Lux Radio Theatre - Cheating Cheaters

A high-budget anthology series adapting major films and stage plays for radio, often with the original Hollywood stars. It brought cinematic drama into living rooms weekly.

Episode Transcript

Speaker 1 (00:01):
Hollywood, California, Monday, August thirty.

Speaker 2 (00:03):
First, the Lux Radio Theater presents George Raft in Cheating
Teeters with June Lang. Lux presents Hollywood, the makers of

(00:34):
Lux Toilet Soap, official soap in all the leading motion
picture studios, again brings you an hour with Hollywood's outstanding celebrities.
Tonight you will meet George Raft, June Lang, Cecil B. DeMille,
Glorious Swanson, Donald A. Loomis, Lewis Silvers, and many others.
It is also our privilege to have in our visible
audience such guests as Henry Watchburg, Dean Janis Lowest, January Vaccine,

(01:00):
Jennys Sarimritza and Virginia Pine. And to all our listeners,
greetings from Lux. There's an excellent reason why Luck's Toilet
Soap is used by nine out of ten screen stars and.

Speaker 1 (01:20):
By lovely women everywhere.

Speaker 2 (01:22):
This pure white soap, with its delicate fragrance and active ladder,
removes cosmetics, thoroughly protects daintiness and brings you the charm
of a clear, smooth skit. It's Hollywood's beauty care, yet
it's so inexpensive that everyone can enjoy Luck's Toilet soap
every day and now our producer at.

Speaker 1 (01:43):
Present engaged in making his sixty third picture.

Speaker 2 (01:46):
He has started more actors and discovered more stars than
any man in motion pictures.

Speaker 1 (01:51):
Ladies and Gentlemen, Mister Cecil b de Mill.

Speaker 3 (02:02):
Greetings from Hollywood, Ladies and Gentlemen. In nineteen sixteen, the
famous Our Woods was a hit and run manager with
a hid on Broadway that ran for many months. Also
enjoying his run in those days was a delivery boy
by the name of George Raft. Many times young Raft
passed the theater where mister Wood's company was performing, but

(02:24):
the play Cheating Cheaters meant no more to him than
he did to the swirling crowds on the busy streets
about him. But tonight, twenty years later, George Raft stars
and Cheating Cheaters in the lux Radio Theater. Born and
raised in Hell's Kitchen, the handsome young delivery boy enjoyed
his rounds until he entered the ring. Then they brought

(02:47):
him nothing but punishment. After his twenty fifth professional bout,
he woke up in Bellevue Hospital. George was a leading
man even then, and he'd been caught leading with his
chin and his dream of ing lightweight champion was over.
He next tried baseball as a minor league player, but
his hits were all ahead of him because at the

(03:08):
battery couldn't get the first base. But after being fired,
he struck out once again, this time for a new profession, dancing,
and the feet that couldn't cover the bases or hold
him upright in the ring brought him immediate fame.

Speaker 1 (03:22):
On the stage.

Speaker 3 (03:23):
He starred in musical comedies, introduced a dance called the Charleston,
taught King Edward the Eighth, then Prince of Wales how
to do it, and was the highest paid American dancer
to tour the continent. Coming to Hollywood for a vacation,
George was seen in the Brown Derby Restaurant by a
director who thought he'd make an ideal screen gangster. A

(03:45):
few weeks later, the delivery boy from Hell's Kitchen was
delivering lines in the studio. June Lang, our leading lady,
has the distinction of being twice discovered by the movies.
A dancer since the age of five, June was given
her first part for only fourteen. Last year, her contract
expired and she.

Speaker 2 (04:05):
Was dropped, but Daryl Zannak rediscovered her in an old
test called Her Back, and gave her leading parts in
four recent films, Captain January, The Country Doctor, Every Saturday
Night and The Road to Glory, in which she plays
the only feminine role and is starred with Warner Backster,
Frederick Marsh and Lionel Barrymore. Tonight we hear her in

(04:26):
the part of Ruth Brockton, and now the curtain rises
on the Lux Radio Theater presenting Cheating Cheats, starring George
Rath with June Lang. We're on the boat deck of

(04:54):
the liner Argyle, four days out of Liverpool. It's late
evening and in the shadow of a lifeboat. Tom Palmer
played by George Raft and Ruth Brockton are sitting close
to each other in deck chairs as they gaze out
over the moonlit waters.

Speaker 3 (05:12):
Ruth breaks the long silence.

Speaker 4 (05:16):
Moonlight on the crest of a way. It's beautiful.

Speaker 1 (05:20):
Liston getting poetical. How little that's a good sign?

Speaker 4 (05:24):
How do you mean?

Speaker 1 (05:25):
Well?

Speaker 2 (05:25):
Uh, now, maybe you'll pay a little attention when I
tell you how I feel about you.

Speaker 4 (05:29):
I've been paying attention.

Speaker 1 (05:30):
You haven't done very much about it. I meant every
word I said.

Speaker 4 (05:34):
Perhaps you did with the ocean in the moonlight. But
wait a wee dark in New York. You'll forget me
soon enough, just like that.

Speaker 5 (05:41):
Eh uh huh.

Speaker 1 (05:42):
Well, if you're wrong, you can't get rid of me
as easily as that.

Speaker 2 (05:45):
I'll make you listen to me if I have to
follow you clear across the country.

Speaker 4 (05:49):
And the villain still pursued it? Right, Oh, Tom, you're mad?
Do you realize we've only known each other four days?

Speaker 1 (05:56):
That's long enough for me. I make up my mind
pretty fast.

Speaker 4 (05:59):
Yet, if it hadn't accidentally put us at the same table,
you wouldn't have had a chance to make up your
mind at all.

Speaker 1 (06:04):
That's right. Remind me to leave an extra large tip
for the steward. He's a great guy.

Speaker 4 (06:10):
Oh, I wouldn't give him all the credit.

Speaker 1 (06:12):
Who else is there to thank you?

Speaker 4 (06:13):
Well? If my father hadn't gone to Antwerp to add
a few jewels to his collection, I wouldn't be on
this boat.

Speaker 1 (06:20):
M three cheers for your father. And if my mother
hadn't decided she needed a sea voyage, I wouldn't be
here either.

Speaker 4 (06:26):
Yes, that's so well, Well, what go on say it?
Oh all right, I'm glad your mother decided she needed
a sea voyage.

Speaker 1 (06:36):
Swell, now we're getting someplace.

Speaker 4 (06:39):
Yes, that's what I'm afraid.

Speaker 1 (06:41):
Of, Palmer.

Speaker 6 (06:44):
I told you we'd find them spooning on the boat deck.

Speaker 4 (06:46):
Hello Dad, Hello missus Palmer.

Speaker 7 (06:48):
Life dear, we've been looking all over the boat for you.

Speaker 1 (06:51):
What's the matter? Mother?

Speaker 7 (06:52):
Mister Bruffin was afraid Rufe would catch cold. Up here, Tom,
it's getting terribly chilly.

Speaker 4 (06:56):
Oh, I'm all right, Missus Palmer, got.

Speaker 1 (06:58):
To get steamer blanket.

Speaker 6 (06:59):
If you're blank to say, there's a fog coming up, say, looks.

Speaker 1 (07:03):
Like you're right There goes your moon, Ruth.

Speaker 6 (07:06):
Oh, by the way, Ruth, I'm quite a surprise for you. Yes,
Missus Palmer just told me that she and Tom are
taking a house.

Speaker 1 (07:13):
In the country. And where do you suppose it is?
Where in West Sister?

Speaker 6 (07:18):
And if I'm not mistaken from Missus Palmer's description, I
believe they're going to take the old Bosto mansion.

Speaker 4 (07:24):
Why that's only about five miles from our place.

Speaker 7 (07:27):
Isn't it a coincidence?

Speaker 1 (07:28):
Well, there you are.

Speaker 2 (07:29):
I guess I won't have to make that cross country trip.

Speaker 1 (07:31):
After all. It was that nothing much mister Brocklin.

Speaker 7 (07:35):
Tom, this fog is getting sicker every minute. I think
i'd better go down.

Speaker 1 (07:40):
All right, Mother, I'll take you to your cabin.

Speaker 4 (07:43):
Good night, Ruth, night, see you at breakfast.

Speaker 1 (07:45):
Good night, missus Palmer, good night, best way. Mother. Well, Tom,
wait till we get away from here to get the dope.
Shut up. I tell you you want to crab everything.

Speaker 7 (07:55):
Say don't talk that way to me. I'm getting sick
and tired of back from the part of your old
lady without taking.

Speaker 2 (08:00):
And then he goes, Listen, Rosie, you're supposed to be
my mother, and you'll go on being my mother until
I say so.

Speaker 1 (08:04):
I'll take it or leave it, all right, all right.

Speaker 7 (08:08):
All I want to know is did you find anything
about the Brockton jewel.

Speaker 1 (08:11):
Yes, Brockton keeps them in the safest place in west Chester.

Speaker 7 (08:13):
Oh yeah, well they've fallen swell for the mother and
son stuff. We can move right up there next to
them and they'll never be the wiser. Pretty slick work.

Speaker 1 (08:23):
Tom, Yeah, maybe it's too slick.

Speaker 7 (08:27):
What are you talking about? Say you ain't fallen for
the team, are you?

Speaker 1 (08:32):
I don't know.

Speaker 2 (08:32):
I feel like a heel, that's all telling her I'm
nuts about her then turning around and copping our old
man's jewels.

Speaker 7 (08:38):
Oh so I was right. Huh, you have fallen for us?

Speaker 1 (08:41):
They get it? Will you're sure?

Speaker 7 (08:42):
Maybe you better forget it too.

Speaker 1 (08:45):
I'm going to my cabin.

Speaker 7 (08:46):
This fark is a thick as pea soup.

Speaker 1 (08:48):
See in the morning. What the devil's wrong? I don't know.
Sounds like the reverse the engines. Ruth, Miss, hurry nothing
if we're here, alond, Ruth, Ruth, where are you? We've

(09:09):
hit a nice bog get going by somebody half the
time he's left, Ruth, where are you?

Speaker 8 (09:19):
Are you?

Speaker 1 (09:19):
All right?

Speaker 2 (09:19):
Yes?

Speaker 7 (09:20):
Where's your mother?

Speaker 1 (09:21):
Come?

Speaker 9 (09:22):
They're sinking fast.

Speaker 4 (09:23):
Look I'll say there's a lunch in the boat. They're
going down like him.

Speaker 2 (09:26):
Sit hand back there, you men, stand back the fishot Listen,
you men.

Speaker 1 (09:30):
I've got to come here, and I'm not afraid to
use it. I'll stand back or I'll pull you a bitch.
Come on, I'll flee that boat.

Speaker 4 (09:35):
Go on.

Speaker 2 (09:35):
If anybody gets in there before a woman a child,
I shoot to kill.

Speaker 1 (09:38):
Ruth. Get in that boat, all right, mother, go on,
hurry Ruth, But what about you don't mind me?

Speaker 10 (09:45):
Get in there?

Speaker 1 (09:45):
All right, man, work fast.

Speaker 10 (09:47):
Take that boat, lower away, stand by.

Speaker 1 (09:49):
Those damits, watch that line.

Speaker 10 (09:51):
Come on, Come on you men, hurry up.

Speaker 1 (10:00):
Hm.

Speaker 7 (10:06):
Did you read this time?

Speaker 1 (10:07):
What?

Speaker 7 (10:08):
The fact that no lives were lost in the Argyle
dis esther was due chiefly to the heroic work of
an unidentified man who induced order at the point of
a pistol.

Speaker 1 (10:18):
That you unidentified.

Speaker 2 (10:21):
Yeah, all I need is to have my picture spread
all over the newspapers might.

Speaker 7 (10:25):
Start a little excitement. Anyway. I'm getting sick of hanging
around up here in the wilder Westchester with nothing to do.

Speaker 1 (10:30):
It was your idea to take this house, wasn't it.

Speaker 7 (10:32):
Sure, but I expected a little action before this. We've
been living up here two whole weeks, and what's happened
not a thing. We ain't even seen the Brocktons.

Speaker 2 (10:40):
Take it easy, Rosie, I know what I'm doing.

Speaker 7 (10:42):
Yeah, well, you're the only one who does.

Speaker 1 (10:46):
What would you like me to do? Walk over and
ask for their jewels?

Speaker 7 (10:49):
You could at least go and see the Brocktons tay
you a little social call, you know, like you dropped
in by accident.

Speaker 2 (10:55):
In society, Rosie, you don't make social calls unless you're invited.

Speaker 7 (10:58):
Oh yeah, when they're you an expert on edite quipped,
I know enough for that. You must have been reading again. Listen,
tom My, idea is this, go on over, make yourself sociable.
The dame like shit. You know that you can get
a line on the joint and spot the safe. Then
Mike goes over at night, of course, and cracks it open.

Speaker 1 (11:17):
That's your idea.

Speaker 7 (11:18):
Well, why not better than sitting around priddling our thumbs.

Speaker 1 (11:21):
We laid out.

Speaker 7 (11:22):
Plenty of shekels for this set up, and so far
all I've done is act polite to delivery boys. I'm
getting fed up.

Speaker 1 (11:27):
Take it easy, Rosie. Rome wasn't built in a day.

Speaker 7 (11:30):
There you go, putting on the dog again.

Speaker 3 (11:33):
Hell boys, can I come in?

Speaker 1 (11:35):
Sure? Come on in, Mike, Hey the boss, I got
a beat? Yeah, spill it.

Speaker 3 (11:40):
Well, let's dec here, schoper coach.

Speaker 1 (11:41):
You got me warring the colors, choking the.

Speaker 10 (11:43):
Daylights out of me.

Speaker 1 (11:46):
You can't cry it. We didn't come up here to fight.

Speaker 7 (11:50):
No, we came up here to lay our hands on
the quart of a million bucks worth of sparklers. But
I don't see us doing it.

Speaker 2 (11:55):
We got the status in collection in France. Didn't we
say that job ought to let us a half a
min easy?

Speaker 7 (12:00):
Sure, but I ain't no piker. Besides those Stuyves and
Rocks are as hud as alive coal.

Speaker 2 (12:05):
Hey, yes, right, boss, we can't get a pinch to
touch him.

Speaker 1 (12:08):
Ah, what's going on?

Speaker 7 (12:09):
Come on and join the party.

Speaker 1 (12:10):
Phil, you're looking mad, Rosie, I am mad? Hey Phil, Eh,
where's your tie? What do you mean? I said, where's
your tie?

Speaker 2 (12:18):
You're supposed to be the butler around here, arguing, Oh no, listen,
I don't.

Speaker 1 (12:21):
Mind being a butler, but I gotta have something to buttle.

Speaker 5 (12:23):
Don't I?

Speaker 2 (12:24):
Yeah, I mean walking around my hand. I'm running this deal,
not you.

Speaker 1 (12:30):
Well, let's get started.

Speaker 8 (12:31):
Then we'll get.

Speaker 1 (12:32):
Started when the right time comes. As that stands now,
we are to be glad of a chance to lay
low Hugh mugs don't see me. Remember there's a dick
on our trail.

Speaker 2 (12:40):
Means I mean Ferris, the best ju detective in this business.
If he ever gets win that where after that Brockton
Jewels that's creating for us?

Speaker 1 (12:47):
And quick say who is this guy Ferris? Is anybody
ever seen him?

Speaker 3 (12:51):
No?

Speaker 1 (12:51):
That's just why we gotta be careful we've got to
watch our step every inch of the way. Well, it's
okay with me, answer that, Rosie? Sure?

Speaker 7 (13:01):
Hello, Yes, this is missus Palmer. Oh hello Ruth, Dear is.

Speaker 8 (13:08):
The Broughton name?

Speaker 2 (13:11):
Eh?

Speaker 1 (13:14):
What'd you say, dear?

Speaker 7 (13:15):
Of course that's the moment she wants to speak to you.

Speaker 1 (13:17):
Give me the phone. Hello, Ruth, pretty well, how are you?

Speaker 4 (13:23):
What?

Speaker 1 (13:25):
Well?

Speaker 3 (13:25):
Uh?

Speaker 1 (13:26):
Yes, I think so.

Speaker 2 (13:26):
Wait a minute, mother, Ruth would like us to come
over for tea.

Speaker 1 (13:30):
Do you think we could make it? You bet? You
just read life.

Speaker 7 (13:32):
We can.

Speaker 2 (13:34):
Hello Ruth, She says she'd be delighted. Alright, thanks, goodbye.

Speaker 1 (13:40):
He got step bush tea at.

Speaker 7 (13:43):
The Broughton, stepping in high society.

Speaker 2 (13:46):
Hey, yeah, put on your best rags, Rosie, and do
your best tack like a lady.

Speaker 1 (13:50):
Don't worry about me, Mike, you'll drive us over. Wait
that for us? Oh shoot, shoot, and remember no guessing
with their servants.

Speaker 9 (13:57):
Not even a wood boy.

Speaker 1 (13:59):
This is a break right in the same house with
the blucked and jewels. This may be the big chance
you've been waiting for. Tom.

Speaker 11 (14:05):
Yeah, maybe another cup of tea?

Speaker 4 (14:20):
Tom, Tom?

Speaker 1 (14:21):
Oh? Uh no, thanks?

Speaker 4 (14:23):
What's the matter with you?

Speaker 1 (14:25):
Nothing?

Speaker 4 (14:25):
Why you've been sitting here all afternoon, looking like bloom Monday.
All I can get out of you is yes and no.

Speaker 2 (14:31):
Well, uh, I'm not always as talkative as I was
on the boat.

Speaker 4 (14:34):
Yes, I've noticed that. How does it feel to be
an unidentified hero?

Speaker 1 (14:39):
All right?

Speaker 12 (14:40):
As long as I'm unidentified?

Speaker 4 (14:42):
Would it be such a tragedy if they found you out?

Speaker 1 (14:45):
Well? Uh, you never can tell about those things.

Speaker 4 (14:47):
Modest man, I wonder where our respective parents are all
this time.

Speaker 1 (14:52):
I think your father said he'd show mother forgotten.

Speaker 4 (14:54):
More than likely he's showing her his duwel collection. She
seemed quite interested when he mentioned it.

Speaker 1 (14:58):
Oh well, yes, Uh, she's Uh, she's a jewel fancy
for herself.

Speaker 4 (15:02):
She seems to be. Dad says she talks nothing but
jewels all the way over on the boat. Is that
so she has quite a collection too, hasn't she?

Speaker 1 (15:09):
Did she uh say that?

Speaker 4 (15:11):
Well, yes, of course she does have a collection, doesn't she?

Speaker 1 (15:15):
Oh? Yes, the the Palmer jewels very famous.

Speaker 4 (15:19):
I thought so.

Speaker 2 (15:21):
Well, Uh, I I think it's time we were going.

Speaker 4 (15:24):
Tom what's the matter with you? Why do you act
so distant?

Speaker 1 (15:29):
Am I distant?

Speaker 4 (15:31):
You were different on the boat?

Speaker 1 (15:32):
Yes, Uh, talkative too, talkative. I'm afraid so.

Speaker 4 (15:36):
Oh, then you don't feel the same about me.

Speaker 1 (15:39):
I mean, sure I.

Speaker 2 (15:40):
Do, uh, only only what look good. Let's not talk
about it now. Someday I'll tell you the whole story.

Speaker 1 (15:48):
That's uh.

Speaker 6 (15:48):
Yellow diamonds is the pride of my collections.

Speaker 1 (15:51):
Missus Bomas.

Speaker 7 (15:51):
Oh, it's beautiful, Tom. You must get mister Brockton to
show you his diamonds.

Speaker 1 (15:56):
They're just lovely, Yes, sir, they must be. I beg
your pardon, mister Broughton. Yes, Wilson, what is it? A telegram?
Does came for you? Sir? Oh?

Speaker 6 (16:05):
Excuse me, please, this may be important?

Speaker 4 (16:07):
Of course, I hope it isn't bad news.

Speaker 1 (16:09):
Dad, hmm, I'm afraid it is. I've got to leave
for Chicago immediately.

Speaker 6 (16:14):
Oh dear, I'm sorry, Ruth, but you'll have to come
along with me, must I?

Speaker 1 (16:18):
Well, you can't very well stay here all alone.

Speaker 4 (16:20):
No, I suppose not so, mister Broughton.

Speaker 7 (16:23):
If Ruth doesn't want to go, why can't you come
over and stay with us. We'd love to have her,
wouldn't we talk?

Speaker 1 (16:28):
Why? Yes? Of course?

Speaker 4 (16:30):
Well I why it's awfully nice of you. If it's
not too much of an imposition.

Speaker 7 (16:34):
Nonsense, my dear, we'd be offended if you didn't come.

Speaker 4 (16:37):
Really well, all right, thank you.

Speaker 1 (16:40):
Oh, I just thought of something.

Speaker 6 (16:43):
I uh, can't walk off and leave my jewels here
and the bank vault is closed.

Speaker 1 (16:48):
Hmm.

Speaker 2 (16:48):
That's a little difficult, unless, of course, you'd like to
leave them in my safe.

Speaker 7 (16:53):
And that's of course. Why didn't I think of that?

Speaker 4 (16:57):
That's an idea, Dad, I can bring them over to
missus Palmer. I'm sure they'd be all right in Tom's safe.

Speaker 6 (17:02):
Well. I hate to burden you Tom with the responsibility
like that.

Speaker 9 (17:06):
Those jeels are worth a fortune.

Speaker 7 (17:08):
Certainly, that's why we want them. I mean to keep them.

Speaker 3 (17:11):
Safe for you very well.

Speaker 9 (17:13):
It's really awfully nice of you.

Speaker 1 (17:15):
Oh not at all, mister.

Speaker 7 (17:16):
Brockton, No, not at all.

Speaker 4 (17:18):
I'll come over as soon as Dad is packed Tom,
and I'll bring the jewels with me.

Speaker 1 (17:22):
Fine, well, we run along, see you soon then.

Speaker 4 (17:26):
About an hour, come on, mother, goodbye, and thanks again.

Speaker 2 (17:30):
Oh, don't mention it so long.

Speaker 4 (17:32):
Ruth, so long, don't forget dear, hurry over, I will.

Speaker 1 (17:38):
Well. It worked.

Speaker 7 (17:40):
Where's Wilson?

Speaker 6 (17:41):
It was perfect, perfect, Come here, Wilson.

Speaker 1 (17:45):
You certainly made a great butler in their road.

Speaker 6 (17:48):
Not so bad, Not so bad, say, I was terrific.
They fell for that pony telegram like a load of bricks.
What's the next move, Ruth.

Speaker 4 (17:55):
I spend the night at the Palmers. Put our jewels
in their safe. Learn the combination. Morning we'll have our
jewels and the Palmer collections.

Speaker 6 (18:03):
Well, then I can stop playing Papa and have a
little fun.

Speaker 1 (18:08):
Take it easy with you.

Speaker 6 (18:09):
We ain't got the Palmer jewels yet, and there's still
Ferris to worry.

Speaker 4 (18:13):
Oh, stop calamity howling. If Ferris was on our trail,
we'd all been in jail weeks ago.

Speaker 6 (18:17):
Well, there's another thing I don't like so much. Let
those jewels get out of our hands. We have a
tough enough time snatching them in the first place. I
don't like throwing them around like this.

Speaker 1 (18:25):
Now.

Speaker 3 (18:25):
Listen, Ruth knows what she's going.

Speaker 1 (18:27):
He's the best little crook in the business.

Speaker 3 (18:30):
A plan can't fail, cannot rude.

Speaker 1 (18:32):
Hey, Hey, what are you dreaming about?

Speaker 4 (18:35):
I was just thinking, if we apply the same energy
and resourcefulness to being honest, we probably all be rich.

Speaker 6 (18:41):
Yeah, well we'll be rich anyway, say Ruth, what's getting
into you?

Speaker 4 (18:45):
Is that guy Palmer, That guy Palmers you call him,
is all right? I hate lifting his jewels this way.

Speaker 13 (18:52):
Listen, baby, you'd better forget him.

Speaker 1 (18:54):
You ain't no match for high society mug.

Speaker 4 (18:57):
No, I guess I'm not.

Speaker 6 (18:58):
Well, come on, what's the life? Yeah, how do we
get the Palmer rocks?

Speaker 4 (19:01):
Leave it to me when he puts our jewels in
the safe, I'll be right there with him. I'll get
the combination.

Speaker 6 (19:07):
You come down in the middle of the night and
lift his and ours both, Right, that's it, swell. You
know it tickles me pink to think of them suckers
driving home without a thought in the world.

Speaker 1 (19:19):
Yeah.

Speaker 13 (19:20):
I can just see their faces and they wake up
tomorrow and find their rocks has gone by body.

Speaker 4 (19:34):
What fuckers?

Speaker 7 (19:35):
These brockings must be laying their jewels right in all.

Speaker 1 (19:40):
Yeah, it's poivy here.

Speaker 3 (19:41):
You're sure had the right hunch horse. They look like
the siller.

Speaker 1 (19:44):
Time was right.

Speaker 2 (19:45):
Yeah, that brock and jewels are practically in our pockets
right now.

Speaker 1 (19:49):
Well, it looks like a good day's work for us.

Speaker 2 (20:06):
Now, before we resume the story of cheating Cheaters with
George Raft and June Lang, let's breeze over to the
Paramount commissary.

Speaker 1 (20:13):
It is gay with waitresses in green and orange dresses
and extras in costumes hungry for their lunch.

Speaker 2 (20:19):
Near the window is a very pretty extra with a friend,
and the extra says, well, what's you going.

Speaker 9 (20:25):
To tick at thirty five center more?

Speaker 4 (20:27):
I guess I'll have to wish I could plunge on
an expensive lunch once, or have somebody buy me a few.
Where's Dan? He used to buy you tons of lunches.
Oh he's gone. Oh man, sure are pickles? I already
taking Jane out these days? Oh not really, Jane, mm hmm,
I don't believe it. Well, I mean, well, Jane has

(20:49):
the thing to recommend hers, except, of course, her lovely skin. Well,
apparently that does the trick. Dan always did notice the
girl's complexion. He used to pay meat compliments. It's on
mine for it went so sad.

Speaker 2 (21:04):
All men prefer the girls who have soft, smooth, clear skins.
A lovely complexion is appealing, so it's important to guard
against cosmetic skin dullness, tiny blemishes, enlarging pores.

Speaker 1 (21:17):
No need to take this risk. If you use lux
toilet soap for lux toilet soaps. Active lather sinks.

Speaker 2 (21:23):
Deep down into the pores, removes every trace of dust
and dirt, stale, rouge and powder that might remain.

Speaker 3 (21:30):
To choke them.

Speaker 2 (21:31):
Use cosmetics all you like, but protect your skin, remove
them thoroughly. You do this when you use Luck's toilet soap.

Speaker 1 (21:40):
So make this the beauty care you use.

Speaker 3 (21:43):
And once again, mister de mille, we continue with Cheating Cheaters,
starring George Raft as Tom Palmer and featuring June Lang
as Ruth Brockton. M Two gangs of jewel thieves working

(22:05):
at cross purposes. Peach gang intent from rabbing the other
of a valuable collection of diamonds. This is the situation
as our curtain rises again. It's early evening. In the
living room of the Palmer home. Tom and Rosie, whom
he calls his mother, are entertaining Ruth Bruckner. They're more

(22:25):
than welcome guests.

Speaker 4 (22:28):
Missus Palmer, your dinner was grand. I must thank you
again for letting me impose upon you.

Speaker 7 (22:33):
No, no, not another word. You're embarrassing us, isn't she.

Speaker 1 (22:37):
Tom. It's a pleasure to have you rum.

Speaker 4 (22:39):
Thanks althy the we Tom.

Speaker 7 (22:42):
I do hope you've taken good care of Ruth's jewels.

Speaker 1 (22:45):
Well nowhere, not yet.

Speaker 4 (22:47):
I was going to speak to you about that. Do
you think we'd better put them away? I've brought them
down with me. They're in this box I do.

Speaker 7 (22:53):
You mustn't let them lie around like this. They may
get lost. Tom open the safe for Ruth.

Speaker 1 (22:59):
Yes, mother, come over here, Ruth.

Speaker 4 (23:02):
Oh is it in this room?

Speaker 1 (23:05):
Yep? Behind this panel? Watch.

Speaker 4 (23:08):
Well, isn't that clever? No sief would ever think of
looking for it there.

Speaker 2 (23:12):
Well, if someone did find it, he'd get a big
surprise when he tried to open it.

Speaker 1 (23:16):
You see, the combination dial was charged with electricity high voltage.

Speaker 4 (23:20):
You mean if he touched that dial, he'd get a
shock a couple thousand votes? Oh would it h kill him?

Speaker 1 (23:26):
No? Uh not instantly?

Speaker 2 (23:28):
Oh, I see the thought you would last about ten
minutes unless someone turned off the switch. It's uh hidden
right here in this bookcase.

Speaker 1 (23:35):
Uh see?

Speaker 4 (23:36):
Oh yes, don't you think you'd better turn it off
for a moment?

Speaker 1 (23:39):
Kay? Of course.

Speaker 2 (23:42):
Here you are now just a second til I work
the combination?

Speaker 4 (23:45):
Isn't that interesting? I've never seen a safe open before.

Speaker 1 (23:50):
This happens to be a pretty good one. Simple Uh,
but effective, I can imagine. Alright, let's have the jewels,
Ruth kill.

Speaker 4 (23:59):
You are are the Palmer? Juwsing this safe too? Oh?

Speaker 7 (24:03):
Yes, we're very careful about our collection.

Speaker 4 (24:06):
Well, if you keep yours there, I guess mine are
safe enough.

Speaker 7 (24:09):
Of course, dear, of course I.

Speaker 1 (24:11):
Think pardon mister Palmer. Yes, Phil, Uh what is it
mister Morton Hanley to see you? Sir Morton Hanley h
the gentleman who's been calling you all afternoon? Oh? Uh yes, suh.
Did he say what he wanted? No, sir, just that
it was very important important? Oh alright, Uh ask him

(24:32):
to come in?

Speaker 8 (24:33):
Very good, sir.

Speaker 4 (24:34):
Would you rather see him alone? Tom, I can run upstairs.

Speaker 1 (24:36):
No no, uh, don't go. It can't be as important
as he thinks it is.

Speaker 7 (24:40):
If I were you, Tom, i'd closed that safe. You
never know who it might.

Speaker 1 (24:45):
Be, alright, mother, but don't be so jumpy.

Speaker 4 (24:49):
Well close it anyway?

Speaker 3 (24:53):
There?

Speaker 1 (24:55):
Does that make you feel better?

Speaker 7 (24:57):
Thank you?

Speaker 9 (24:57):
Dear.

Speaker 3 (24:58):
Mister Palmer is in the living room.

Speaker 1 (25:00):
Thank you, Thank you a good evening. Good evening you are,
mister Palmer. That's right, which you have a seat? Thank you.

Speaker 2 (25:07):
My My name is Henley. I represent the Dexter Hero Foundation.
Oh yes, sir, this is my mother. Mister Hanley, how
do you do? And our guest, Miss Brockton, how do
you do?

Speaker 1 (25:18):
Miss Brockton, Miss Ruth Button, Yes, sir, you know her.

Speaker 2 (25:21):
No, no, not personally, but her name is on my list,
you see, mister Palmer ungathering testimony from people on board
the argyle an unidentified man was quite a hero on
that occasion, and we really must find him.

Speaker 1 (25:33):
What for We're going to award him a gold medal
for his valorous conduct. I'm afraid I can't help you now.

Speaker 2 (25:39):
Yes you can, mister Palmer, Yes you can. You see
we have it on excellent authority so far that you
are the unidentified man.

Speaker 1 (25:46):
You're making a mistake.

Speaker 4 (25:47):
Tom, don't be modest. You know it was you.

Speaker 1 (25:50):
Thank you, Miss Brockton. Well, your statement completes our chain
of evidence. Mister Palmer, allow me to congratulate you. Just
a minute.

Speaker 2 (25:57):
You said you had other evidence that I was the
man who told you that. We have reports from several
of the passengers. Doctor Hold, whom you doubtless recall, gave
a really glowing statement, but the clearest account of all
we received from a detective a man named Ferris.

Speaker 4 (26:12):
Excuse me? Did you say he was a detective?

Speaker 1 (26:15):
That said Harris? Hmmm.

Speaker 2 (26:17):
I don't recall the name on the passenger list, do you, mother,
I don't believe I do.

Speaker 1 (26:22):
Well.

Speaker 2 (26:22):
He may have traveled incognitore detectives often do Wanner after somebody.

Speaker 4 (26:26):
Have you've seen this mister Ferris?

Speaker 3 (26:28):
Well no.

Speaker 2 (26:29):
I called at his office this morning and one of
his assistants told me mister Ferris was after a very
clever gang of jewel thieves.

Speaker 1 (26:35):
I see very interesting.

Speaker 2 (26:38):
Well Er, mister Hanley, thanks for calling, and please give
my thanks to mister Ferris when you see him like you,
I'll do that, and I hope shortly to have the
honor of witnessing the formal presentation of your medal.

Speaker 1 (26:49):
Well, good evening, good evening. The butler will show you out.
Thank you, good night.

Speaker 4 (26:53):
Well you're going to get a medal.

Speaker 7 (26:56):
That's exciting, a little too exciting for me.

Speaker 4 (27:00):
Give me a sick headache.

Speaker 7 (27:01):
I think I'll run off to bed.

Speaker 4 (27:03):
Is there anything I can do? Missus?

Speaker 7 (27:04):
Pomar, thank you, good night, good night, Oh Tom, I'd
like to see you before you go to bed.

Speaker 1 (27:10):
Yes, mother, good night, good night.

Speaker 4 (27:13):
Your mother seems quite upset.

Speaker 1 (27:15):
Oh, she'll be all right.

Speaker 4 (27:17):
Well, I guess i'd better run along too.

Speaker 1 (27:20):
Wait a minute, don't go yet. I want to speak
to you.

Speaker 4 (27:23):
I'll be here in the morning.

Speaker 1 (27:25):
I want to speak to you now.

Speaker 4 (27:26):
Hmm, sounds important, it is.

Speaker 1 (27:29):
Well, do you remember what I told you on the boat?

Speaker 4 (27:33):
Of course, But you needn't worry. I'd no intention of
holding you to it.

Speaker 2 (27:38):
I wasn't afraid of that. As a matter of fact.
I I want you to hold me to it. What
I meant what I said then, and I mean it now.
I want you to marry me, Ruth.

Speaker 4 (27:50):
Tom, Well, well, are you sure.

Speaker 1 (27:54):
That I've told you that I loved you?

Speaker 4 (27:55):
Yes? But but what, oh, I I can't explain. It's
it's just impossible. Why, oh, Tom, you're mad to do this.
You don't know a thing about me, not a thing.
You're taking an awful chance, so are you.

Speaker 2 (28:10):
Listen, I've knocked around a lot more than you think,
and I've found out something. It doesn't make any difference
what a person has been, it's what he's going to be.

Speaker 4 (28:22):
Suppose you found out something about me that did make
a difference.

Speaker 1 (28:26):
What, for instance?

Speaker 4 (28:27):
Oh, you can't tell I might have a secret life
of my own that you.

Speaker 7 (28:31):
Know nothing about.

Speaker 4 (28:32):
Maybe I tap every third post or step on every
other crack in the sidewalk, or you know, I might
even be a thief.

Speaker 2 (28:39):
You that's a laugh, is it? I'm serious, rude. We
could be married tonight. By tomorrow we be away from
here for good.

Speaker 4 (28:50):
For good, Tom, I don't understand you. Why should you
want to leave here?

Speaker 1 (28:55):
Oh? Never mind that? Will you marry me?

Speaker 4 (28:59):
I can't, Tom, You.

Speaker 1 (29:00):
Mean you're not in love with me?

Speaker 4 (29:02):
I didn't say that.

Speaker 2 (29:05):
Alright, I'm not gonna rush you. Suppose we wait till tomorrow.
You can give me your answer then tomorrow. Well, alright, Tom,
excuse me, sir?

Speaker 1 (29:17):
Yes, sir. Miss Brockton's butler is here, sir.

Speaker 4 (29:19):
Oh yes, I ask him to bring something over for me.

Speaker 1 (29:22):
Show 'em in. Tell yes, sir, I'll say good night, Ruth,
see you in the morning.

Speaker 4 (29:28):
Of course. Good night, Tom, m you.

Speaker 1 (29:33):
I'm Miss Brockton in the living room, you think to
good evening, Miss Ruth.

Speaker 4 (29:37):
And good evening, Wilson. Sorry I had to bring you
all the way over here.

Speaker 1 (29:40):
Oh that's alright, Miss Ruth. Well how's it going? Be
careful everything okay, yes, Joel's mis safe. Of course, you
know the combination.

Speaker 4 (29:47):
I told you everything was alright, okay.

Speaker 1 (29:49):
Okay, what time you go on me back here?

Speaker 4 (29:51):
Three o'clock there's sure to be asleep.

Speaker 14 (29:53):
Then three o'clock, right, well, looks like a good day's
work for a right us.

Speaker 7 (30:14):
Two o'clock, Well, do we pull the job.

Speaker 1 (30:17):
Or don't we? Yeah? What do you see boys? Oh,
we've been sitting up here for an hour doing nothing.
Let's get started. Head and said we'll go down.

Speaker 2 (30:23):
For the jewels when I say so, not before. In
the first place, we don't even know if she's asleep.

Speaker 1 (30:28):
Yes, she ain't. No night off, shut up.

Speaker 2 (30:30):
In the second place, I'm not so sure we ought
to pull this job at all. We get quiet. You
all heard what that bird Handley said. Harris spotted me
on that boat. He's got his eye on us right now.

Speaker 1 (30:42):
Alright, So what we grabbed the ruction scram Oh sure,
and get pinched at the border. A lot of smart guys,
you are, Yeah, she had never thought of that.

Speaker 2 (30:53):
The way I see this is we lay off the
Brockton jewels for good, clear out of here and forget it.
And when this fairest thing blows over even get together
and pull something out. Hey, wait a minute, what do
you mean you can get together?

Speaker 1 (31:05):
Ain't you in with us anymore? Well, sure of course
you mean we ain't gonna grab him rocks. Boys, that's
what I said.

Speaker 2 (31:13):
Holy gee, dead hoints a quarter of a million bucks
with the sparklers and we gotta leave him pat and
play tag with a.

Speaker 9 (31:18):
Dick g dead heats.

Speaker 1 (31:20):
It's the best thing to do right now.

Speaker 10 (31:22):
Yes, I guess.

Speaker 7 (31:23):
So Wait a second, boys, Tom, you ain't fooling me aptall.
You ain't worried about Harris.

Speaker 1 (31:30):
No, No, it's that dame.

Speaker 7 (31:32):
You're soft on her and you're trying to welch so
she won't have to grab her jewels.

Speaker 1 (31:36):
What You're a pretty smart girl, aren't you, Rosie?

Speaker 7 (31:39):
Smart enough to know when I'm getting a shake down?

Speaker 2 (31:41):
And I look, Tom, I don't know whether Rosi's got
the right dope on this thing or not.

Speaker 1 (31:44):
All I know is that we sunk plenty of coin
into this layout, and this ain't no time to go
back on us. Well, what do you say?

Speaker 7 (31:50):
If you have a voice, I'll tell you what he's gotta say.
He's going through with this deal, whether he likes it
or not, because if he don't, I'll queer him with
that dame for Keith. Yes, I'll tell her what you are.
I'll tell her plenty and so.

Speaker 4 (32:04):
I you're dirty two time and double crossing up Moses.

Speaker 1 (32:09):
I want you to keep your voice down.

Speaker 2 (32:11):
H If you want another sample that, get up and
start yelling again.

Speaker 1 (32:14):
I'll listen you, mugs.

Speaker 2 (32:16):
I never double crossed anybody yet, and I'm not gonna
start now.

Speaker 1 (32:20):
I'll go through with this job, sure, but this is
the finish. I understand. I'm through with you, all of you.

Speaker 12 (32:27):
I'll get out of here and let me alone.

Speaker 4 (32:50):
Come in. Wilson waiting outside for half an hour. I
told you three o'clock.

Speaker 1 (32:54):
Is the coast clear.

Speaker 7 (32:55):
They're all asleep.

Speaker 1 (32:56):
Well, where's the safe.

Speaker 4 (32:58):
Over here in the world? Come on, use your flashlight?

Speaker 14 (33:01):
Okay, how'd you say on the wall?

Speaker 4 (33:04):
It's behind the panel?

Speaker 1 (33:05):
Uh? Not bad? Not bad. I'll come on. Let's get
to work.

Speaker 7 (33:10):
Look out much matter.

Speaker 4 (33:11):
Don't touch that safe that's full of electricity.

Speaker 1 (33:15):
That's nice.

Speaker 4 (33:16):
Well what do we do now we turn it off? Stupid?
Look out?

Speaker 3 (33:20):
Yay? Have that girl?

Speaker 4 (33:23):
You got the combination, I'll give it to you. Keep
your light on the doll. Okay, shoot twenty four right.

Speaker 14 (33:30):
Twenty four right, eighteen left eighteen left, six right six right.

Speaker 4 (33:41):
Well that's all there.

Speaker 1 (33:46):
She is wide open.

Speaker 4 (33:48):
Listen. Huh, this's someone coming downstairs.

Speaker 1 (33:50):
We better duck.

Speaker 4 (33:51):
Yeah, get behind your dop quick.

Speaker 1 (33:53):
Don't even breathe without that light. Rosy.

Speaker 7 (33:57):
Oh, she won't stand it. A room is on the
up side of my house.

Speaker 2 (34:01):
All right, then, come on, we'll have to work fast. Well, fucker,
what's the matter?

Speaker 1 (34:04):
Look at that's safe. It's wide open.

Speaker 7 (34:05):
Somebody's been here.

Speaker 1 (34:06):
They got in through that window, but they didn't get anything.

Speaker 7 (34:08):
Look, the stuff is still here in the safe.

Speaker 1 (34:11):
All right. We've got to snap into it. Past that
stuff out to me.

Speaker 7 (34:13):
Come on, I'll hurry up, all right, take your time.
Here's the girl's jewels, now.

Speaker 1 (34:17):
Give me yours. I got to cover both here. Who's
that the Bruckton's butler. Wilson's name, lady? All right, Ruth,
grab those jewels. Rude? What are you doing down here?
Ahn't playing marbles? Do you open the safe?

Speaker 4 (34:29):
Yes? I did?

Speaker 1 (34:31):
You are a crook?

Speaker 4 (34:32):
Then, looks like all of us are. Tom, I get it.

Speaker 7 (34:35):
They're another mob. We thought they were on the level,
and they're just a bunch of crooks.

Speaker 6 (34:41):
Hey, watch out who you're calling names, lady. It was
trying to swipe our stuff yourself, another mob.

Speaker 4 (34:47):
I don't see anything so funny. What's a joke?

Speaker 1 (34:50):
I'm not sure, but I think it's on me. So
that's why you wouldn't marry me.

Speaker 4 (34:54):
Eh any objections?

Speaker 1 (34:55):
I don't see any. Now, come on, come on, cut
out the chatterer. We gotta get out of here.

Speaker 2 (34:59):
Wait, I've got a proposition to make. Yeah, we're all
a bunch of clever people. What do you say we
team up your crowd and nods? We'd have a combination
that couldn't be beat. Even Ferris won never catch up
with us.

Speaker 6 (35:10):
Sure, this is a fine time to offer a partnership.

Speaker 1 (35:12):
When we got the jewels. You haven't got the jewels?

Speaker 4 (35:15):
Huh.

Speaker 1 (35:16):
You gotta take them out of here. But you couldn't
get rid of them if you went to Mars.

Speaker 2 (35:20):
That happens to be the Stuyvesant collection, the Stiversant collection.

Speaker 1 (35:23):
They're hot enough to mel Steele. Well, what do you say?
Do we get together? Don't we o? What do you think?

Speaker 4 (35:29):
Ruth suits me?

Speaker 2 (35:30):
Swell? Now, there's all the jewels. I vote, we pulled
a lot and split at fifty to fifty.

Speaker 1 (35:35):
Okay, but look if you that's never come here, I say,
I goes jewels, take out out of here. They're all right,
Come on Ruth this way everybody.

Speaker 7 (35:46):
I mean, you can decide to man the next nation.

Speaker 8 (35:47):
Don't give us that.

Speaker 3 (35:48):
Don't anybody make a move. We've got the whole joint
around it.

Speaker 10 (35:51):
You can come on, boys, round them out.

Speaker 1 (35:52):
Me if your mouse shun, if you want anything you're
saying into used against you. Do you sound like an
old timer?

Speaker 3 (35:57):
Mister what's your name?

Speaker 1 (35:58):
I'll do my talking to the so you can bet
on that.

Speaker 2 (36:01):
Wow, nice work, boys, got them all, Yes, sir, Chief
wore grabbed two.

Speaker 8 (36:05):
H'm in the back door and make six, doesn't it.

Speaker 1 (36:07):
That's right, Chief, just like Barris said Harris. Oh so
he's in on this. Eh.

Speaker 8 (36:13):
He's had you covered for weeks. All of you.

Speaker 2 (36:15):
Are Keith, the duels, the whole bunch of them. Fine, fine, well, boys,
it looks like a good day's work for us.

Speaker 1 (36:34):
House for station identification.

Speaker 3 (36:37):
This is the Columbia Broadcasting System. Our play Cheating Cheaterahs

(37:03):
continues shortly from the lux Radio Theater eight years ago,
a vaudeville gymnast injured his back severely while performing at
the Hippodrome in New York. He refused to surrender to
the doctors who told him me be a cripple for life. Instead,
he commenced treating himself through exercises. Today is not only
a perfect physical specimen, but he holds what is probably

(37:27):
the only job of its kind in the world. He's
employed by the Metro Goldwyn Mayer studios to keep their
stars in proper physical condition. Ladies and gentlemen, Mister Donald A.

Speaker 2 (37:36):
Loomis, every day I worked with such stars as John Crawford,
Jean Harlowe, Louise Reiner, Eleanor Powell, Jeanette MacDonald. The beauty
and glamour they reveal on the screen are direct results
of constant training and strict adherents to regular exercise. The

(37:58):
advice I am about to offer is the same advice
I have given to them. I don't mean that if
you follow it a movie contract will be waiting. But
I do believe you can develop charm and beauty beyond
your expectations.

Speaker 9 (38:11):
The fact to remember is this, only through.

Speaker 2 (38:14):
The proper circulation of blood can You have a healthy,
beautiful body, and nothing in the world promotes good circulation
like exercise.

Speaker 9 (38:23):
It has no substitute. It'll take off weight or put
on weight, tone up your skin marvelously, and develop a
figure such as you now envy in the stars.

Speaker 2 (38:33):
But you must exercise every day, or at least every
other day. Begin gradually out of doors if possible. For
most people, swimming is usually the best form of exercise, but.

Speaker 1 (38:45):
Take it easy.

Speaker 2 (38:46):
Watch your posture round shoulders is the most common fault
with women. Copy nor Ma sure her posture is the
best among all movie stars. Cleanliness is all important and invigorating.
Shower with plenty of lux toilet soap. We'll do two
things for you. Free your pores of foreign matter and

(39:07):
keep your complexion clear and smooth. I am glad to
say that lux is the soap used by the stars
at MGM.

Speaker 9 (39:14):
Eat, play, and work as you see fit.

Speaker 2 (39:17):
Don't pass up a good dinner because you're afraid of
getting fat, but compensate for the.

Speaker 9 (39:21):
Food by proper exercise a little later.

Speaker 2 (39:25):
Give your body this attention it deserves, and I can
safely say that after a few weeks of sensible training,
you'll feel better look better, and your whole mental attitude
will be completely renewed.

Speaker 3 (39:37):
But you get a different view of these stars than
anyone else. Who are the best physical specimens in Hollywood?

Speaker 2 (39:42):
I'd say Joan Crawford, who has trained faithfully for years,
Norma Sheer and Delores del Rio. And the men with
the best physiques in my opinion are Clark Gable and
Robert Taylor. A couple of weeks ago, Robert Taylor flew
three thousand miles from New York to Hollywoo just so
he wouldn't miss a workout.

Speaker 9 (40:02):
But exercise need not be vigorous.

Speaker 2 (40:05):
Jeanette MacDonald's singing helps greatly to keep her fit.

Speaker 9 (40:08):
Try singing. It's great for your lungs and chests.

Speaker 3 (40:11):
And perhaps a little rough on the neighbor's ears.

Speaker 2 (40:13):
That's why I say never try to do too much
of anything at one time. And here's something that may
surprise you. When Eleanor Powell does one of her dance routines,
she actually uses up more energy than max smelling required
to knock out Joe Lewis. If that seems to prove
that Joe to take up or that Eleanor should challenge
Braddock in any event, I'm glad to have been here,

(40:37):
mister de mill, And if any of our audience would
like a little more specific advice regarding exercises best fitted
for themselves, I'll gladly try to help. Just address your
letter to Donald Loomis Metro Golden.

Speaker 9 (40:51):
Mayer Studio, Culver City, California.

Speaker 3 (40:53):
Good night, Good night, Sam said, And now we bring
you the last part of Cheating Cheaters, starring George Raft
as Tom Palmer and featuring June Lang as Ruth Brockton.

(41:16):
It's the following morning. We're in the office of the
National Detective Agency, where the members of both gangs are
waiting for the official proceedings that will put them behind
the bars. All are present except Ruth, who is in
Paris's private office.

Speaker 7 (41:34):
Oh will we letting us out of here?

Speaker 5 (41:37):
I'm stiff as a board.

Speaker 1 (41:39):
Sitting here all night, stop beefing. Will you you think
the rest of us will sleeping on feather beds? Hey?
Do you think they got the goods on his horse
enough to send us all up for about ten years?

Speaker 7 (41:48):
Ten years old?

Speaker 1 (41:49):
What did you think if they'd slap your hands and
tell you not to do it again?

Speaker 2 (41:53):
I want to see my lawyer say, how do they
nd you Brockton?

Speaker 1 (41:57):
I thought you went to Chicago. That telegram was a fake.
I stayed at the house here. Well you see what
you get for telling a story. Oh shut up. By
the way, are you Ruth's father? I've never been up
father in my life. That's a break for somebody.

Speaker 9 (42:12):
Hey, this guy Ferris is he on the police voice?

Speaker 1 (42:14):
Now?

Speaker 2 (42:14):
He's a private detective employed by the insurance companies.

Speaker 1 (42:17):
Good morning everybody, Hi, folly, pull up a chair. Never
mind the wires cracks, young caller. Hey, look, keep how
about some him in the Exame Star.

Speaker 2 (42:24):
We'll all get breakfast over in the tombs. How long
do you think you think you can keep us here?
This isn't a police station.

Speaker 1 (42:31):
It's the office of a private detective.

Speaker 2 (42:33):
Page that's right, you see, this is just a little
stop over on the way to headquarters. As soon as
we get a confession, we'll get going.

Speaker 1 (42:39):
Yeah. Who do you think is gonna confess?

Speaker 8 (42:41):
Well, we're getting one right now.

Speaker 1 (42:43):
You mean Ruth? What do you think so Will Thomas?

Speaker 8 (42:45):
Yeah, came through with everything we asked her.

Speaker 1 (42:47):
You're a liar? What you heard me? Root's no squealer.
She wouldn't let us down.

Speaker 2 (42:51):
Will you find yourself in the jug bummer, Maybe you'll
change your mind a little. Hello, LUN's Ferris. Oh the
district attorney. Well, i'll talk to him.

Speaker 8 (43:04):
Hello. Well, I am mister Andrews. No, this is Finley speaking.

Speaker 2 (43:10):
I'm sorry, but Ferris is engaged getting a confession. Yeah,
Ruth Broughton ahead of the Bropton gangs. Mm, she's spelling
it now, all right, I'll tell Faris. We'll shoot the
confession over to it as soon as she signs it
by mister Andrews.

Speaker 8 (43:25):
You'll excuse me, won't you? Folks? I'm very busy this morning.

Speaker 2 (43:28):
I screamed, Umma, you don't think Ruth is squealing to
your pomer Not a chance. That phone call just now
is a gag.

Speaker 7 (43:35):
If we'd only gotten away with this job, I was
gonna retire.

Speaker 4 (43:39):
Yeah, me too.

Speaker 1 (43:40):
It's a dirty shame. Say I've got an idea. Yeah,
we could use that good idea? Right now? What is
it when we.

Speaker 2 (43:46):
Lifted those Stuyvesant jewels, we broke it all up and
had the stones weset?

Speaker 1 (43:49):
Did we? H what about it? It's our one big chance?

Speaker 7 (43:52):
How do you mean?

Speaker 2 (43:53):
Don't you see Ferris, rep. You resents the insurance burglary companies.
Now what's worrying the company's most is how to get
back the jewels.

Speaker 1 (44:00):
Now with the stones, we said.

Speaker 2 (44:01):
How many of the original owners will be able to
identify their stuff?

Speaker 1 (44:05):
Not one of them.

Speaker 2 (44:06):
That's why Ferris is keeping us here in this office,
and that's why he wants.

Speaker 1 (44:09):
To think Ruth has squealed.

Speaker 9 (44:10):
No, that's it, all right, we'll beat the rap.

Speaker 2 (44:12):
Yet everything depends on Ruth. If they break her down,
we're lick.

Speaker 7 (44:15):
But she can't break Donald. She does, she'll lend him
the jugger.

Speaker 1 (44:19):
So now she will, None of you will. But you've
got to let me do the talking. Now. Look, I'll
ask to see Ferris snead a coop bush. All right, miss,
come in here, please, what do you want.

Speaker 4 (44:28):
Me to do?

Speaker 1 (44:30):
Be careful what you say? Ruth? Yet you all right?

Speaker 8 (44:32):
Miss?

Speaker 2 (44:33):
No, if you'll identify these people, I'll call them off
in the order in which they're named in your confession.

Speaker 1 (44:37):
She's feeling honest? Quiet, I said, ready, Miss, I'm ready.

Speaker 8 (44:42):
Good.

Speaker 4 (44:42):
George Broughton, that's George Broughton over there.

Speaker 1 (44:45):
You're cheap squealer. You're not fit us for sheep with
all this.

Speaker 8 (44:48):
Say go away, man, keep him outside.

Speaker 1 (44:50):
Come on, let me go with you. Come on. Pick No,
Steve Wilson, Phil Davis.

Speaker 4 (44:55):
That's Davis, And there's Wilson.

Speaker 1 (44:57):
I thought you was ragged outside. You too, I'll get this.

Speaker 2 (45:02):
Rosie Snyder next, alias Rosie Palmer.

Speaker 7 (45:05):
That's Rosie all right, I'm going Mike Donovan.

Speaker 4 (45:10):
Well, that's me.

Speaker 1 (45:12):
I guess sit on boss, see up above?

Speaker 2 (45:16):
Yeah, one more, Tom Palmer.

Speaker 4 (45:19):
Uh, i'd like to speak to him, please alone.

Speaker 2 (45:22):
I wanna see Ferris old your horses. Okay, miss, you
can talk to him here. I'll go out and take
care of the other.

Speaker 1 (45:28):
Thank you, so yes, squeal on us. Eh, you let
us down.

Speaker 4 (45:32):
I'm sorry, Tom, I.

Speaker 1 (45:33):
Had to pretty low even for a crook.

Speaker 4 (45:36):
You hate me, don't you?

Speaker 1 (45:37):
If I do it, you're a fault. I almost went
straight for you last night. I would have taken the
rap for you today.

Speaker 4 (45:43):
What do you mean if.

Speaker 2 (45:44):
I could've gotten to see Ferrist before you confessed, I
was all a set to cover you up take the
wrap myself.

Speaker 4 (45:51):
You would've done that for me. Oh, Tom, I'm sorry.

Speaker 1 (45:55):
Ah, what's the use? It's all over? Now?

Speaker 4 (45:58):
Sit down, Tom, I I want I'll tell you something
something about myself.

Speaker 1 (46:02):
I get it, please, Tom, Well, what is it?

Speaker 4 (46:05):
You see? I used to be a newspaper reporter at
thirty dollars a week. On one assignment for my paper,
I ran into a gang of crooks and recovered a
lot of money for an insurance company. They liked the
way I handled the case and offered to set me
up in business as a private detective to investigate their thefts.
I used the name of Ferris.

Speaker 1 (46:25):
Ferris you. Yes, Tom, Well, that just makes everything fine
and dandy, doesn't it. I bet you're getting a terrific
kick out of putting me behind the bus.

Speaker 4 (46:36):
Wait, Tom, a minute ago, you said you'd go through
for me. Well, I believe you. I'm going through for you.

Speaker 3 (46:42):
Yeah.

Speaker 4 (46:42):
How I didn't look for this job. The job found me.
When I got to working with Broughton and the others,
and to knowing you, I I felt pretty cheap. I
would have given anything to have been out of it,
but I couldn't help myself. Then last night, when you
asked me to marry who I I thought of our future,
yours and mine together. I knew the better side of you,

(47:04):
and I wanted to help you find yourself.

Speaker 1 (47:06):
Why don't you tell me this before?

Speaker 4 (47:07):
It's not too late? Even now?

Speaker 1 (47:09):
No, what don't we do? Set up housekeeping and sin sing?

Speaker 8 (47:13):
Excuse me?

Speaker 4 (47:14):
Yes, Farley, the rest of the gang.

Speaker 8 (47:15):
I want to see power.

Speaker 4 (47:16):
All right? Let them come in.

Speaker 1 (47:18):
Okay, Well, what are you gonna do?

Speaker 4 (47:20):
I said it wasn't too late.

Speaker 7 (47:22):
Tom.

Speaker 1 (47:23):
You mean you're you're going to give me a chance
to go straight.

Speaker 4 (47:25):
I think that's all you need? A chance?

Speaker 1 (47:28):
Am I? Right? If you'll stick close to me.

Speaker 4 (47:30):
I'll never let you out of my sight.

Speaker 12 (47:32):
Oh gee, Ruth, I don't only be careful?

Speaker 8 (47:35):
All right? Boys, come on?

Speaker 9 (47:36):
And there was Parris is he and he here we.

Speaker 1 (47:40):
Said we want to see Paris just a minute, boys,
let me introduce the head of the National Detective Agency,
Miss Ruth Ferris.

Speaker 3 (47:48):
Well, Ruth, if you're a Feeris, I've.

Speaker 1 (47:51):
Got a proposition.

Speaker 4 (47:53):
I think I know what your proposition is, George, But
let me make one first. Now, boys, you want to
make restitution of the stolen property in exchange for a
light sentence, right right, Well, I'm going to do better
than that for you. I'm going to put you all
to work.

Speaker 7 (48:10):
Did you say, wake?

Speaker 1 (48:12):
Oh? This is the end.

Speaker 4 (48:15):
For a long time, you've been praying on society. Now
I'm going to give you a chance to come in
here and help protect society. But let me tell you this.
The first time you hear of a job that's being
pulled off and fail to report it or double cross
me in any way, it means twenty years.

Speaker 3 (48:32):
She's going to make detectives out of us.

Speaker 6 (48:34):
Well, you've had a good education for the job.

Speaker 4 (48:37):
Now it's up to you. There's pen and ink out
in the front office. I want to sign confession from
each one of you.

Speaker 1 (48:43):
What are you going to do with the confessions?

Speaker 4 (48:44):
Nothing, as long as you remain on the square with me.
Now take your choice. The confessions are twenty years. Hey,
lead me to dependent paper, as plenty of both out
in the front office. Hurry up, Well, Rosie, I'm not
going to sign Ah.

Speaker 7 (49:01):
I'll sign it all right. Me a detective. H I'll
never be able to hold up my head again.

Speaker 2 (49:10):
Well, Tom, I suppose you want a confession for me too,
Uh huh, alright, I'll go outside and write it.

Speaker 1 (49:16):
Hm.

Speaker 4 (49:17):
That's not the kind of confession I want from you.

Speaker 1 (49:20):
Oh.

Speaker 4 (49:21):
I want you to confess that when you told me
you loved me that you meant it every single word.

Speaker 1 (49:29):
Guilty. You want a couple of witnesses.

Speaker 4 (49:32):
To them, I think we could use them.

Speaker 2 (49:35):
Sure, two witnesses, we can let them sign the marriage certificate.

Speaker 1 (49:40):
Well, it looks like a good.

Speaker 10 (49:42):
Day's work for us.

Speaker 3 (50:10):
As Thackeray wrote, the play is done. The curtain drops
a moment, yet the actor stops and looks around to
say farewell tonight. Stars George Raft and June Lang returned
shortly to the microphone. I think that discoveries are accidents
designed by destiny. A fabulous fortune and hundreds of the

(50:31):
jewels women were now ware were found in South Africa
because a Dutch farmer happened to notice a group of
children playing marbles. The marbles were diamonds and led to
the opening of one of the richest minds in the world.
It was also by accident that I myself once discovered
a diamond and the rough. In fact, it was in

(50:52):
the rough and tumble action of a Keystone comedy that
I saw, and just the way she leaned against the
door conveyed to me in appeal that I knew would
intrigue the world. I took her out of comedies and
made her the star of sixty mirror productions. She was
an absolutely new type of heroine because most of the
heroines who preceded her were sweet and charming argeneus, while

(51:16):
all the sirens were evil women and heavies. She combined
the best qualities of both and became the screen's first
romantic siren who was not a villainous. This famous young
woman was the first of many scream scars who can
truly be said to have possessed glamour. She did more
than any girl before or since to make Hollywood the

(51:38):
fashioned center of the world, and she now stepped to
the microphone just as fascinating as she was then. Ladies
and gentlemen, Glorious Swanson.

Speaker 5 (52:00):
You're very generous.

Speaker 15 (52:01):
I changed the old adage of hitch your wagon to
a star, and hitched fine to a direct and became
a star.

Speaker 3 (52:07):
That's just modesty, Gloria, you are talking through that pretty
little brown and white turban of yours.

Speaker 15 (52:12):
As a matter of fact, ladies and gentlemen, I just
happened to fit into the de mill scheme of things,
which consisted of putting realism, beauty, stal and sophistication on
the screen.

Speaker 3 (52:23):
You're one of the world's most exotic women. It just
happens that you're also a very good actress.

Speaker 15 (52:27):
Now all women are good actresses. And I still insist,
ladies and gentlemen, that it was mister de Mill's daring that.

Speaker 4 (52:34):
Made me a star.

Speaker 15 (52:36):
Until he produced Old Wires for you. Every picture followed
the same formula. A boy met a girl, lost her
for a while, and then finished the picture.

Speaker 5 (52:46):
By marrying her.

Speaker 4 (52:47):
Mister de Mill took the story up from there.

Speaker 15 (52:50):
So producers believe that you couldn't make a successful picture
about a.

Speaker 5 (52:54):
Husband and wife. Mister de Mill made one.

Speaker 7 (52:57):
And thereby made history.

Speaker 15 (52:59):
It was a great success and introduced the social drama
to the screen.

Speaker 3 (53:02):
It wasn't my daring that people talked about, It was yours.
Remember the scene in Male and Female when we duplicated
the famous painting the Lion's Bribe and had a lion
crouched above you with its claws on your bare back,
while a trainer cracked the whip in its face to
make it snarle.

Speaker 5 (53:20):
Yes, mister Demil, I remember.

Speaker 3 (53:21):
Now I've got a scene in my present picture.

Speaker 5 (53:25):
I'm very sorry, but I'm not as daring now as
I was then.

Speaker 3 (53:29):
Well, You're just as charming. I never saw you look
more beautiful.

Speaker 4 (53:33):
That's lu X And what that spell oh Shane go
to the bottom of the class. That spells luck? Oh yes, look.

Speaker 5 (53:40):
Is my favorite beauty.

Speaker 15 (53:41):
So open now through its radio theater, you and I
meet again for the first time in nearly seven years.

Speaker 3 (53:47):
Then, before we say good night, I'd like to give
you one final bit of direction. What is in sing
for us?

Speaker 14 (53:54):
Well?

Speaker 15 (53:54):
I don't pretend to be a singer, But if you're
willing to risk my singing on your program so much
as sing, then but the Lonely Hearts by Chekhovsky.

Speaker 10 (54:03):
Please them.

Speaker 16 (54:19):
Long o Lord fron Joy Halo Heaven's Ball or joy.

Speaker 3 (54:36):
A ball.

Speaker 11 (54:42):
Orderly to b.

Speaker 1 (55:00):
My or.

Speaker 16 (55:07):
Grange Land Crown my sens.

Speaker 5 (55:45):
Not ca No.

Speaker 3 (56:20):
George Raft and June Lang are a study in contrasts.
So far, June has always played the role of a
young and innocent girl, while George made his reputation as
Hollywood's streamlined villain. George spent most of his life in
New York. June has just returned from her first trip
to Manhattan. But suppose they speak for themselves and as themselves,

(56:42):
ladies and gentlemen, George Raft and June Lang.

Speaker 1 (56:52):
Thanks mister de mill Well, June, how did you find
the old hometown? Oh?

Speaker 4 (56:56):
Easily, George. I took the planes and new work and
drove over the sky through the Holland Tunnel, and there
it was.

Speaker 1 (57:03):
I mean, did you like it?

Speaker 16 (57:04):
Oh?

Speaker 4 (57:05):
Immensely. I was fascinated by the New York crowds, and
I've never seen so many well dressed women before, and
judging from their wonderful complexions, they apparently use lux toilet
soap just as much as we do here in Hollywood.
I even had lucks in my hotel room. It made
me feel really at home in New York.

Speaker 3 (57:23):
In New York, George was the most popular boy in
his neighborhood. The other kids would do anything he told
them to. Incidentally, George's grandfather owned the Merry Go Round
on Coney Island.

Speaker 2 (57:34):
My grandfather also was a gold prospector here in California.

Speaker 1 (57:38):
He made several strikes.

Speaker 3 (57:39):
And you followed his example as a ball player.

Speaker 2 (57:41):
I guess you're right, But in pictures, I'm better with
a gat than a bad.

Speaker 4 (57:45):
I don't know why you were gangster on the screen
so many times.

Speaker 1 (57:47):
George, Oh, I don't know, I like being a villain,
and I think it's more interesting. I also think it's
more true to life. June, down deep, I believe there's
a bit of villainy in every man.

Speaker 4 (57:58):
Even in mister DeMille. Why not, right, I think mister
de Mill is one of the nicest men I ever met.

Speaker 3 (58:04):
Now, don't stop, June, I'm beginning to enjoy this interview.

Speaker 1 (58:08):
Just let me tell you what he did to me.
One day he was making this Day and Age.

Speaker 3 (58:12):
Uh, you talked George like one of my actors. You
wanted even in that picture.

Speaker 2 (58:16):
Well, one morning, when I came to work, my dressing
room had completely disappeared.

Speaker 3 (58:20):
Why blame me, I'm a director, not a magician.

Speaker 2 (58:23):
The reason I couldn't find it was that the mill
had completely surrounded with one of his big sets.

Speaker 4 (58:27):
Didn't he give you another room?

Speaker 1 (58:28):
Oh? Yes?

Speaker 5 (58:29):
Uh?

Speaker 2 (58:29):
At two solid weeks, I shared quarters with Toughie, a
Colleige mascot.

Speaker 3 (58:34):
But it wasn't so bad.

Speaker 1 (58:36):
I used to be a mascot myself.

Speaker 3 (58:39):
George was mascot of the New York Yankees, if I
remember rightly.

Speaker 1 (58:43):
Yeah, I had chased home runs all over New York City.

Speaker 3 (58:46):
Tonight you hit one yourself, George, and you.

Speaker 1 (58:48):
Too, June.

Speaker 4 (58:49):
Thank you. It's been marvelous being here.

Speaker 1 (58:52):
Good night, and all is forgiven. Mister de Mill.

Speaker 2 (58:55):
I've had a great time and I hope to be
back again sometime. Good night, good night, Judge, thank you,
mister Raft and miss Lang. Ladies and gentlemen, This is
your announcer, Melville Ruick. Assisting our stars in tonight's play

(59:18):
were Wally Mayer as Mike, Justina Wayne as Missus Palmer,
Victor Rodman as mister Brockton, Lou Merrill as Wilson, Frank
Nelson as Phil Ross, Forrester as Hamley, Richard Legrand as
Farley and John Lake, and Charles Emerson as police officers.
Mister Raft and mister de Mill appeared through courtesy of
Paramount Studios, Miss Lang and mister Silvers, twentieth Century.

Speaker 1 (59:41):
Fox, and mister Loomis Metro Golden Mayor.

Speaker 2 (59:44):
The music for the new picture Road to Glory, produced
by twentieth Century Fox, was arranged by mister Silvers. Mister
de Mill tells us now of next week's program, one
of the screen's.

Speaker 3 (59:57):
Most colorful figures comes to the Lux Radio Theatre next
Monday night. James Cagney. You've seen him as a sailor,
taxi driver, gangster, g man and aviator, but you'll hear
him next week in an entirely new role, the manager
of a prize fighter in the famous comedy is zat

(01:00:18):
So by James Gleeson and Richard Tabor. Robert Armstrong and
Boots Mallory will be featured in the cast with mister Cagney.
Our sponsors, the makers of Lux Toilet Soap. Together with
mister Cagney, mister Armstrong and Miss Mallory, join me in

(01:00:40):
inviting you to be with us next Monday night in
the Lux Radio Theater presentation of Is That So?

Speaker 1 (01:00:47):
This is Cecil B.

Speaker 3 (01:00:48):
DeMille saying good night to you from Lolly Work.

Speaker 1 (01:01:03):
This is the Columbia Broadcasting System.