California and later in states
all over the nage. These accounts, which began with pennies,
have since increased into the million. Yet when I entered
the motion picture field, I was not entirely alone. A

(49:53):
new bank in Hollywood was beginning to give recognition to movies.

Speaker 1 (49:56):
Mister de Mill was.

Speaker 3 (49:58):
Its first vice president, not because I had money, but
because I knew pictures.

Speaker 1 (50:04):
But to you, doctor goes with distinction of being the
first man who definitely made out a respected security for
a loan.

Speaker 7 (50:11):
On one occasion, I was criticized by bank examiners for
putting half a million dollars in a company distributing Charlie
Chaplin's picture of the Kids, instead of investing that money
in guild ed securities. Several weeks later, my loan was repaid,
but the guilded securities tumbled from one hundred dollars a
share to eighty. In nineteen twenty nine, when the country

(50:32):
was plagued by depression, Hollywood again limped to doctor Gnna.

Speaker 3 (50:36):
Largely through his help.

Speaker 1 (50:37):
Not a single studio closed its doors throughout those trying times.

Speaker 3 (50:41):
Production, in fact actually increased.

Speaker 1 (50:43):
Tell us, doctor, how do you determine if a picture
studio is a good risk by.

Speaker 7 (50:47):
Applying practically the same principle I used years ago?

Speaker 3 (50:51):
In New York City.

Speaker 7 (50:52):
At that time, missus jannn and I often had young guests.

Speaker 3 (50:55):
At our home, schoolgirls and boys. They loved to.

Speaker 7 (50:59):
Visit us because I all show them motion pictures. I
had a purpose in doing so. I wanted to see
what photoplays they applauded the most. It is a studios
whose films these youngsters liked best that got the help
they needed.

Speaker 3 (51:12):
Today.

Speaker 7 (51:12):
The only difference is that I make my decisions by
the applause of the nation, and.

Speaker 1 (51:17):
In so doing, Doctor Jenney has been the financial rock
to which motion pictures have cast their anchors in every storm,
a rock with anything but a heart of stores.

Speaker 7 (51:26):
It's been a long time since I've been in medicine,
but I hadn't forgotten that a doctor must know not
only the body but the man as well.

Speaker 1 (51:34):
In a similar manner, have.

Speaker 7 (51:36):
I made character as well as a man's business the
real basis for my confidence in him.

Speaker 1 (51:42):
Thank you, sir, and good night. This fall you will
fee James Kagne in a new film released by a
new studio. The picture is type of Great Guy and
is being produced now at Grand National Studio. As Jimmy
comes to the microphone, I know you all joined me

(52:03):
and wishing him and Grand National all the success in
the world.

Speaker 3 (52:11):
Thank you, mister the Mill.

Speaker 1 (52:13):
Great Guy is the tendantive title of a story of
a civil service employee who reformed the city government by
exposing political corruptions.

Speaker 3 (52:19):
What I like about it chiefly yet the lead is
a grand honest character. To me, the all important need
in picture today is for better stories goys whose characters
are real honest people.

Speaker 1 (52:27):
And the same applies to the air. And it's your
careful choice of story to the Lox Radio Theater that
keeps me one of your most constant listeners.

Speaker 3 (52:33):
Congratulations to you and good night, good y let.

Speaker 1 (52:38):
Thanks to mister Cagney the Lux Radio Theater the arrange
they particularly fine program for next week.

Speaker 3 (52:43):
Mister de Mill tells you about it in the moment.

Speaker 1 (52:45):
Assisting mister Cagney, mister Armstrong and Miss Mallory in our
cast tonight were Kenneth Thompson, Lionel Pate, Frank Rowans, Lou Merrill,
Frank Nelson, James Eagles, and Ross Forrester. Mister Cagney appeared
to night through courtesy of Grand National Studios to de Mill,
Paramount and mister Silver's. Our musical director of twentieth Century Fox,
Robert Armstrong, will be seen shortly in the new MGM

(53:06):
picture All American Chumps and Here's Mister de Mill. The
talents of one of England's finest dramatists and two of
Hollywood's most distinguished performers are combined next week in the
Lux Radio Theater when we bring you Sir James Barry's
Quality Street, starring Ruth Chatterton and Brian Ahearn. This charming

(53:26):
story has been told many times on stages of the
world over and in motion pictures. The story of a
prim middle school teacher who waited ten years for her
soldier sweetheart to come back to our sponsors, the makers
of Lux Blake, together with Miss Chatathan and mister Ahearn,

(53:47):
join me in inviting you to be with us next
Monday night in the Lux Radio Theater presentation of Quality Street.
This is Sepher b de Mill saying good night to
you from Hollywood. The also at the Overladi the company
about Nothing Happen