 Hollywood, California, Monday, November 9th. The Lux Radio Theater presents Pat O'Brien and Madge Evans in alias Jimmy Valentine with Alan Jenkins and William Frawley. This presents Hollywood. Our stars, Pat O'Brien, Madge Evans, Alan Jenkins and William Frawley. Our guests, Melvin Purvis, Greatest G-Man in History, and Carolyn Newell, Showgirl. Our producer, Cecil B. DeMille, our conductor, Louis Silver. To the visible audience with us tonight in our theater on Hollywood Boulevard, and to our unseen listeners the world over, greetings and good wishes from Lux. A brief word to the ladies. Suppose you had spent millions of dollars just for clothes. Wouldn't it be logical for you to spare nothing to safeguard so huge an investment? Well, that's exactly the position motion pictures are in. Yet, go to all the leading studios here in Hollywood and you'll find they use inexpensive Lux Flakes. Try a box tomorrow. Your clothes will wear longer and look newer when cared for in these gentle, marvelously effective flakes. And now, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Tonight's play came out of the darkest chapter in the life of O'Henry. Under his real name, William Sidney Porter, O'Henry served the term in the Ohio State Penitentiary. While there, he met Jimmy Connell, the safecracker, who told the author the history of his life, which O'Henry wrote into a short story and from this Paul Armstrong fashioned our play, Alias Jimmy Valentine. Tonight's Jimmy Valentine, Pat O'Brien, made his debut on the stage as an angel in the Christmas pageant. A rather disastrous beginning because his wings kept falling off. Years later, Pat landed on Broadway and came to Hollywood as Hildy Johnson, the star reporter of the front page. Pat has remained a headliner ever since and is seen next in the great O'Malley. Madge Evans made her screen debut at the age of three. She had been chosen by, she has been chosen by 69 universities as the typical American college girl, but she never went to college. Madge, whose current picture is Piccadilly Jim, is heard tonight as Mary Lane. Besides Pat, there are two other Irishmen on our program. Alan Jenkins, heard as Red, and William Frawley as Doyle the detective. And here goes the curtain as the Lux Radio Theatre presents Alias Jimmy Valentine, starring Pat O'Brien in the title role and Madge Evans with Alan Jenkins and William Frawley. Our story begins behind the grim, forbidding walls of sing-sing prison, arsoning New York. In the gray light of early morning, an endless line of men lodged steadily through an endless corridor. Somewhere in that line is a quiet, easy-mannered young prisoner, number 87403, serving a term for safe-cracking. As the men near the entrance to the jute mill, the guards keep careful watch. Halt! Number 87403. Snap out of 87403. Here. The warden wants to see you, Valentine. Go to his office. Right away? Thanks. Ready? Come in, Valentine. Yes, sir. The guard said you wanted to see me. Yes. I suppose you know what it's about. Pardon? It came through last night. You'll be leaving tomorrow. Well, that's certainly good news. Three years off. I told you to behave yourself in here. Yes, sir. It also pays to behave yourself when you're out. Yes, sir. What are you going to do, Valentine? Get a job, I hope. A steady one? If I can. Good. I'm not going to give you the usual talk, Valentine. I don't think you need it. You're smart enough to know your way around, and nothing I can say is going to make much different. Just remember that from now on, it's up to you. You can go straight, or you can crack a couple of safes and land back here with a second offender's sentence. Which is it going to be? No, I'm going straight. Sure of that? Positive. That'll be all. You can report to Wilson now or over the jute mill. Tell him I said you were to be off all duty today. Thank you, sir. See you tomorrow morning. Yes, sir. I've seen enough of it right now. I just wanted you to remember what it's like, so you won't be itching to get back. Don't worry. I'll be hearing this noise in my sleep for the next 10 years. I'm going to get a job in a nice, quiet office where they even put silences on the pencil sharpeners. Well, lots of luck. You seem to know what it's all about, Valentine. You think you could hold down a job like this. Pretty important. Well, I'd certainly like to try. Well, I'm almost tempted to let you. Where'd you work last? Well, I haven't had a job for a long time, Mr. Nolan. You see. Well? I've been in prison. Prison? Yes, I thought I'd better tell the truth about it and maybe. Prison? I'm afraid that killed your chances, Valentine. No, but I'm straight now. If you only let me out. I'm sorry. I appreciate you're telling the truth, but we won't be able to take you on. Good morning. Back today, Mr. Sharp, I thought it was all set. Well, it was. But I've been doing a little investigating, Valentine. You're not the man for the job. Oh, I get it. Why didn't you tell me you'd serve time? But it made any difference. Well, I don't know. I'm sorry, Valentine. All right. Thanks, honey. There must be some mistake. Mr. Woodley told me he was completely satisfied. All I know is that he doesn't want to see you. You'd get your check from the cashier. Fired, huh? I'm afraid so. You see, there was a man in yesterday, a detective. And, well. Sure, sure I know. Checking up on me. OK, give me a little time to clean up my desk. I'm awfully sorry, Mr. Valentine. Maybe you'll get another job, too. Yeah, maybe. Was it black coffee you wanted, Mr? That's right. Anything else? There's toast on the breakfast. No, don't bother. Yes, sir. Oh, Valentine. Huh? Well, if it isn't Mr. Doyle. How's the detective business, Doyle? Well, you might have I sit down. Suit yourself. Thanks. I saw you come in here, Valentine, and thought I'd come over and pass the time of day. Yeah, well, that's nice of you. What time is it? Oh, still a smart guy, huh? I guess being in the big house ain't changed you, any. Who sprung you? I beg your pardon? You know what I'm talking about. Who got you out of stir? Oh, oh, the governor, me, pardon me. When? About a month ago. That's great. Yeah, you don't seem very pleased, Doyle. Why should I be? I had enough trouble putting you up there. Sure, you did, unframed evidence. What do you mean, framed evidence? Just what I said, I didn't pull that bank job on Danville on your note. But you bribed a couple of double-cross and stool pigeons that swear they saw me in Danville the night the bank was cracked. You weren't smart enough to get me on your own, Doyle. You had to frame me. Why, you cheap little crook? I ought to suck you right on the chin. Sure, you ought to. And I wouldn't if I were you. You haven't got me in the jug now. I'm a decent law-abiding citizen. Yeah, well, you won't be for long. I'll slap a big stretch on you if I have to follow you to China. Yeah, but you'll have to get something on me first. I'll take care of that, mister. Where do you pull your next job? How do you know I'm going to pull one? How do I know? I get you. You're going to hand me that line about going straight, huh? Well, I'd like to believe you, Valentine. I'd be the first guy to give you a break. But guys like you can't go straight. It's in your blood. You'll be cracking another safe inside of a month. And when you do, I'll be right behind you with a pair of bracelets. All right, copper, but you get this. When that time comes, I want you to lay off on me. Let me alone. Oh, no. I'm going to keep my eye on you, Valentine. I'm going to watch every move you make. Do what a nice, pleasant guy you are. Man's got a swell chance to go straight with a flatful like you tailing him every minute. I've done my bit, haven't I? Yeah, part of it. What are you talking about? I just told you I was pardoned. I wasn't thinking about the stretch you did for the Danville job. Oh. What I meant was that you never served a day for cracking that safe in Springfield. Springfield? Now, don't play innocent, Valentine. No one ever did find out who was responsible for that job. But we've been digging up a little more evidence lately. And it looks like you. You're deaf. He was never in Springfield in my life. What's Springfield? No, Springfield. Wait a minute, wait a minute. I happen to know you were, see, in Springfield math. You were there the same night the job was pulled. Yeah, but you've got to prove that, Mr. Don't worry, I will. It may take a little time, a year, maybe five years. But as long as we're both alive, I'll be working on it. So long, Valentine. I'll see you in the DA's office. Rat. Waitress. Yes, sir? Give me a check, will you, please? OK. Orange juice and two cups of coffee, $0.35. All right. Keep the change. Thank you, sir. I'm going to leave on a ramp. Hey, Jimmy. Jimmy! How are you? Fellow. Red. Better than ever. Gee, it's good to see you, Jimmy. Oh, and that goes double for you, kid. You're looking swell. No fooling. Well, I feel all right. I didn't think you were going to come. Rat, I've been waiting inside all morning. Yeah, the train was two hours late. I just got in about 15 minutes ago. Then I seen flatfoot Doyle sitting with you. So I stayed out here. Come on. We can't talk here. Look up to my place. Sure. Well, here we are, Red. Not much, but it'll do. This place is OK. They like the old one, though. No, the bank was not like the old one either. Sit down. Yeah. Say, what did Doyle want with you anyway? Doyle? Oh, nothing much, I guess. Just trying to put the screws in. I mean, that's all. He would. Says he's got some new evidence about that Springfield business. You don't think he has, do you? No, I don't think so. Mostly bluff, I guess. Well, Red, what have you been doing with yourself? Oh, I've been doing all right. Little jobs here and there out in the coast. Not too much to speak of. I've been kind of waiting for you. Yeah. Say, that reminds me. What was all that junk about you going straight? What's that? You know, all that stuff you wrote in the letter about getting a job and going straight. Oh, oh, yeah, there. Forget it, Red. Sure. I knew you was only kidding. You ever tried to be honest, Red? Oh, me? Well, no. No? Well, it's a pretty thankless job. I came out of Stairmouth. I go with a mind all made up to go on the straight and narrow. I'm going to look for a position, a steady one. Going what? Going on. I didn't care much what I did. I was in the jug. I worked in the jute mill in the morning and on the books in the afternoon, you know, in the office. It taught me a lot about accounting. I thought maybe I could get something in that line. Accounting, huh? Well? Well, I guess I should have known better. I haven't got a chance. Yeah, jobs is kind of scarce. No, Red, it isn't that so much. It's my record. My record and a couple of rats like Doyle. Keep hounding every minute of the day, every day of the week. Yeah, nice guys, them dicks. Oh, it's not all of them, I guess. Most of the men on the force are all right. They got their jobs and they do them just like you do yours. So I always find a few that are looking for a soft job behind a desk and they don't care how they get it. Tell us like Doyle. He's hounding me now for something that happened three years ago. I told him I wanted to go straight, but what difference did it make? He'd like to send me up for life. He's going to follow me all over the map till he does. What are you going to do? I'm going to blow this town on the first rattler I can get. But where are you going? I don't know. Sticks, probably, where nobody knows me. I'll change my name, keep on the move, and Doyle gets tired of looking for me. Well, what name are you going to use, Jimmy? I ought to know in case I want to reach you. Randall. Lee Randall. Go on. And I'm going to pull a job. Just one, Red. But it's going to be a pep. Now you're talking! Comic enough in one haul to set me up for life. Catch the first boat for Europe and spend the rest of my days making mud pies on the French Riviera. Swell, when do we leave for the snakes? Me? Sure. You ain't going to crack no safe without me, are you? Oh, I'm the clown, yeah. It's ready. Tickets, Mr. Here you are. What time do we arrive in Glendale to look at? 4.58. Tickets, please. Where's your ticket, lady? My ticket? Well, I've been waiting for you to come for the train conductor. You see, I haven't got a ticket. You got on at Warrenstown, didn't you? Yes, I did. I'm going to Glendale. Glendale, let me see now. Warrenstown to Glendale. Now, that'll be $7.32. Oh, but don't you see I, well, I haven't any money either. What's that? No, I lost my purse just before I got on the train. I left it on the count of the information booth, and my ticket was in it, and, well, I thought perhaps I could explain it to you. I'm sorry, Miss, but I don't know just what I can do about it. Well, my mother's meeting me at the station in Glendale. She'll give you the money then. Well, we changed conductors for a station this side at Glendale. I don't know, I'm a conductor. Yes, sir? I'm getting off at Glendale. I'll pay the young lady's fare. Oh, well, that'll be all right. Oh, thank you, but I couldn't let you do that. Please, it's quite all right. Your mother can pay me back when we arrive. See, I think you said 7.32 conductor? Yes, sir. There you are. Thank you, sir. 7.32 and 8 is 7.50, and 50 is $8. Thank you. Tickets? That was awfully nice of you. Oh, that's all right. I feel like a perfect fool. Well, I've been on the same boat myself. I'll probably be in it again sometime. Well, I only hope you'll meet someone as kind-hearted as you've been to me. Thank you. I don't know what I would have done, really. I haven't a penny with me. You see, I'm not used to being away from home very much. You live in Glendale? Oh, yes, I've always lived there. That's where I was born. I suppose I ought to introduce myself. My name is Mary Lane. Well, how do you do, Miss Lane? My name is Randall, Lee Randall. How do you do? I'm awfully glad to meet you. I guess I ought to be. You're going to Glendale, too, aren't you? Yes, I am. Have you ever been there before? No, this will be my first visit. I thought so. Why? Well, I've never seen you before. It's a very small town. Well, you get to know everybody. Do you expect to stay long? Well, that depends. Oh, this is just a business trip. Yes, in a way. You see, I have no business. I am just sort of looking around. You want to invest in something? No, not exactly. I'm going to pull up. I'm going to look for a job. Well, why go to Glendale? Well, I don't know. I thought I might have more of a chance in a small town. Oh, I see what you mean. What sort of work do you do, Mr. Randall? Well, I'm an accountant. An accountant? Where did you work last? Last? Yes. Well, I worked for the state. Yes, the state. Oh, a government job. Well, yes, you might call it that. I hope you don't think I'm impertinent at asking you questions like this. Oh, not at all. But you see, I have a reason. I, well, when you said you were an accountant, I thought I might be able to help you. Help me? Oh, yes, not directly, of course. But I think my father might be able to find you something. I'll speak to him tonight. Well, now, please, don't bother. But I'd like to. You were so awfully nice to me. And I feel as though I were returning the favor. But at least I could introduce you to him. And even if he couldn't use you himself, it would be a good contact for you. He, well, he's rather a prominent person in Glendale. Oh, yes? He's the president of the farmers' bank. Oh, I see. Well, what's the matter? Wouldn't you care to work in a bank, Mr. Randall? Oh, yes, yes. I think I'd feel right at home working in a bank. Sit down, Mr. Randall. Sit down. Thank you. My, um, my daughter tells me that you are looking for a job. That's right, Mr. Lane. I've been looking for one for quite some time. You're an accountant, eh? That's right. Ever work in a bank? No, I haven't. Mary seems to think that I ought to put you on. Yes, I know. She told me she was going to speak to you. I asked her not to bother. Well, you understand my position, Mr. Randall. Why, of course I do. You don't know anything about me. That in itself would be enough reasons for not giving me a job. I'm glad you see it in that light. Of course. Well, on the other hand, the fact that I'm not acquainted with you is not evidence that you couldn't fill that position very satisfactorily. As a matter of fact, we need a teller right now. And I'm quite willing to see what I can do for you. Well, thank you. That's very kind. I suppose you have references. Yes, I have. I brought them with me if you'd like to look them over. I'd like to, very much. The first one here is from the general manager of a firm I worked for several years ago, the Mohawk Lock Company. The Mohawk Lock? Don't believe I've ever heard of it. What sort of a firm was it? A manufacturing company. They manufactured safes. I was with the Mohawk Company for about two years, and then I got an offer from another firm to watch Cogwin take over the office. Long distance? You told me I was connected with New York, but oh, I am. Hello, Rand. This is Jimmy. Yeah. Yeah, I'm up in Glendale, Red. Glendale. And listen, Red, I landed a job. Where are you here? I'm a teller and a bank. Bank. B-A-N-K. Bank. We will continue with the Lux Radio Theater presentation of alias Jimmy Valentine, starring Pat O'Brien and Madge Evans. But first, we'll take you to a pleasant home on Outpost Drive, not far from Hollywood Boulevard. Eight-year-old Catherine is holding a step ladder while her mother fixes a picture which hangs crooked. There are old stockings around the house. These aren't old, dear. I just seem to be unlucky about always getting run. I saw a funny in the paper yesterday about cutting down runs. Oh, there isn't anything you can do about it. But, Mommy, I have the paper right here that says washing stockings with luck cuts down runs, because it says elas, elas. The word is elasticity, darling. Well, if luck says it, Mommy, why don't you try some? Well, maybe I should. In fact, I will. Let you and I go to the store and get some. When stockings go into runs too quickly, it's extravagant to throw them away and nuisance to mend them and untidy to wear them around the house. That's why more and more women are taking to lucks for stockings. Lucks preserve the elasticity of the silk. So stockings give without breaking into runs so easily under certain strain. Cake soap rubbing and soaps with harmful alkali tend to weaken elasticity. Lucks has no harmful alkali, saves elasticity. Make a note to buy some lucks tomorrow. See how it cuts down your run. And once more, Mr. DeMille. We continue with our story, alias Jimmy Valentine, starring Pat O'Brien and Maj Evans with Alan Jenkins and William Crawley. Six months have passed. The little town of Glendale has gone peacefully on its way. Strangely enough, no burglar alarms have disturbed the quiet of the night and the farmer's national bank is still intact. We're in the living room of the Lane Home where Mary is carelessly turning over the pages of the town newspaper. Suddenly she sees an interesting item in the social column and turns eagerly to her mother. Look, mother, it's in the Glendale news. What, Mary, about Lee? Listen, Mr. Lee Randall, a newcomer to Glendale, has been making quite a name for himself down at the farmer's bank. We understand that Mr. Lane has given him two promotions within six months. More power to you, Mr. Randall. We are glad to have you in our midst. Isn't it marvelous, mother? Well, I should say so. I won't have pleased seeing it yet. I'll save it in short term when he comes. You like Mr. Randall, don't you, Mary? Well, yes, everybody does. Well, everybody isn't in love with him. Mother. Oh, you needn't be so shocked. You are in love with him, aren't you? Well, yes, a little bit. I knew you were. Does he care for you, Mary? I think so. He hasn't said very much, but... But he manages to give that impression. Yes. Well, if I must lose you, I can't think of anyone. I'd rather lose you, too. Oh, mother, you're sweet. Mother! Yes, Kitty? Bobby's making noises, isn't there? Bobby, you stop that. I'll be up there in a minute if you don't. Oh, those children. I'll take it, mother. Hello? Hello, Lee? Yes. How are you? What? Well, what's the matter? Oh, oh, I see. Tomorrow night? All right. I'll wait for you to call. Goodbye. What's the matter, dear? Oh, he can't come over tonight. He has to stay home and entertain. Entertain? Yes. An old friend of his just arrived in town. I think Lee said he was from New York. What about, Jimmy? What's he eating you anyhow? I don't know myself, man. Don't give me that. There's something wrong. Here, I've been waiting to hear from you for the last six months. I wrote to you, didn't I? Yeah, a nice little friend who let us about the weather up here and what a nice little town it is. And whose pig had puppies. But nothing about pulling off the job. Not a word about cracking the bank. What bank? The Farmers' National Bank. I never said I was going to pull a job there. Yeah, you did. I did not. I told you I was working there. That's all. Well, for crying out loud, ain't that why you took the job so you could crack the vault? Well, maybe with a change of mind. Well, now, ain't that noble? Wait a second. Is there a dame mixed up in this someplace? Well, is there? Yes, but she's not a dame. Red, she's a girl. I knew it. I knew it. Whenever a guy starts calling a dame a girl, you can expect trouble. You ain't thinking of getting married to her. No, I'd like to someday. You know, I think this country air has gone to your head. Have you thought about Doyle? What about him? Suppose he catches up with you. He'd follow you to the South Pole if he thought he could hook the bracelets on you. What for? For that Springfield job. What do you think? He might have the evidence right now. I'm not worried about the Springfield job. Oh, no? No. I got an alibi, Red. I've been working on it for the last three months, and it's a build. All right. So you got an alibi. So what? Even if Doyle swallows it, you'll be in a soup anyway. You mean he'll tell everyone about my record? Sure. And I guess I'd be kind of surprised at that dame. I mean, that girl of yours. Well, that's a chance I'll have to take, Red. There's one thing I'm sure of. I'm staying here, and I'm staying straight. And what about those mud pies on the French Riviera? That's out, huh? Yeah, Red. That's out. Eh, to me, it's very discouraging, Jimmy. Here you are, the best cracksman in the business, the only guy in the world who's going to open a safe without using tools and nitro, and you're throwing away your whole future for a skirt. I'm not throwing it away, Red. I'm making it. Man, I suppose there's nothing I can say to. Change my mind? No. Oh, I got my chance now, Red. I'm not going to muffle. Well, I guess that's that. I feel kind of bad, Jimmy. I mean, we've been pals for a long time. Oh, gee, kid. Can't we still be pals? Yeah, a banker and a crook. Better make a swell combination. Whoa. Wouldn't have to be a crook, Red. Well? You could go straight, too. Awesome, Dawn. I ain't going to slave my life away in no regular job. Eight hours a day for chicken feed? Oh, no. Oh, you've got the wrong idea, Red. You think a regular job is dull. Uninteresting. Well, it isn't. It's a big kick in it. Not for me, there wouldn't be. Of course there would. I used to think exactly the same as you do. But look at me now. Yeah, look at you now. I'm softy. Well, all right. But I'm happy. Red, I'm happier than I've ever been in my life. Why don't you take a word out of the kid? I can get you a job up here. In Glendale? Sure, and be right near each other. What do you say? I don't know, Jimmy. There ain't nothing I can do anyhow. I signed something you can't do. Will you take it? Well? Will you, yes or no? All right. Well. But get this. I ain't doing it because I want to go straight, see? I'm doing it because you're asking me. All right. That'd be tough. You said it. Now, what do I do? Well, if a fella's made up his mind to go straight, there's only one thing to do. Exposing the temptation right off the back. And if he pulls through, he's all right. OK. Spill it. What's the job? Red, I'm going to make you a night watchman in the farmer's national bank. Hello. Randall speaking. Oh, yes, Mr. Williams. Well, you see, I just got to the office. I haven't had time to check on that yet. Of course, you drop in and see me this afternoon. All right. Good morning, boss. Hello, Red. Come on in. How's the night watchman? I'm all right. Kind of tired, though. Well, say, you ought to be. If you wanted, it might be a bad sign. Hey, I ain't sleeping on a job, believe me. What are you doing around here this time of the morning? You ought to be home in bed. Yeah, but they're just finishing a new work. I've been helping them put it in. You seen it yet? No, only the blueprints. I hear it's a neat job. It's a pip. Moves like clockwork and safe. Say, I couldn't open that wall inside of a month. Well, say that you don't try, Mr. Don't worry. I'm satisfied. No kidding. Now you're red on the level. Yeah, it's funny, ain't it? Sometimes I don't think I'm the same guy. Yeah, a couple of years can make a big difference. I'll say, look at you. Assistant cashier and all set to marry the boy's daughter. No, she's a great girl, Red. You're telling me? Hello? Oh, yes. Tell them I'll be out there in a couple of minutes. May I come in? Mary, how are you? I just brought fire with Kitty and Bobby. They wanted to see Father. Hello, Mr. Davis. Morning, Miss Lane. I see they have the new ball here already. Yeah, I was just telling Mr. Randall about it. Father's out there now giving it the one silver. Yeah? Well, I'll ankle out and see if there's something I can do. Excuse me. Well, how are you, darling? All right. Well, don't I get a kiss? Think you deserve one? Well, you'll think. Oh, the GM crazy about you, Mary. Are you? I love you, too. Well, honey, I can't wait for Nick's mother all around. I wonder what it's going to be like waiting up there at the altar while you can walk him down the aisle. Stumbling down the aisle. I'll probably be so nervous I won't be able to stand. Look, I've been shopping this morning. Good, what did you get? What did you see? Bear, how do you like it? Say, that's swell. It's beautiful. What is it? It's material for curtain. I thought it was the bridal veil. Kitty, Bobby, what's the matter? Aw, she says the new ball has a radio in it. A radio? Yes, it has, Mary. It has a round thing with numbers. She leaves a dial on the outside. Isn't that a radio? Isn't it, Mr. Randall? Well, no, Kitty. I'm afraid it isn't. But I'll have one put in if you like it. There you are. Marty, Bobby, behave yourself. I'm going in to see Father. If you don't stop acting like a young hoodlum, I'll tell him. I ain't doing nothing. Well, see that you don't. Wait a second, Mary. I'll go with you. I want to speak to the teller about it. What? Want to play something? No. Oh, Bobby, come on. Play something with me. Well, all right. We'll play banker. I'll be Father, and you'll be somebody that wants to borrow money. No, I don't want to play that. Let's play elephant. You can be the elephant. No, I'm going to be a banker. No, sit down, madam. Why? Don't ask questions. Sit down. I understand you were alone, madam. Uh-huh. Well, I thought so. Now, how much? How much can I get? No, no. You say a whole lot at first. $50,000. That's a great deal of money, madam. Well, that's the most I could think of. Don't talk that way. You'd be put up for saying things like that. I suppose you've got some kind of security, madam. Well, I don't know. Sure you have. You got a farm, haven't you? Oh, yes, I got a farm. Well, how large a farm? A big one. Well, that's good. Now, what grows on this farm? Uh, potatoes. Anything else? Potatoes and vegetables. That's silly, but they are vegetables, too. They are not. They are, too. I'm going to ask Mr. Randall. Mr. Randall. Mr. Randall. I told him I'd see him this afternoon, Smithy, but let me take care of him. Yes, Mr. Randall. Mr. Randall. That'll be all, Smith. Yes, sir. Mr. Randall. Say now, what's going on here? Another argument? These are vegetables. Sure they are. Are they Mr. Randall? Well, now, kitty, that's a question that requires a lot of thought. Hey, boss. Yes, Freddy? I got to speak to you right away. Get rid of them kids. All right. Now, listen, you youngsters, run out and play, will you? Sure, come on. All right, Red, what's the excitement? Come into the office quick. I got to speak to you. Well, what's the matter? Plotty, Doyle's here. What? Doyle, that copper, he's here. Where? In Mr. Lane's office. I've seen him go in. Holy. He's after you, Jimmy. Sure he's shooting. It's about the Springfield job. He said he was digging up new evidence. He must have found it. Come on, Jimmy, let's get out of here. Wait a minute, does he know you? I don't think so. All right, then, sit tight. I'll handle, Doyle. What do you mean? Just keep quiet and let me do the talking. I'm going to Alibi. That guy, he's dizzy. Alibi? Listen, you get this. I'm not Jimmy Valentine, Red. I never heard of him. I've been straight all my life and I can prove it. What are you talking about? Come here. See, what is that thing? Oh, yes, yes, here we are. Yeah, see this book? Yeah. Scrapbook, full of newspaper clippings. Every clipping is about Lee Randall. Lee Randall, that's you. I'm sure it was also my cousin. You had a cousin by that name? That's right. He lived in San Francisco. Went to Alaska a couple of years ago, never came back. This was his book and newspaper clippings. Here, read this one. San Francisco, New, January 12, 1929. Lee Randall, principal speaker at Club Bank. Take another look at that date line, Red. January 12. Mean anything to you? No. No? Well, the Springfield job was pulled on January the 11th. I get it. Oh, wait a minute. You could have grabbed a plane, couldn't you? Oh, I checked on that, too. They didn't have 24-hour service in 1929. That sounds good. But listen, Jimmy, Doyle knows you. He ain't going to let you walk out under his nose just because you got some newspaper clippings. No, I got more than clippings. Got a picture. Here. Look at this. Group picture of the banquet, the date on it, and my face right in the front row. Holy gee, it is you. I don't get this, Jimmy. Sanchez, he had a photographer do a double negative job for me. Took out one of the other faces and put mine at its place. Fred, I've been waiting for this day, hoping it would never come of waiting for just the same. I've been going straight now for almost three years. I got a chance to marry this swellest girl in the world. And I'm not going to let anything slip. But can you get away with it? We'll Doyle swallow all that stuff. He's got to. Yeah, but if he don't, what do you do then? I do 10 more years in the jute mill. Calls for station identification. This is the Columbia Broadcasting System. Harold Brown, Madge Evans, and our all-star cast resume the events of alias Jimmy Valentine in a few moments. The girl we hear next never made the headlines. But she's an important part of Hollywood, the chorus girl. As captain of a group of Hollywood's fairest, all 12 of whom are in the audience tonight, she leaves this week on an airplane tour to exploit Warner Brothers musical Gold Diggers of 1937. If you want to meet a screened show girl, here's your chance. She's not only blonde, beautiful, shapely, but I understand capable of completing a whole sentence. Ladies and gentlemen, Ms. Carolyn Newell. Hello, Mr. DeMille. Gee, you're cute. Well, you're not so bad. We're on the air, Ms. Newell. Oh, just like a radio program? Practically the same. And everybody hears whatever I say? Yes, they do. Oh, goodie. Hello, Jack. Hello, Mortimer Hall. Just a minute. Mr. Jacoby, hello. Just a minute. Don't say anything until I ask you a question. Then talk straight into this. This is a microphone, Ms. Newell, see? Microphone. But of course, an apparatus for converting audio energy into electrical energy. Anybody knows that? Not upon my word. Microphone, it comes from the Greek word microse, meaning small. Oh, you know a little Greek? Not anymore. I haven't seen him in years. Oh, Nicola. Ms. Newell, you're quite an enigma. Oh, and I like you too. What I'm struggling to determine is how you got into pictures. Well, when I was in high school. You were in high school? I'll thank you for not interrupting me, sir. But how did you get into pictures? Well, a Spanish boy I knew taught me to speak Spanish. And I got a job in a foreign language studio. After that, I was with Jean Harlow standing at Metro, and then I went to Warner Brothers. Are all showgirls like you? Are they? Mr. Mill, you say the nicest things. Oh, well. What are your latest pictures? Stagestruck, Canaan Mabel, and now Gold diggers. Do you smoke or drink? Thanks, but hadn't we better wait till we're through? What's a showgirl's idea of marriage? Well, it's like this. If a man came along with plenty of money, I think most of us would like to get married, providing we fell in love. That's important too. But personally, if a man without money wanted to marry, I don't think it would be fair to either of us. You see, showgirls are really too independent. I'm afraid that the pilot of that plane is going to find himself in a spin with all you Gold diggers aboard. Do you like the idea of flying? Well, the only trouble is that with 12 of us in one plane, there won't be much room left for clothes. But we know how to get around that. How? Did you ever hear of Lux Flakes? Sounds familiar. They solve our problem. Each night, when we stop off at a hotel, we do a little washing with Lux Flakes. We use Lux all the time at the studio for our sweaters and costumes. And we use it on our trip, not only for convenience, but because we want to look our best always. You ought to try it sometime. I will. It sounds like lots of fun. Yes, indeed, Mr. DeMille, this has been lots of fun. If I haven't given the audience a very concrete idea of what a Hollywood showgirl is really like, maybe it's because we're actually no different than other girls. No smarter and, well, I guess, no dumber. Just trying to make good and waiting for the right man. Thanks loads and good night. Good night, Miss Newell. Back to our play, alias Jimmy Valentine, starring Pat O'Brien and Madge Evans with Alan Jenkins and William Frawley. It's just a few minutes since Jimmy learned that Doyle was in the bank looking for him. Alone in his office, Jimmy is pacing the floor nervously. The door opens and Mary enters hurriedly. Lee. Yes, Mary? Lee, I just came from father's office. There's a man there, a detective. He's been asking father a lot of questions about you. About me? Well? He said you're not Lee Randall. He said your name is Jim. Valentine? Lee, what's wrong? What's it all about? I'm frightened. Oh, now take it easy, Mary. Everything will be all right. But he's going to arrest you. He said so. I sneaked out of the office to warn you. Lee, he... I tell you, Mr. Doyle, this is ridiculous. Maybe it is, and maybe it ain't. Lee. Yes, Mr. Lane? This man has just been asking me some questions about you. He's a detective. Oh, yes? He says his name is Doyle. That's all right, Mr. Lane. He don't need an introduction. Do you, Valentine? Valentine? My name is Randall. Oh, come on. Come on. I wasn't born yesterday. I know your face like I know my own. Mr. Doyle, you're making a mistake. Oh, no, I ain't. He's Jimmy Valentine. Wanted in the state of Massachusetts for cracking a safe in Springfield. I got all the evidence I need. Maybe you have, but you've got the wrong man. Of course you have. This is preposterous. Now listen to me, all of you. I came all the way up here to put the bracelets on this bird of mine. And I'm going to do it, see. Now, do you come peacefully, Valentine, or do I have to use force? Oh, I wouldn't try that if I were you. You've evidently mistaken me for someone else. Oh, I told you to care that stuff. Why should I? I think I'm entitled to a chance to prove to you that I'm really Lee Randall. Never mind that. How about proving you're not Jimmy Valentine? He doesn't have to. That's right, Mr. Lane. The burden of proof rests upon Mr. Doyle. He has to show beyond a reasonable doubt that I am Jimmy Valentine. I'll do that when the right time comes. Why don't you do it now? All right, lady. Well, Valentine, suppose you tell us where you've been for the last six years or so. Oh, of course my name is Randall, but I don't mind answering your question. I came to Glendale three years ago. Before that, I spent the rest of my life in San Francisco. You weren't doing a stretch about three and a half years ago? Of course not. And I suppose you weren't in Springfield either on the night of January 11th, 1929. I haven't. I've answered that question. I was in San Francisco. All right, all right. Maybe you can prove that. Yes, I think I can. How? Well, I don't know exactly, but where am I? I can prove it. Look, you see this grand book? Well... It's full of clippings about me. Let's see now. Maybe I can find something here. Sure. Sure, here we are. I think you said I was in prison three and a half years ago. That would be 1932, wouldn't it? Mm-hmm. Well, sort of close enough. Look, San Francisco Times, February 22nd, 1932. There's a list of names of people who attend to the holiday ball. You'll find mine at the bottom. Hmm. See it? See it? Lay Randall. Yeah, I see it. So you see? I was there all right. Well, maybe I can find something wrong another time. 1929, January. I think I can't get the exact date. Wait a minute. Right here. You said January 11th, didn't you? Mm-hmm. Well, here's a clubbing from the 12th. I made a speech at a club banquet. There's a picture, too. Not in the paper, of course, but you can see it must have been the same banquet. The photographer even dated it. See, where am I in this? There. There I am, right in the front row. Let me see. Well, I'll be... Well, I guess that settles it, Mr. Doyle. You certainly do want any more proof, do you? I don't know. I don't understand this. Why not? It's very simple. Yeah, that's just it. You know, you look enough like Valentine to be his twin brother. It's a good thing I'm not. You seem pretty intent on catching up with him. I've been after him for almost three years. You must want him pretty badly. Yeah. You see, he's the only man in the country who can open a safe by the sense of touch. By the sense of touch? Impossible. Not for him, it ain't. He rubs his fingers with sandpaper, see? Sandpaper. Yeah. Scrapes the skin clean off him so they'll be more sensitive. How terrible. You don't really believe that, do you, Mr. Doyle? Sure I do. Why not? Why don't believe that any man could have so delicate a sense of touch? Well, he has. And it's been the ambition of my life to see him work, to catch him with the goods. Well, for the sake of the community, I hope you do. Thanks. What's that? Listen. It's off near the cage. Mr. Lane. Mr. Lane. Hey, Red, what's the matter out there? Something awful has happened. What? It's Kitty. Kitty? What's the matter with her? Talk up, man. What's happened? She's locked in the wall. What? What did you say? She's got a new wall. She's locked in there. Locked in the wall? Quiet, Mary. How did it happen? Bobby, they were playing and he closed the door on her. My baby, oh, God. Take it easy, Mr. Lane. Where's the combination? They haven't sent the combination yet. Nobody knows it. Oh, Bobby King. Now, quiet, Mary, please. I'm going out to the ball. Stay where you are, Mr. Lane. But she's locked in there. You can't do any good. Red, go out and clear the bank. Okay, Mr. Randall. Now, sit down, Mary. Please, and be quiet. Randall, what are you doing? Hello, Mr. Simpson. Give me the grove-saving ball coming right away. I know the combination at the office. Do you think so, Lane? Take a chance. How big is the ball? She's in, Mr. Lane. Oh, it's very small. It's full of safety balls. Clear up to the ceiling. Hmm, that's not so good. Why? What do you mean? Shut up, Doyle. Hello, Red. Yeah, clear in the bank. Peter's the tenant for us. All right, sit tight for a minute. Hello. Globe? Randall speaking. Farmer's National Bank, Rendee. Listen, I've got to have the combination of that new vault right away. Here's the new vault. What? Where is it? I see. All right. Lee, what did they say? They can't get it. What? Only one man in the office knows that the combination is out for the day. Oh, good God. What are we going to do? There must be somebody who can open it. There must be somebody. There's only one person I could think of. Jimmy Valentine. Too bad he ain't here now. No, Randall. Shut up, will you? She can't last much longer. There's not enough air. She's suffocated. Oh, don't worry. We'll get her out of there. But how? How me? I know a way. It's a hard way for me, but... How are you going to do it, Mr. Randall? Stick around, toil and watch. Red. Yeah? Red, get on to the workshop. Yeah. Bring me back four sheets of rough sandpaper. Sandpaper? Well, that's a coincidence. It must be quiet. You can't work if you do that. Yes, Father. How's it going, Father? I don't know yet. I don't know. Can't feel. Read that sandpaper again, man. Shut up and let me alone. So what? Don't talk that to me. That time. I felt the door glist. There it is. Twenty-one. Twenty-one, right. Remember that. Read that paper. Be quiet, miss. It's the only way you can work. Fifty-two left. Fifty-two left. I'm getting there. I can feel every jet. How many bolts of door got red? Twelve. Twelve? What's that? Don't waste your lungs, Red. Keep your nerve. Forty-two. It's your rotation, all right. Ten off the first. Arm two, three, and then back. Put it open. Get that door open. There it comes. Kitty, kitty. Here she is on the floor. She'll give it to me. She's dead. No, she's breathing. She'll be all right. Get down to the back with me. I'll come with me. Ready. I'll carry her. Look at your poor fingers. Grab open that safe. Yeah, I wouldn't. I guess she wouldn't after all though. I'm ready to go with you. Go where? Massachusetts. Oh, no. I ain't going to Massachusetts. I ain't going any place in particular, and neither are you. She needs you more than the state of Massachusetts. What do you mean? I mean that you were right, see. I made a big mistake a few minutes ago. I thought you were Jimmy Valentine. Ain't that all right? Well, I guess I'll run along. I don't suppose we'll ever meet again, Mr. Randall. So I'll say goodbye for good. But wait a minute. Just to return your respect, Jimmy, don't think I felt for that double negative photograph. So long. Well, he's gone. Yes. He knows who I am, Mary. So do you. Yes, darling. Your name is Lee Randall. Alias Jimmy Valentine. Lee Randall. And we're going to be married next month. You mean there? Oh, you know I do. Gee, that's funny. I told Red once I was going to crack one more safe. I guess that was it. Jimmy Valentine's last job is finished, but not Pat O'Brien's. With Madge Evans, he returns shortly to the microphone. In the annals of law enforcement, no name struck greater fear in the hearts of criminals, or will be remembered by this nation with greater gratitude than that of Melvin Purvis. Mr. Purvis received his law degree from the University of his native South Carolina, and practiced law before entering the Department of Justice. Though he was less than 5 feet 9 inches in height and weighed not quite 130 pounds, he became head of the Chicago office of the Federal Bureau of Investigation, the powerful organization which waged a relentless battle against such wanton outlaws as Pretty Boy Floyd, Babyface Nelson, Vern Miller, the Tui, Carpice and Barker gangs, Vern Sankey and John Dillinger. Today, Mr. Purvis is an attorney in San Francisco, as quiet and soft spoken as when he proceeded to rid the country of its public enemies. Ladies and gentlemen, Mr. Melvin Purvis. Thank you, Mr. D'Amio. I've listened with interest to the story of the safecracker, Jimmy Valentine. Few of Jimmy Valentine's kind are left, but I remember one I met while running down a lead on John Dillinger. He had only the greatest scorn for bank robbers of today. Their greed for large holes, their quickness on the trigger, and their wanton murders of innocent people thoroughly disgusted him. Is it true that during the past several months, crime has been at a fortunate ab? Yes, but it must be emphasized that whatever gains law and order have attained over organized crime will be turned into disastrous defeat if any apathy is shown now by the public or by law enforcement officials. The last few years have demonstrated that crime can be successfully fought if intelligently fought. Do you agree, Mr. Purvis, with those who think an American Scotland yard would hold crime in greater check? No, Mr. D'Amio. The Scotland yard, although a highly efficient organization, and one for which I have the utmost respect, is really nothing more than the metropolitan police force of London. In 1935, there were 28 murders in Scotland yard's territory. In the same year, 375 murders were committed in New York and 1,630 in Memphis, Tennessee. In other words, the yard has never had to combat problems like ours. Then what do you suggest as a means of halting crime? First, it is the duty of Americans to see that the youth of our country is properly trained by giving more time and money to organizations that take boys off the street and out of dives. Second, modernization of local and state police. This can be done by giving our police at least as good equipment as the criminals have by rewarding merit and weeding out incompetency. Third, our prison system must be improved. Few men emerge from prison without a Ph.D. in crime and few fail to put this newly acquired knowledge into practice. Until prisoners are properly segregated in jail, until our parole and prison systems work hand in hand, the penitentiary will remain little more than a breeding place for more crime. Fourth, the public must cooperate with law enforcement officials at all times. Citizens who pay tribute to racketeering thugs only tie the noose more tightly around their own necks. These, ladies and gentlemen, are problems which must be solved and while the country has a breeding spell, is the time to do something about solving them. Thank you, Mr. DeMille, not only for your courtesy, but for the many hours of excellent entertainment provided by the Lux Radio Theatre. Good night. Good night, Mr. Pat. And now, let's get our Irish up and bring Pat O'Brien back to the microphone with Madge Evans. I guess there'll be no holding path, Mr. DeMille, since you told us the real Jimmy Valentine was named Connors, another Irishman. Oh, I knew that all the time. Speaking of the Fighting Irish, Pat, how did it happen that you played football for Marquette instead of Notre Dame? Well, I'll tell you, after the one game I was in I thought I did play for Notre Dame. Why, I understood you ran 95 yards for a touchdown. Oh, that was just a dream of a publicity man, Madge. You tell the truth, they carried me off after the first few plays. Took Marquette several years to climb back from where I left him, but look at him now. Unbeaten and untied and how many of those are there? It looks like Marquette for the Rose Bowl, Pat. Maybe. They're practically on the field now. Yes, sir, I'm so happy I could sing. I dare you to. Oh, well, there are people listening. I've never known an Irishman who wouldn't take a dare. Well, what can a man do? Well, Mr. O'Brien, what will it be? Well, all right then, I'll sing the Charlie's Ball. You ask for it, and you're gonna get it. The Charlie's Ball, people said one and all. You're the bell of the ball, Mrs. Mulligan. We'd one steps and two steps, and the devil knows what new steps we swore that we'd never be. Dulligan v. Dad, we had wine, porter and Jameson. We'd cocktails and cocoa and all. We'd rumbas and tangos, half steps and pandangos. The night that we danced at the Charlie's Ball, I made it. Well, I hope you learned your lesson. Never dare an Irishman. It was lovely, Pat. But before someone dares me to sing, I want to congratulate Lux for making Monday night my favorite evening at the radio, and to say good night. Good night, Madge. Thank you, Mr. DeMille. And listen, if you ever have any consideration for your audience, never let an actor sing again. Good night, Mr. DeMille. Good night, Mr. O'Brien. Thank you, Mrs. Evans and Mr. O'Brien. Ladies and gentlemen, this is your announcer, Melville Ruick. Next week's program will be announced shortly by Mr. DeMille. Mr. O'Brien, Ms. Newell and Mr. Jenkins appeared through courtesy of Warner Brothers. Ms. Evans, Metro Golden Mayor. Mr. DeMille and Mr. Frawley, Paramount, and Mr. Silver's 20th Century Fox, where he directed music for the new film, Lloyds of London. Four-and-a-half-year-old Joan Field, who plays the part of Kitty, appeared through courtesy of B.P. Schulberg, her discoverer. And now, Mr. DeMille. I look forward to next Monday night as a highlight in the history of the Lux Radio Theatre. The event will be the presentation of Noelle Coward's delightful romance, Conversation Piece, a musical and dramatic play which takes place in France and England during the Napoleonic era. The stars are Ms. Lily Ponds of the Metropolitan Opera and Mr. Adolf Manjou. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre brings you Lily Ponds and Adolf Manjou in Conversation Piece. Before closing, may I call your attention to the annual membership drive of the American Red Cross. Had it not been for this great legion of mercy, 131,000 families throughout the United States would be facing a tragic future today. The Red Cross has rebuilt and repaired homes, provided food, clothing, shelter and medical attention for the victims of 105 disasters this year. Millions of Americans are enrolling in the Red Cross in order that its service may continue. Won't you please share in the Red Cross work? Contribute your dollar and enroll now through your local chapter. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.