Lux Radio Theatre: Cheating Cheaters

Hollywood, California, Monday, August 31st. The Lux Radio Theater presents George Raft in Cheating Cheaters with June Lang. This presents Hollywood, the makers of Lux Toilet Soul, 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, Gloria Swanson, Donald A. Loomis, Lewis Silvers, and many others. It is also our privilege to have in our visible audience such guests as Henry Watzburg, Dean Janis, Lois January, Maxine Jennings, Sarimritza and Virginia Pye, and to all

our listeners, greetings from Lux. There's an excellent reason why Lux's toilet soap is used by nine out of ten screen stars and by lovely women everywhere. This pure white soap with his delicate fragrance and active lather, removes cosmetics thoroughly, protects daintiness and brings you the charm of a clear, smooth skin.

It's Hollywood's beauty care, yet it's so inexpensive that everyone can enjoy luck, toilet soap every day. And now our producer. At present, engaged in making his 63rd Victor, he has started more actors and discovered more stars than any man in motion pictures.

Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. In 1916, the famous Our Woods was a hit-and-run manager with a hit-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 Mr. Woods's company was performing. But the play cheating cheaters meant no more to him than he did to the swirling crowds on the busy streets about him.

But tonight, 20 years later, George rafts stars in 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 him nothing but punishment.

After his 25th professional bout, he woke up in Bellevue Hospital. George was a leading man even then, that he'd been caught leading with his chin, and his dream of becoming lightweight champion was over. He next tried baseball as a minor league player, but his hits were all ahead of him because of the battery couldn't get to 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 on the stage.

He starred in musical comedies, introduced a dance called The Charleston, taught King Edward VIII's 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 few weeks later, the delivery boy from Hell's Kitchen was delivering lines in a studio. June Lang, our leading lady, has the distinction of being twice discovered by the movies. At dancer since the age of five, June was given her first part for only fourteen.

Last year her contract expired and she was dropped. But Darrow's anecdote 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 Baxter, Frederick March, and Lionel Barramar.

Tonight, we hear her in the part of Ruth Brockton. And now, the curtain rises on the Lux Radio Theater, presenting Cheating Cheaters, starring George Rath with June Lang. We're on the boat deck at the liner Argyle, four days out of Liverpool.

It's late evening, and in the shadow of a lifeboat, Tom Palmer, played by George Rath, and Ruth Brockton sitting close to each other in deck chairs. As they gaze out over the moonlit waters, the roof breaks the long silence.

The moonlight on the crest of a wave is beautiful isn't it? Getting poetical. How little? That's a good sign. How do you mean? Well, now maybe you'll pay a little attention when I tell you how I feel about you.

I've been paying attention. You haven't done very much about it. I meant every word I said. Perhaps you did with the ocean and the moonlight. But wait a wee doc in New York. You'll forget me soon enough.

Just like that, eh? Uh-huh. Well, you're wrong. You can't get rid of me as easily as that. I'll make you listen to me if I have to follow you clear across the country. And the villain's still pursued it.

Right. Oh, Tom, you're mad. Do you realize we've only known each other four days? That's long enough for me. I make up my mind pretty fast. If the steward hadn't accidentally put us at the same table, you wouldn't have had a chance to make up your mind at all.

That's right. Remind me to leave an extra-large tip for the steward. He's a great guy. Oh, I wouldn't give him all the credit. Who else was there to thank you? Well, if my father hadn't gone to Antwerp to add a few jewels to his collection, I wouldn't be on this boat.

Hmm, three cheers for your father. And if my mother hadn't decided she needed a sea voice, I wouldn't be here either. Yes, that's so. Well? Well, what? Go on. Say it. Oh, all right. I'm glad your mother decided she needed a sea voice.

Well, now we're getting someplace. Yes, that's what I'm afraid of. Well, there the arm is, this farmer. I told you we'd find them screwing on the boat deck. Hello, Dad. Hello, Mrs. Palm. My dear, we've been looking all over the boat for you.

What's the matter, mother? Mr. Brockton was afraid Ruth would catch cold up here, Tom. He's getting terribly chilly. Oh, I'm all right, Mrs. Palmer. Better get a steam of blankets if you're going to stay.

There's a fog coming up. Hey, looks like you're all right. There goes your moon, Ruth. By the way, Ruth, I'm quite a surprise for you. Yes? Mrs. Palmer just told me that she and Tom are taking a house in the country.

And where do you suppose it is? Where? In Westchester. If I'm not mistaken from Mrs. Palmer's description, I believe they're going to take the old bus to Manchin. Why, that's only about five miles from our place, isn't it a coincidence?

Well, there you are. Yes, I won't have to make that cross-country trip after all, was it? Nothing much, Mr. Brockton. Tom, this fog is getting sick for every minute. I think I'd better go down.

Alright, Mother, I'll take you to your cabin. Goodnight, Ruth. Nice. Here's breakfast. Goodnight, Mrs. Thomas. Goodnight. This way, Mother. Well, Tom. Shh. Where did we get away from here? To get the dope. Shut up, I tell you.

You want to crab everything? Say, don't talk that way to me. I'm getting sick and tired of acting the part of your old lady without taking any gop. Listen, Rosie, you're supposed to be my mother.

You'll go on being my mother until I say so. I'll take it or leave it. I'll leave it. All right, all right. All I want to know is did you find anything about the Brockton Jewels?

Yes, Brockton keeps them in a safe at this place in Westchester. Oh, yeah? Well, they've fallen swell for their mother and son stuff. We can move right up there next to them and they'll never be the wiser.

Pretty slick work, Tom. Yeah, maybe it's too slick. What are you talking about? Say, you ain't fallen for the team, are you? I don't know. I feel like a healer, that's all. I'm telling her I'm nuts about it and turning around and topping her old man's jewels.

Oh, so I was right, huh? You have fallen for us. They get it, will you? Sure. Maybe you better forget it too. I'm going to my cabin this fog is as thick as pea soup.

See you in the morning. What the devil? That was wrong. I don't know, sounds like the reverse the engine. Ah! Ruth, I've got a fine Ruth. Hi. Come on, hurry up. Ruth, Ruth, where are you?

We've hit a nice bird. Let's go. Get down. Who's thinking? Who? Where are you? Oh, Tom! Are you all right? Yes. Where's your mother, Tom? We're sinking fast. Look. Those sailors are launching the boat.

They're going down by themselves. Stand back there, you men. Stand back. I'm the boat for you, too. Listen, you men. I've got a gun here and I'm not afraid to use it. I'll stand back or I'll blow you up here.

I'll free that boat. Go on. If any man gets in there before a woman or child, I'll shoot the kill. Alright, mother, go on. Hurry, Ruth. But, Tom, what about you? Never mind me getting there.

Alright, men, work fast. Play that boat in lower away. Stand by those nappas. Watch that line. Come on, come on, you men, hurry up. Did you read this, Tom? What? The fact that no lives were lost in the Argyle disaster was due chiefly to the heroic work of an unidentified man who induced order at the point of a pistol at you.

Unidentified. Unidentified. Yeah. All I need is to have my pictures spread all over the newspapers. Might start a little excitement anyway. I'm getting sick of hanging around up here in the wilder westchester with nothing to do.

It was your idea to take this house, wasn't it? Sure, but I expected a little action before this. We've been living up here two whole weeks in what's happened, not a thing. We ain't even seen the Boston.

Take it easy, Rosie. I know what I'm doing. Yeah. Well, you're the only one who does. What would you like me to do? Walk over and ask for their jewels? but at least I won't see the Brockton's.

Pay him a little social call. You know, like you dropped in by accident. In society, Rosie, you don't make social calls unless you're invited. Oh, yeah? Since when are you an expert on etiquette? I know enough for that.

You must have been reading again. Listen, Tom, my idea is this. Go on over, make yourself sociable. The dean likes you. You know that. You can get a line on the joint and spot for sale.

Then Mike goes over at night, of course, and cracks it open. That's your idea. Well, why not? that have been sitting around through the mouth on we laid out plenty of shackles for the setup of the fire all i've done is act polite delivery boys i'm getting fed up they get easy rosy

roe m warden built a day there you go put on the dog again hello boys you can i come in here come on in my he was a i i got a big dollar well as these years show for closure got me where we're in the college took in the day like some of the

who's talking to you tell us that he brought up both the keep quiet We didn't come up here to fight. No, we came up here to lay our hands on a quarter of a million bucks worth of sparklers, but I don't see us doing it.

We got the Stuyvesant collection in France, didn't we? Say, that job ought to notice a half a million easy. Sure, but I ain't no piker, besides those Stuyvesant rockers, how does a live call? Hey, that's right, boss. We can't get a pinch to touch him.

What's going on? Come on and join the party, Phil. Hey, you're looking mad, Rosie. I am, man. Hey, Phil. Where's your tie? What do you mean? I said, where's your tie? you're supposed to be the butler on here on your own list now i don't mind being a butler but i got to have something to put on a

and he won't get a little bit of a hand to it but i don't know yet i don't know yet i'm not i'm running this deal not you well let's get started then we'll get started when the right time comes as it stands now we ought to be glad of a chance to lay low

you must don't seem to remember that that they can't are trail you mean fair i mean fair the best you'll be taken from this business if he ever gets when that we're after the broughton jews it's great and quick Say who is this guy, Ferris?

Has anybody ever seen him? No, that's just why we've got to be careful. We've got to watch our step every inch of the way. Well, it's OK with me. Answer that, Rosie. Sure. Hello. Yes, this is Mrs. Farmer.

Oh, hello, Ruth here. Is the Brostandame. What do you say there? Of course, just a moment. She wants to speak to you. Give me the phone. Hello, Ruth. Pretty well, how are you? What? Well, uh, yes, I think so. Wait a minute.

Mother, Ruth would like us to come over for tea. Do you think we could make it? You bet your sweet life we can. Hello, Ruth. She says she'd be delighted. All right. Thanks. Goodbye. Action push.

Tea at the Boston. Oh, stepping in high for fire. Yeah, put on your best rags, Rosie, and do your best act like a lady. Don't worry about me. Mike, you'll drive us over. Wait there for it.

Oh, sure, sure. And remember, no gasring with that servant. Not even a wood. Boy, this is a bridge. Right in the same house with the Bluffton jewels. This may be the big change you've been waiting for, Tom.

Yeah, maybe. Another cup of tea, Tom? Tom. Oh, no thanks. What's the matter with you? Nothing. Why? You've been sitting here all afternoon, looking like Blue Monday. All I can get out of you is yes and no.

Well, I'm not always as talkative as I was on the boat. Yes, I've noticed that. How does it feel to be an unidentified hero? All right, as long as I'm unidentified. Would it be such a tragedy if they found you out?

Well, you never can tell about those things. Mm, modest man. I wonder where our respective parents are all this time. I think your father said he'd show Mother the Garden. More than likely he's showing her his jewel collection.

She seemed quite interested when he mentioned this. oh yes that she's uh... she's a jewel fancier self she seems to be that's a she talked nothing but you will go all the way over on the boat is that so she has quite a collection to have to see did she uh... say that

why yes of course she does have a collection doesn't she oh yes uh... the parmajoule very famous i thought so well uh... i think it's time we were going com what's the matter with you why do you act so distant Am I distant?

You were different on the boat. Yes, talkative. Too talkative? I'm afraid so. Oh. Then you don't feel the same. About me, I mean. Sure I do, only... Only what? Look, let's not talk about it now.

Someday I'll tell you the whole story. That yellow diamond is the pride of my collection, Mrs. Obama. Oh, it's beautiful. Tom, you must get Mr. Brockton to show you his diamond. They're just lovely. Yes, they must be.

I beg your pardon, Mr. Brothton. Yes, Wilson. What is it? A telegram, Dost came for you, sir. Oh, excuse me, please. This may be important. Of course. I hope it isn't bad news, Dad. Mmm. I'm afraid it is. I've got to leave for Chicago immediately.

Oh, dear. I'm sorry, Ruth, but you'll have to come along with me. Must I? Well, you can't very well stay here all alone. No, I suppose not. And if the Brothton, er, if Ruth doesn't want to go, why can't she come over and stay with us?

We'd love to have her, wouldn't we, Tom? Why, yes, of course. Well, I... Well, you're awfully nice of you. If it's not too much of an imposition. Nonsense, my dear. We'd be offended if you didn't come, really.

Well... Alright. Thank you. Oh, erm... I just thought of something. I, er... Can't walk off and leave my jewels here. And the bank vault is closed. Hmm... That's a little difficult. Unless, of course, er...

You'd like to leave them in my safe. That's... Of course. Why didn't I think of that? That's an idea, Dad. I could bring them over to Mrs. Palmer's. I'm sure they'd be all right in Tom's sake.

Well, I hate to burden you, Tom, with a responsibility like that. Those jewels are worth a fortune. Certainly, that's why we want them. I mean, to keep them safe for you. Very well. It's rarely awfully nice of you. Oh, not at all, Mr. Brockton.

No, not at all. I'll come over as soon as Dad is packed, Tom. And I'll bring the jewels with me. Ah, well, we'll run along. See you soon then. About an hour. Come on, mother.

Goodbye. Thanks again. Oh, don't mention it. It's a long route. It's a long route. Don't forget, dear. Hurry over. I will. Well, it worked. Where's Wilson? It was perfect. Perfect. I've gone. Come here, Wilson.

You certainly made a great bottle of it. Didn't he, Ruth? 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?

I spend the night at the Palmer's. What are jewels and their safe? Learn the combination. In the morning we'll have our jewels and the Palmer collection. Well... That I can stop playing popper and have a little fun.

Take it easy will ya? We ain't got the Palmer jewels yet. And there's still Ferris to worry about. Oh stop calamity howling. If Ferris was on our trail we'd all been in jail weeks ago.

Well there's another thing I don't like so much. Let those jewels get out of our hands. We had a tough enough time snatching them in the first place. I don't like throwing them around like this.

Now listen, Ruth knows what she's doing. It's the best little cook in the business. A plan can't fail, can it, Ruth? Hey, hey, what are you dreaming about? I was just thinking, if we applied the same energy and resourcefulness to being honest, we'd probably all be rich.

Yeah, well, we'll be rich anyway. Say, Ruth, what's getting into you? Is it that guy, Palmer? That guy, Palmer's you call him, is all right. I hate lifting his jewels this way. Listen, baby, you better forget him.

You ain't no match for high society, mug. No, I guess I know. Well, come on, what's the layout? How do we get the pomor rocks? Leave it to me. When you put our jewels in the safe, I'll be right there with him.

I'll get the combination. And 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.

Yeah. I can just see their faces and they wake up tomorrow and find their rocks is gone bye bye. Hahaha hahaha! Don't fuck it these broughtsons must be. Layin their jewels right in our nest.

Heh heh, yeah it's poivic. You sure had the right hunchbore? Layin low like the still time was right. Yeah, the broughton jewels are practically in our pockets right now. Well, it looks like a good day's work for us.

Now, before we resume the story of cheating cheaters with George Rath and June Lang, Let's breeze over to the Paramount Commissary. It is gay with waitresses in green and orange dresses and extras in costumes hungry for their lunch.

Near the window is a very pretty extra with a friend and the extra says... Well, what are you going to pick? The 35th sander? Oh, 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 tickles. I heard he's taking Jane out these days. Oh, not really. Jane, why don't believe it? Well, Jane has nothing to recommend her, except of course her lovely skin.

Well, apparently that does the trick. Then all we did know is the girl's complexion. He used to paint me compliments on mine, for it went so sad. All men prefer the girls who have soft, smooth, clear skin.

A lovely complexion is appealing, so it's important to guard against cosmetic skin, doneness, tiny blemishes, and lodging pores. No need to take this risk if you use lux toilet soap, or lux toilet soap's active lather sinks deep down into the pores, removes every trace of dust and dirt, stale rouge and powder that might remain to choke them.

Use cosmetics all you like, but protect your skin, remove them thoroughly. You do this when you use lux toilet soap. So make this the beauty care you use. And once again, Mr. DeMille. We continue with cheating cheaters, starring George Raft as Tom Palmer, and featuring June Lang as Ruth Brockton.

Two gangs of jewel thieves working at cross-purposes, each gang intent upon robbing 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 Hall.

Tom and Rosie, whom he calls his mother, are entertaining Ruth Brockton. They are more than welcome guests. Mrs. Palmer, your dinner was grand. I must thank you again for letting me impose upon you. No, no, not another word.

You're embarrassing, isn't she, Tom? It's a pleasure to have you, Ruth. Thanks. Oh, by the way, Tom, I do hope you've taken good care of Ruth's jewels. Well, uh, no, uh, not yet. I was going to speak to you about that.

Do you think we'd better put them away? I brought them down with me. They're in this box. Well, I do. You mustn't let them lie around like that. They may get lost. Tom, open the safe for rude.

Yes, mother. Come over here, Ruth. Oh, is it in this room? Yep. Behind this panel. Watch. Well, isn't that clever? No thief would ever think of looking for it there. Well, if someone did find it, you get a big surprise when he tried to open it.

You see, the combination dial is charged with electricity. I voltage. You mean, if you touch that dial, you'd get a shock? A couple of thousand volts. Oh. Would it kill it? No, not instantly. Oh, I see.

The torture would last about 10 minutes unless someone turned off the switch. It's hidden right here in this bookcase, see? Oh, yes. Don't you think you'd better turn it off for a moment? Of course.

There you are. Now, just a second till I work the combination. Isn't that interesting? I've never seen a safe open before. This happens to be a pretty good one. Simple, but effective. I can imagine.

Alright. Let's have the jewellery. Here you are. Are the Palmer jewellery safe too? Oh yes, we're very careful about our collection. Well if you keep yours there I guess mine are safe enough. Of course, dear. Of course.

I think pardon, Mr. Palmer. yes bill uh... what is it mister motton handlady to see you sir martin handlady uh... the gentleman who's been calling you all afternoon or yes uh... did he say what he wanted and also just that it was very important or or i thought that has been a good

very good would you rather see a melon tom i can run upstairs no no uh... don't go it can't be as important as he thinks it is If I were you, Tom, I'd close that safe.

You never know who it might be. All right, mother. But don't be so jumpy. Well, close it anyway. There. Does that make you feel better? Thank you, dear. Just look at them all, but it's in the living room.

Thank you. Thank you. Well, good evening. Good evening. You all, Mr. Farmer? That's right. Would you have a seat? Thank you. My name is Henley. I represent the Dexter Hero Foundation. Oh yes, this is my mother, Mr. Hanley.

How do you do? And our guest, Ms. Brockton. How do you do? Ms. Brockton, Ms. Ruth Brockton? Yes, you know her. No, no, not personally. But her name is on my list. You see, Mr. Palmer, I'm gathering testimony from people on board the argyle.

An unidentified man was quite a hero on that occasion, and we really must find him. What for? We're going to award him a gold medal for his valorous conduct. I'm afraid I can't help you.

Oh yes, you can, Mr. Palmer. Yes, you can. You see? it on excellent authority so far that you are the unidentified man you're making a mistake calm don't be modest you know it was you thank you miss bockon well your statement completes our chain of evidence mr. Palmer allow me to congratulate you

just a minute you said you had other evidence that I was the man who told you that we have reports from several of the passengers dr. Holcomb you dotless we call gave a really glowing statement what the clearest account of all we received from a detective, a man named Ferris.

Excuse me, did you say he was a detective? That's right, Ferris. Mm-hmm. I don't recall the name on the passenger list. Do you, mother? I don't believe I do. Well, he may have traveled in cognitive.

Detectives often do when they're after somebody. Have you seen this, Mr. Ferris? Well, no, I called at his office this morning, and one of his assistants told me Mr. Ferris was after a very clever gang of jewel thieves.

I see. Mm, very interesting. Well, Mr. Handley, thanks for calling and please get my thanks to Mr. Ferris when you see it. Thank you, I'll do that. And I hope shortly to have the honor of witnessing the formal presentation of your medal.

Well, good evening. Good evening. The Buffalo will show you out. Thank you. Good night. Well, you're going to get a medal. That's exciting. A little too exciting for me. It's given me a suketig. I think I'll run off the bed.

Is there anything I can do, Mrs. Palmer? A no dear. Thank you. Good night. Good night. Oh, Tom. I'd like to see you before you go to bed. Yes, mother. Good night. Good night. Your mother seems quite upset.

Oh, she'll be all right. Well, I guess I'd better run along, too. Wait a minute. Don't go yet. I want to speak to you. I'll be here in the morning. I want to speak to you now.

Hmm. Sounds important. It is. Well. Do you remember what I told you up on the boat? Of course. But you needn't worry. I have no intention of holding you to it. I wasn't afraid of that.

As a matter of fact, 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. Tom. Well, well, are you sure that...

I've told you that I loved you. Yes, but... But why? Oh, I can't explain it. 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. 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.

Suppose you found out something about me that did make a difference. What, for instance? Aye, you can't tell. I might have a secret life of my own that you know nothing about. Maybe I tap every third post or step on every other crack in the sidewalk.

Or you know I might even be a thief. You? That's a laugh. Is it? I'm serious, Ruth. We could be married tonight. By tomorrow we'd be away from here. So good. For good? Tom, I don't understand you.

Why should you want to leave here? Oh, never mind that. Will you marry me? I can't, Tom. You mean you're not in love with me? I didn't say that. All right. I'm not gonna rush you. Suppose we wait till tomorrow. You can give me your answer then.

Tomorrow? Well? All right, Tom. Excuse me, sir. Yes, sir. Miss Brockton's butler is here, sir. Oh, yes. I asked him to bring something over for me. Show him in, Phil. Yes, sir. I'll say goodnight, Ruth. See you in the morning. Of course. Goodnight, Tom.

Find Miss Brockton in the living room. Thank you. Good evening, Miss Ruth. Good evening Wilson. Sorry I had to bring you all the way over here. Well that's all right Miss Ruth. How's it going?

Be careful. Everything okay? Yes. Jules must save. Of course. You know the combination. I told you everything was all right. Okay, okay. What time do you want me to back here? Three o'clock. There should be a sleep then.

Three o'clock, right. Looks like a good day's work for us. Two o'clock? Well do we pull the job or don't we? Yeah what do you say boy? We've been sitting up here for an hour doing nothing.

Let's get started. He said, we'll get down for the jewels when I say so, not before. In the first place we don't even know if she's asleep yet. She ain't no night off. Shut up.

In the second place I'm not so sure we ought to pull this job at all. What are you talking about? Keep quiet. You all heard what that word, Hanley, said. Hera spotted me on that boat.

He's got his eye on us right now. Ah, so what? We grabbed the russian squam. Oh, pure. And get painted up on her. A lot of smart guys you are. Yeah, she never thought of that.

The way I see this is, we lay off the Brockton Jewels for good. Clear out of here and forget it. And when this first thing blows over, you can get together and pull something else.

Hey, wait a minute. What do you mean you can get together? Ain't you in with us anymore? Well, sure, of course. You mean we ain't going to grab them rocks, boys? That's what I said.

Holy gee, that hoich! A quarter of a million bucks worth of sparklers and we got to leave them flat and play tight with a dick! It's the best thing to do right now. Yes, I guess so.

Wait a second, boys. Tom, you ain't fooling me at all. You ain't worried about terrorists. No. No, it's that dang. You're soft on her. And you're trying to wench, so she won't have to grab her jewel.

What? You're a pretty smart girl, aren't you, Rosie? Not enough to know when I'm getting a shake down. Hey, now look, Tom. I don't know whether Rosie's got the right dope on this thing or not.

All I know is that we sunk plenty of coin into this layout, and there's ain't no time to go back on this. Well, what do you say, if your voice down? I'll tell you what he's got to say.

He's going through with this deal whether he likes it or not. Because if he don't, I'll clear him with that dame for keeps. I'll tell her what you are. I'll tell her plenty. And so lie. You're dirty, two time and double crossing up.

Poulting Moses. I warn you to keep your voice down. Now, if you want another sniper, that get up and start yelling again. Now listen, you mugs. I never double crossed anybody yet. And I'm not going to start now. I'll go through with this job.

Sure. But this is the finish. Understand? I'm through with you. All of you. I'll get out of here and let me alone. Come in Wilson.

Wait outside for half an hour. I told you three o'clock. Is the coast clear? They're all asleep. Well, where's it safe? Over here in the wall. Come on. Use your flashlight. Okay. And you say on the wall?

It's behind the panel. No, no. Not bad. Not bad. Oh, come on, let's get to work. Look out. What's the matter? Don't touch that safe. Let's pull electricity. That's nice. What do we do now?

We turn it off, stupid. Look out. Yeah, that girl. You got the combination? I'll give it to you. Keep your light on the dial. Okay, shoot. 24 right. 24 right. 18 left. 18 left. Six right.

18 left. 18 left. Six right. Six right. No. That's all. Wide open. Listen. There's someone coming downstairs. We better duck. Here. Get behind yourself. Quick. Don't even breathe. Get out that light. Oh, she won't see it. Her room is on the other side of the house. All right, then come on. We'll have to work fast.

Well, what's the matter? Look at that safe. It's wide open. Somebody's in here. They got in through that window. Okay, didn't get anything? Look. The stuff is still here in the safe. All right, we've got to snap into it.

Hey, that stuff out to me. Come on. I'll hurry up. All right, take your time. Here's the girls, you old. Now, give me yours. I don't know. I got the cover, both of you. Who's that?

The Broxton's Butler. Wilson's the name, lady. All right, Ruth. Grab those jewels. Ruth, what are you doing down here? Can't playing marbles. Did you open this safe? Yes, I did. You are a crook then.

Looks like all of us are Tom. I get it. They're another mob. Ha! We thought they were on the level and they're just a bunch of crooks. Hey, watch out who you're calling names, lady.

It was trying to swipe our stuff yourself. Another mob. I don't see anything so funny. What's a joke? I'm not sure, but I think it's on me. So that's why you wouldn't marry me, eh?

Any objections? I don't see any now. Come on, come on, cut out the cheddar. We gotta get out of here. 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 gnaws. We have a combination that couldn't be beat. Even sparrows have never catch up with us. Sure, this is a fine time boy for a partnership when we got the jewels.

You haven't got the jewels. You've got to take them out of here. But you couldn't get rid of them if you went to Mars. That happens to be the Stuyvesant collection. The Stuyvesant collection. They're hot enough to melt steel.

Well, what do you say? Do we get together, don't we? Oh, what do you think, Ruth? It suits me. Well, now there's all the jewels. I vote we pull a lot and spread it 50-50.

Okay, but look, what's the devil? What's that? Come on, let's get out of here. Come on, let's get out of here, I think. Hi, those jewels. They got them. They're all around the house. Come on, Ruth, this way.

Send my arm. Everybody. Come on, you can decide to learn the next initial. Don't give us that. Don't anybody make a move. We've got the whole joint around it. You can't do that. Come on, boys.

Round them up. If your mouth's done, if you want anything you're seeking to use against you. Yes, son. Like an old timer, mister. What's your name? I'll do my talk under the start. You can bet on that.

Well, nice work, boys. Got him alone. Yes, sir, Chief. Why, I grabbed two of them to back door. I'd make six of them. Yeah, that's right, Chief, just like Ferris said. Ferris. Oh, so he's in on this, eh?

He's had you covered for weeks, all of you. There you are, Keith. The tools, the whole bunch of them. Fine. Fine. Well, boys, it looks like a good day's work for us. For station identification, this is the Columbia Broadcasting System.

Our play, cheating cheaters, continues shortly from the Lux Radio Theatre. Eight years ago, a vocal gymnast injured his backs severely while performing at the Hippodrome in New York. He refused to surrender to the doctors who told him he'd 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 the only job of its kind in the world. He's employed by the Metro Golden Mayor studios to keep their stars in proper physical condition.

Ladies and gentlemen, Mr. Donald A. Lumis. Every day I work with such stars as Joan Crawford, Gene Harlow, Louise Reiner, Eleanor Powell, Jeanette McDonald, the beauty and glamour they reveal on the screen are direct results of constant training and strict adherence to regular exercise.

The advice I'm 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.

The fact to remember is this, only through the proper circulation of blood can you have a healthy, beautiful body. And nothing in the world promotes good circulation like exercise. 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. 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 take it easy. Watch your posture. Round shoulders is the most common fault with women. Copy normal sure. Her posture is the best among all movie stars.

Clan Linna is all important. An invigorating shower with plenty of luxe toilet soap will do two things for you. you. Three your pores of foreign matter and keep your complexion clear and smooth. I am glad to say that Lux is the soap used by the stars at MGM. Eat, play and work as you see

fit. Don't pass up a good dinner because you're afraid of getting fat, but compensate for the food by proper exercise a little later. Give your body this attention it deserves and I can safely say that after a few weeks of sensible training you will feel better, look better, your whole mental attitude would be completely renewed.

You get a different view of these stars than anyone else. Who are the best physical specimens in Hollywood? I'd say Joan Crawford, who has trained faithfully for years, Norma Shearer and Dolores Del Rio. And the men with the best physique, in my opinion, are Clark Gable and Robert Taylor.

A couple of weeks ago, Robert Taylor flew 3,000 miles from New York to Hollywood, just so he wouldn't miss a workout. but exercise need not be figured. Genet McDonald's singing helps greatly to keep her fit.

Try singing, it's great for your lungs and chest. And perhaps a little rough on the neighbors ears. 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 Joel Lewis. That seems to prove that Joel ought to take up dancing. or that Ellen Ear should challenge Gratik.

In any event, I'm glad to have been here, Mr. DeMille, 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 Mayor Studio, Culver City, California.

Good night. Good night, Samson. And now we bring you the last part of cheating cheaters, starring George Raft as Tom Palmer and featuring June Lang as Ruth Brockton. It's the following morning. We're in the office at 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 terrorist's private office. What are they letting us out of here? I'm stiff as a board sitting here all night. Stop beefing, will you? You think the rest of us were sleeping on feather bed.

Hey, do you think they got the goods on his force? Enough to send us all up for about ten years. Ten years? Oh... What did you think? That they'd slap your hands and tell you not to do it again?

I want to see my lawyer. Say... How did they mad you, Brockton? I thought you went to Chicago. That telegram was a fake. I stayed at the house. Yeah? Well, you see what you get for telling stories?

Oh, shut up. By the way, are you Ruth's father? I've never been a father in my life. That's a break for somebody. Hey, this guy, is he on the police force? Now he's a private detective, employed by the insurance company.

Good morning, everybody. Hi, Efali. Pull up a chair. Never mind the wife's fraction, I'm sorry. Hey, look, Chief, how about some ham and eggs? I'm starved. Well, you all get breakfast over in the tombs.

How long are you thinking you can keep us here? This is an police station. It's the office of a private detective agency. That's right. You see, this is just a little stopover on the way to headquarters.

As soon as we got a confession, we'll get going. Yeah? Who do you think is going to confess? Well, we're getting one right now. You mean, Ruth? what do you think that you will stand up yet came through with everything we asked her you're a liar what you heard me roots no squealers she would let it

down you find yourself in the job on the menu change your mind a little who wants first all the district attorney i'll talk to him all i am a stardance no this is why we're speaking i'm sorry but i was a good getting a confession Yeah, Ruth Bropton, head of the Bropton gang.

Mm, she's spelling it now. All right, I'll tell Paris. We'll shoot the confession over to you as soon as she signs it. Goodbye, Mr. Andrews. You'll excuse me, won't you, folks? I am very busy this morning.

I squam, pam. You don't think Ruth is squealing to your pama? Not a chance. That phone call just now is a gag. If we'd only gotten away with this job, I was going to retire.

Yeah, me too. It's a dirty shame. Hey, I've got an idea. Yeah? We could use a good idea right now. What is it? When we lifted those stymas and jewels, we broke it all up and had the stones we set, didn't we?

Sure, what about it? It's our one big chance. How do you mean? Don't you see? Ferris repures since the insurance burglary company. Now, what's worrying the company's most is how to get back the jewels.

Now, with the stones we set, how many of the original owners will be able to identify their stuff? Not one of them. That's why Ferris is keeping us here in this office. And that's why he wants to think Ruth, that's Guell.

Well, that's it, all right? We have beat the rap yet? Everything depends on Ruth. If they break her down, we're late. But she can't break down. If she does, she'll land on the dug herself.

No, she will. None of you will. But you've got to let me do the talking. Now look, I'll ask to see Farris. It's need accomplished. All right, Miss. Come in here, please. What do you want me to do?

Be careful what you say, Ruth. Quiet, you old. All right, Miss. Now, if you'll identify these people, I'll call them off in the order in which they're named in your compression. She's squealing on us.

Quiet, I said. Ready, Miss. I'm ready. George Brockton. That's George Brockton over there. You cheap squealer. You're not fit to associate with others. Take him away, men. Keep him outside. Come on. Let me go when you come on.

Now, Steve Wilson and Phil Davis. That's Davis and there's Wilson. And I thought you was Reagan. Outside, you two. I'll get you. Have the swing for this. Rosie Snyder, next. alias Rosie Palmer. That's Rosie.

All right. I'm going. Mike Donovan. Well, that's me, I guess. So don't push. See you up above. Yeah. One more. Tom Palmer. I'd like to speak to him, please. Alone. I want to see Ferret.

Hold your horses. Okay, Miss. You can talk to him here. I'll go out and take care of the others. Thank you. So, yes, squealed on us, eh? You let us down. I'm sorry, Tom. I had to.

Pretty low, even for a crook. You hate me, don't you? If I do it, you're a fault. I almost went straight for you last night. I would have taken the rest of you today. What do you mean?

If I could have gotten to see first before you confessed. I was all set to cover you up. Take a wrap myself. You would have done that for me? Oh, Tom, I'm sorry. Oh, what's the use? It's all over now.

Sit down, Tom. I want to tell you something. Something about myself. I get it. Please, Tom. Well, what is it? You see, I used to be a newspaper reporter at $30 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. 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 bars. Wait, Tom. A minute ago, you said you'd go through for me. Well, I believe you. I'm going through for you. Yeah, how?

I didn't look for this job. The job found me. When I got to working with Brockton and the others and to knowing you, 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 you, I thought of our future, yours and mine together. I knew the better side of you and I wanted to help you find yourself. Why don't you tell me this before?

It's not too late even now. No, what do we do? Set up housekeeping and sing same? Excuse me. Yes, Farley. The rest of the gang want to see Farley. All right, let them come in.

OK. Well, what are you going to do? I said it wasn't too late, Tom. You mean you're going to give me a chance to go straight? I think that's all you need, a chance. Am I right?

If you'll stick close to me. I'll never let you out of my sight. old gee route i don't know if you can't find the way to go in there was a very very easy in here and we said we want to see parrot just a minute boys let me introduce the head of the national detective agency

misruth there is all right rotha if you're a person i think i know what your proposition is dot but let me make one first now boys you want to make restitution of the stolen property in exchange for a life sentence, right? Right. Well, I'm going to do better than that for you. I'm going to put you all to work.

What? What? Did you say, wait? Oh, this is the end. 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 a job that's being pulled off and failed to report it, or double cross mean anyway it means twenty years she's gonna make the ticket out of it and a good education for the job now it's up to you there's been an encounter

i want to sign confession from each one of you what are you going to do with the confession nothing as long as you remain on the square with me now take your choice the confessions or twenty years lead me to the penance paper as plenty of both out in the front office Well Rosie, not going to sign?

Oh, I'll sign it all right. Me a detective. I'll never be able to hold up my head again. Well Tom? I suppose you want a confession for me too. Uh-huh. All right, I'll go outside and write it.

That's not the kind of confession I want from you. No? I want you to confess that when you told me you loved me, that you meant it. Every single word. Guilty. You want a couple of witnesses to them?

I think we could use them. Sure. Two witnesses. We can let them sign the marriage certificate. Well, it looks like a good day to work for us. As Thackeray wrote, the play is done, the curtain drops.

A moment yet the actor stops and looks around to say farewell. Tonight's stars, George Raft and June Lang return shortly to the microphone. I think that discoveries are accidents designed by destiny. A fabulous fortune and hundreds of the jewels women now wear 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 mines in the world. It was also by accident that I myself once discovered a diamond in the rough. In fact, it was in the rough and tumble action of a keystone comedy that I saw her.

And just the way she leaned against the door conveyed to me an appeal that I knew would intrigue the world. I took her out of comedies and made her the star of 60 mill productions.

She was an absolutely new type of heroine, because most of the heroines who preceded her were sweet and charming Arginews. While 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 screen stars who can truly

be said to have possessed Glamour. She did more than any girl before or since to make Hollywood the fashion center of the world, and she now steps to the microphone just as fascinating as she was then. Ladies and gentlemen, Gloria Swanson.

You're very generous. I changed the old adage of Hitch Your Wagon to a Star and Hitch Mine to a direct and became a star. That's just modesty, Gloria. You're talking through that pretty little brown and white turban of yours. As a matter of fact, ladies and gentlemen, I just happened to fit into the DeMille scheme of things, which consisted of putting realism,

beauty, style, and sophistication on the screen. You're one of the world's most exotic women. It just happens that you're also a very good actress. All women are good actresses. And I still insist, ladies and gentlemen, that it was Mr. DeMille's daring that made me a star.

Until he produced old wives for new, every picture followed the same formula. A boy met a girl, lost her for a while, and then finished the picture by marrying her. Mr. DeMille took the story up from there.

So producers believe that you couldn't make a successful picture about a husband and wife. to the male maid one and thereby made history. It was a great success and introduced the social drama to the screen. It wasn't my daring that the people talked about, it was yours.

You remember the scene in Male and Female? When we duplicated the famous painting, The Lion's Bride, and had a lion crouched above you with its claws on your bare back while a trainer cracked the whip and its face to make it snarl? Yes, Mr. DeMille, I remember. No, I've got I'm very sorry, but I'm not as daring now as I was then.

Well, you're just as charming. I never saw you look more beautiful. That's Elle Euect. What's that spell? Oh, Shane, go to the bottom of the class. That's those luck. Oh, yes, yes, yes. Luck is my favorite beauty soap. Now, through its radio theatre, you and I meet again for the first time in nearly seven years.

Then before we say good night, I'd like to give you one final bit of direction. of direction. What is it? Thing for us. Well, I don't pretend to be a singer, but if you're willing to risk my singing on your program, so am I. I'll sing none but the lonely heart by Chikovsky. Please. 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 our first trip to Manhattan. But suppose they speak for themselves and as themselves. Ladies and gentlemen, George Raft and June Lang.

Thanks, Mr. DeMille. Well, June, how did you find the old hometown? Oh, easily, George. I took the plane to Newark and drove over the skyway, through the Holland Tunnel, and there it was. I mean, did you like it?

Oh, 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 used Lux toilet soap just as much as we do here in Hollywood. I even had Lux in my hotel room. It made me feel really at home in New York.

In New York, George was the most popular boy in his neighborhood. The other kids would do anything he told them to. Incidentally, George grandfather owned the merry-go-round on Coney Island. My grandfather also was a gold prospector here in California. He made several strikes. New father, this example is a ball player. I guess you're right, but in

pictures I'm better with a gat than a bat. I don't know why you are gangster on the screen so many times, George. Oh, I don't know. I like being a villain. 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. Even in Mr. DeMille? Why not? I think Mr. DeMille is one of the nicest men I ever met. Now, don't stop June. I'm beginning to enjoy this interview. Just let me tell you what he did to me one day. He was making this day and age.

You talk, George, like one of my actors you want even in that picture. Well, one morning when I came to work, my dressing room had completely disappeared. Why blame me? I'm a director, not a magician.

The reason I couldn't find it was that the mill had completely surrounded with one of his big sets. Didn't he give you another room? Oh, yes. For two solid weeks, I shared quarters with Tuffy, the Kali mascot.

But it wasn't so bad. I used to be a mascot myself. George was masked out of the New York Yankees by member rightly. Yeah, I'd chase whole runs all over New York City. Tonight you hit one yourself, George, and you too, June.

Thank you. It's been marvelous being here. Good night. And all is forgiven, Mr. DeMille. I've had a great time, and I hope to be back again sometime. Good night. Good night, George. Thank you, Mr. Raff and Ms. Lang.

Ladies and gentlemen, this is your announcer, Mel D'Oruick. Assisting our stars in tonight's play were Wally Mayer as Mike, Justina Wayne as Mrs. Palmer, Victor Rodman as Mr. Brockton, Lou Merrill as Wilson, Frank Nelson as Phil, Ross Forrester as Handley, Richard LeGrand as Farley, and John Lake and Charles Emerson as police officers.

Mr. Raffton, Mr. DeMille, appeared through courtesy of Paramount Studios, Miss Lang and Mr. Silver's 20th Century Fox, and Mr. Loomis, Metro Golden Mayer. The music for the new picture, Road to Glory, produced by 20th Century Fox, was arranged by Mr. Silvers.

Mr. DeMille tells us now of next week's program. One of the screen's most colorful figures comes to the Lux Radio Theatre next Monday night. James Kagnay. 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 That So? By James Gleason and Richard Taber. Robert Armstrong and Boots Mallory will be featured in the cast with Mr. Kagnie.

Our sponsors, the makers of Luxe Toilet Soap, together with Mr. Kagnie, Mr. Armstrong and Miss Mallory, join me in inviting you to be with us next Monday night in the Luxe Radio Theater presentation of Is That So?

This is Saffa Biedemel saying good night to you from Hollywood. This is the Columbia Broadcasting System.