 Now, here is our producer, Mr. William Keyes. The fortunes of America have been founded by people from far and land, by fathers and mothers who worked long and hard night and day, usually aided by their children. Our play tonight, House of Strangers, is the story of such a family. A family who maintained an unbroken front to the world, but who, behind their closed doors, became a house of strangers to each other. And as our stars of this highly dramatic 20th century fox picture, we have the versatile Miss Anne Baxter, Richard Conte, recreating his splendid film performance, and Thomas Gomez, adding his fine talent to the House of Strangers. Now, here's House of Strangers, starring Anne Baxter as Irene Bennett, Richard Conte as Max Monete, and Thomas Gomez as Gino Monete. A few hours ago, a man named Max Monete walked out of prison. He came directly to New York, to the Italian section. There, he stopped at a bank owned by his three brothers. The reunion was brief, strained, ominous. And then Max went up town to make another call. I thought you phoned me, Max. I was waiting all day for you to phone. Saturday night. How come you're not out? Nobody asked me. There always was your trouble, Irene. I guess you've been alone every night. Nobody's that unpopular. Who with? Just name. Anyone to kill time. You've had a lot of time to kill. Seven years. Have you seen your brothers? I had to see them before anything. Vengeance is a rare wine, a joy divine, says the Arab. I'm gonna get drunk on it. Where did you pick that up? Some philosopher in the death house? How do you expect me to be full of jokes? Then you've come back a fool. Check. I was the smartest of them all. Where does it get me? Us. You and me and everything we waited for. Max, let's leave tonight. You can start again whatever you want. What I want is right here in New York. Killing. Is that what you've planned for seven years? A vendetta? That's how I killed time. What about me? I was in jail for seven years. I was in a bigger jail. I was in a jail the size of the world. You'll have to wait a little longer. I've done my last night's waiting, Max. I have two tickets on a plane to San Francisco. You'll have one empty seat. It's now or never, Max. You mustn't threaten an Italian. It doesn't mix well in our blood. Am I on your list, too? Isn't it enough to destroy your brothers and yourselves? All this for your father. For a dead man, an evil man, a bad man. You're filled with this poison that breathes you. The world's better off with your father dead, but you're not. Your father would have liked that. Slapper in the face. It's the truth because it hurts. Hate, Max. Hate. Don't ever love. Listen to your dead father. Max, wait. Where'd Max go after he left us at the bank? What are you so nervous about, Pietro? We know where he went, huh, Joe? I hired a man to follow him to watch him. Why didn't you tell me? Why you gotta keep secrets? That girl's apartment, Irene Bennett. He left. Then he went to the house. Must have kept the key. The house? Why? We told him the house was empty. Maybe he forgot that mama moved out. Then where? Where is he now? He's still there. Maybe we should have offered him more, a thousand dollars. That's nothing. We've been all through that. You made up our minds, didn't we? Yeah, he kept saying how worried we looked. Trying to scare us, that's all. I'm through being scared. Only one thing. What's he doing in the house? Listen to my dead father, she said. You all right, Pop? Here I am. Here in your house again. Nothing touched, everything the same. The rug is on the floor, the furniture. They didn't even take your picture down. Still on the wall, biggest light. Nino Manetti. Done and oiled by a fine expensive artist. Well, Pop, I'm back. Nothing's happened to my memory. I remember fine. Even the day when the door started. That morning at the bank, everybody waiting to get into your office to see you. People coming to you for help. They're calling about the bond part. The export company. You don't hear me, George. They're not now forced to take care of my friends. Hey, Luca! Luca! You're going to see me. Come on in. No, no, no. Speak English. How many times I tell you? In English, you know, I still need some money to buy one horse. What for? You need a horse. The old woman, she said, died. She no can to pick up a junk. How much it cost, a one horse? $150. Okay, I'll loan you. Here, sign the paper. I fell from Chicago's on the phone. He wants to know if you'll renew on the brewery. I tell him myself. Hello, this is Gino Monetti. No. Gino? This money is only $120. Oh, sure. Interest, Luca. Interest. I take out in advance. You go now. And this time you buy a more strong horse. Advance? These are things I don't understand in English. Mrs. Cassini, come in. Come in the office and Mrs. Cassini. How is your husband? Doctor said I got to send him to Denver or he died. Denver? That's a long trip. That's in the Kansas, you know. How much it cost? $62. Sit down. Hey, Tony, Pietro, come here. Hey, what happened to your nose? That's one last night, Pa. I'll second round, Pa. How much do you get? Oh, I can't take money, Pa. It would hurt my amateur standing. No money, then why you price a fight? Well, it's sport, Pa. Are you fight too now, hey, Tony? It's also sport, huh? Out, out, go to work. Hey, hey, two sports I got to Mrs. Cassini here. Take a money. Oh, is it too much, Mr. Money? So I make a mistake. I sign a paper. No, no, no, don't go to no paper. You take a money and go to Kansas. Go, go. Thank you, thank you. I just got to see you again. Look over there. Go and look what I look at. You've got to make Max get an offer somewhere else. Look at those men waiting for him. Max is bringing a good business. Bail bonds for criminals? After all, Pa, Max is a lawyer. We're running a bank. We run a bank? Since when are we? I am the bank. Go on, back to your cage. Hey, you, you. Who, me? Hey, no free anchor here. You want to fill the fountain a pen? You go to the post office. Hey, get off. Yeah, Pa. You're supposed to be bank guard, hey? You wear a uniform. Sure, Pa, I got it on. Then see what this young lady wants, hey? Oh, I didn't see her come in, Pa. Hey, yes, man, can I help you? Where will I find Mr. Monetti? We've got lots of Monettis here. My father, my brother, Joe, Tony. No, who's fun is the lawyer? Oh, you mean Max. That's his office over there. Thank you. You ever think the knocks before you come in? I haven't got time. My name's Irene Bennett. You were recommended by the firm of Hanford & Sloan. That's a very high-class firm. I used to work for them. They don't recommend many clients to me unless... Unless what? Unless they're low-class. Where do your clients sit down? They don't, period. Thanks. Anyway, a friend of mine is in trouble with the police. What did he do? What makes you say he? You don't look like you'd go to all this trouble for a woman. What did he do? Well, a lot of things. Bad checks. He took some jewelry. Someone else's car. What's he to you? I just told you, a friend. The car and the jewelry? Yours, huh? Yes. Paul, you've got to worry about it. The bad checks. Why don't I just make them good? No, it's too late. They were turned over to the district attorney. What do you want me to do? I'll give you my check to cover them. And your fee. Yes. This should clear things up. Money is a great cleanser. This check. It was expensive, huh? He was worth it. Maybe to you, but not to me. What's wrong? I'm a lawyer, not a garbage man. You think he can skip through life with a checkbook? Opens and closes all the doors, huh? I'm not that hard-up. Take your business somewhere else, period. That's the pretty insulting little speech. That's what I had in mind. But it didn't take. You can't insult women. You're not the type. No? No. From you, they love it. Now look, I'm tired and I'm bored with this mess. Would you take my case? After what I said. Especially after what you said. Say please. I'll pay my way, thanks. Say please. Please. Okay, I'll take the case. My address is on the check. Let me know how you make out. Yeah, sure. You busy, Max? No, come in, Joe. Smell the air in here. Perfume. They sell that kind of drop at a time. You've got to have a doctor's prescription, like chloroform. It gets in your brain. Who was she? That dame. Ask things at home, Joe. Max, you remember promise to give me a raise after Elaine and I got married? Hasn't he done it? No, and Elaine's getting pretty sore. How can we entertain on $65 a week? After all, she comes from a very fine Philadelphia family. Take her downtown by her new dress charger to me. The first time she came in the bank and saw me behind that cage like a common clerk, she almost cried. She's very sensitive. You mean impatient. Slow her down, Joe. You're going to take over someday. The whole bank's going to be yours. So all you got to do is wait. That's the way part treats me. I notice he doesn't talk to you like that. Nobody talks to me like that. But I'm the oldest. I'm a married man. Okay, okay. I'll talk to him. Hey, Max, it's Wednesday, you know. We're coming over for dinner. Yeah, tonight. See you later, pal. Didn't your father ever turn that phonograph off? But Elaine, honey, you know how he likes music. Hmm. How much longer do we have to wait for dinner? I don't know. Who came in before? Maria and her mother. Well then. Max isn't here. Max, how have we ever late? Why doesn't he ever wait for us? What do you want me to do, start a fight? Yes. You're talking too loud. I'd like him to hear the music. No talk. Do we have to wait for Max Pa? What's your hurry? Well, we're expecting after dinner guests at our place. Why are you going to bring them here? We've got plenty to eat. There's lots of room. My friends don't happen to like spaghetti. No. I'm getting a little tired of it myself. So? Yeah. Me too. Make you feel bad to this stomach, eh? Frankly, yes. You too, Joe? Yes, Pa. Well, I'll tell you something. Every Wednesday you come here. Max's girl, Maria. She come here and Maria's mama. Everybody eat your mama's spaghetti, but you get sick, eh? That's too bad. Only you don't come. You go find job in some other bank. Oh, it's a fine thing to say. Now, come in the living room and like everybody else. Hey, Pietro! You don't hear music. Stop! Put out another record, dumbhead. Huh? Oh, yeah, Pa. Hey, Pa, can I get Maria some wine? Maria can have anything she wants, Tony. Only what her mama say. I see. I don't like a man coming late for dinner before he's married. But Max is busy, mama. All the time. Max is busy. Busy. Sorry, I'm late, everybody. What did you do? Wait for me? I'm Max, so my boy. Mother Domenico, you're looking bigger and better every day. Maria. My dearest Maria. No kisses only on the hands. We're engaged, aren't we? Sure. It's a fun to get to kissy daily. Now, don't you remember? Not until after the marriage. Then it's no more fun. Hey, mama! We go in dining room and Max is home. Oh! You won't forget what we talked about. We'll get it over right now. No, no, not in front of everybody. Hey, Pa, how about giving Joe a raise? He works hard, the bank's doing good. So you want a raise, eh, Joe? Well, we don't have to talk about it now, Pa. Why not? A raise, huh? When first I get married, I make a $15 a week, I have four kids, all the boys. How many you got, Mrs. Joe? I wouldn't raise a child in a two-room apartment. Oh! Well, we all live in a one-room, back of barbershop. I work a seven-day a week, a 16-hour a day. Never sit down. You're sitting down now, Pa. All Joe wants is a few more bucks like you promised them. I promise. When, Joe? When? You don't even remember? At the wedding. Oh, the wedding? All the wine, I don't even remember who gets married. Joe! When I die, you get all the dollars, the bank is for you, for Tony, for Pietro, all the dollars when I die. Appetize. See? Like always. Forget it. Ah! Nothing in the world, Mama. Smells better than yours, we get it. Ah! Me, me, I get it. A good cook is like a musician who plays violin. Pietro, dumbhead, answer the phone. Yes, Papa. The world is full of good cooks and good violinists, but there are very few artists. They play to everybody. Pass the plate. For you, Max, the telephone. Excuse me, Mama. Excuse me, Maria. Just a little for me, too. You try not to think about it, Mrs. Joe. Maybe you don't get to see. Hello? Who? Oh, Miss Bennet. Yeah, it's all been taken care of. Something new? My fee is double for night calls. Okay, I'll be right over. It looks like I gotta leave. If I don't get back, Tony, take Maria to the show. Please? Yeah, yeah, sure, Max. Where you gotta go? Business bar business. I'll miss you, Maria. Business? My daughter, Maria, comes first. Un momento, please, un momento. Please? Mrs. Domenico, first comes my son, Max. Second, his profession. Third comes Maria. Now, maybe we eat first. Hey Pietro, watch the record, dumbhead. Some apartment, Miss Bennet. Looks like you're gonna afford a lot of trouble. I've got chairs for my loyalty to him. Pick anyone you like. I haven't had dinner. I'm hungry. How about a drink first? I thought you said you were in trouble. You don't just talk to people, do you? You cross-examine them. I'm a lawyer. Sympathy you get from doctors and relatives. I don't want sympathy from anybody. Don't worry, you're not likely to get it. Thanks so much. Look, you said it was something very important. Well, it's not easy to find the right word. Well, start looking, will you? I'm no good at mind-reading. You're a thoroughly unpleasant young man, aren't you? But a wonderful lawyer. The facts. Well, it seems that a friend of mine... Another friend? I have several, you know. Oh, as long as your dough holds out, why not? That's insulting. Maybe. I'm hungry. That excused it, huh? What about your friend? You and your insults. Why don't you stop trying? The friend. It's a girl this time. Believe it or not, she's in San Francisco. That's my home. She just called. It's a long and barbed mess. You'd probably have to go off there. Did she ask you to get hold of me? No, of course not. But it's occurred to me... Well, what's the mess about? Well, I couldn't possibly explain it. It's got to do with trust funds or father's estate. All sorts of complications. Oh, I see. I'm supposed to hop a plane with a letter of introduction, right? Oh, I'll probably go out there, too. Oh, so we'd hop the plane together. If I can spare the time. Do you have an empty bottle, Miss Bennet? What for? If we're going to play games, let's make it a kissing game. Spin the bottle. It's much more fun. The words are hard to find, I told you. I don't belong to the California bar. You're smart enough to know that. And I'm smart enough to know that there is no friend. That estate is yours. Isn't it? Yes. And no legal complication. Then you don't need a lawyer. Well, I have other complications. What goes with you anyway? At the moment, I'm lonesome. I've resigned from the Lonely Hearts Club. Yes, your fee is double at night. You made that perfectly clear. Well, I'll get my wrap. You going someplace? We're going out. Forget the wrap and sit down. Why? I'm going to give you a short history of Max Minetti. Born on the east side and back in my old man's barbershop. Today he owns a bank and clips coupons instead of hair. But I still like the smell of garlic and red wine. I'm engaged to a beautiful Italian girl. She can give me kids and make me a home. She knows only one man. Me, Max Minetti, period. Don't you want to know about me? I know about you. You're lonesome. What else? You like to get hurt. There's a sickness with a lot of women. Always looking for a new way to get hurt by a new man. Get smart, there hasn't been a new man since Adam. Maybe you're a great lawyer. As a psychiatrist, you stink. One man's opinion. Nothing hurts me. That's one of my complications. Max, it's a good name. I like it. It's not guaranteed for long wear. I don't wear anything for long. Let's go. Where? Are you fast? No, Const. Not at all. Let's go to some other spot. I'm tired of dancing. I like it here. Or are you troubled? Maybe that's why you're getting so drunk. Maybe it's that beautiful Italian girl you're engaged to. Yeah, I'm worried. Don't I look at? When do you see her? She'll have me the rest of her life. Oh, that's quite a sense. No time off for good behavior? She's none of your business. And what about your time off for bad behavior? That's my business, isn't it? What are you suddenly being sore about? What do you expect me to be? And it's not sudden. Do you think women live in vacuum-sealed containers like tennis balls? I just thought you were different, that's all. You'd love to find one, wouldn't you? Get smart. There hasn't been a woman in love different since Eve. So it's love? I don't know. It's got all the symptoms. Embarrassing, isn't it? I just don't like complications. I'll simplify it for you. I'm going now. I'm alone. Maybe that's a good idea. Good night, Miss. Good night, Miss Bennett. It's been nice knowing you. Play Play House. Act two will begin in just a moment. In the Declaration of Independence, we find these words. All men are created equal. Does that mean all men develop equally? Does it mean all men have equal ability? Not in your life. You know as well as I do. A man who's a top-notch mechanic might be a miserable failure if he tries to make the greatest of draftsmen. When it comes to talent and ability, there are some things you can do very well. But then again, there are other things you never could do, no matter how long or how hard you tried. When you boil it all down, what do we believe? We believe that all men are created equal. That each person is of importance and value as an individual. That all men should enjoy personal freedom. In short, we believe that all men are created with equal opportunity, endowed by their Creator with the sacred rights to life, liberty, and the pursuit of happiness. But we know that these principles of freedom require protection by man himself. So we have set down these principles in our Constitution, our Bill of Rights, and other laws of our land. And as Americans, each one of us takes the personal responsibility of respecting and protecting the freedom of our fellow men. As Americans, we know that freedom is everybody's business. We return you now to Mr. William Keely. Act two of House of Strangers, starring Anne Baxter as Irene, Richard Conte as Max, and Thomas Gomez as Gino. Max Manetti has spent seven long years in prison. Today, he was freed. He's called on his three brothers at the bank on the girl Irene. And now, in the large, old empty house where his family once lived, Max Manetti contemplates the past, when his father was alive, when Irene Bennett entered his life. Where do we go now, Irene? Another nightclub? What about that place we went to last week? No. And I'm sick of arguing with you. I'm going home. You're heading the wrong way. The girl with a great sense of direction. And let go of me, that hurts. What's all this about? Just that I'm beginning to know you. I don't like what I see. You were in love with me. What happened to that? Nothing's happened to it. Yet. Who's the other guy? There isn't any. You've talked into me, Max Manetti. Who is he? That's all you can think of. The only reason I could possibly leave you is for somebody else. Nothing could be wrong with you, could there? What are you looking for? This is 1932, New York, the jungle. It's a dog-eat-dog-in-the-first-bite count. You're fighting, Max. Me or yourself? It's beginning to hurt, but you can't take it. Why should I take it? I'm not going to get hurt, especially not by you. Just so you can play dog-eat-dog in a jungle. Look, things are the same with us as they always were. Not with me, they're not. I don't understand you anymore. You don't understand anything. You've never tried. You love Max Manetti and he loves you. No questions asked. You're going to marry Maria. She'll give you kids a home. What will you give her? What have you got to give her? You finished? I'm finished. I'm hungry. Just like that. Just like that. I keep forgetting you live in a jungle. Then come quietly, baby. There's a speakeasy just around the corner. You don't want a drink? No. But enjoy yourself. It's our last night. Have fun. You can turn it on or off, can't you? Character, that's what you've got. Plenty of character. You'd like to see me fall on my face and beg. You'd like that, wouldn't you? You never will. I don't need you. I don't need anybody. Max Manetti can... Period. You're never tapped for you. Here lies Max Manetti. Period. Who are you going to take up with after me? That's one thing I don't worry about. It worries me. Why? Because I'll be thinking about it. And I don't like what I'll be thinking. Ice. I kiss you and it's like ice. You feel better now? Worse, I feel rough. I'll take you home. Boy, you're loaded with characters tonight. Wait a minute. I'm out of cigarettes. Hey, waiter. Got any cigarettes? Don't sell cigarettes. I haven't got a license. There's a nice place here. Lots of atmosphere. Full of characters. Here. Compliments at the house. Thanks. Your lady friend's leaving. She left me six days ago. How about a drink? Turkish bath. You feel good already, eh? You got troubles. I got troubles too. Turkish bath fixes both. More steam, Pa. Okay. Yes. Sweat it out. That's the way, Max. Sweat it out. I'm beat, Pa, really. I'm a smart boy. Let a woman do this to you. Well, soon you marry Maria. You forget this woman. How do you forget? What do you do? Sweat it out. Good thing you come with me, Max. I got trouble at the bank. She can't leave me. I won't let her leave me. I'll go bust her door down. Questions, they ask. What is this money? Where is this money? How do you get this? Why do you do that? Eh, she'll come crawling. You're right, Pa. Forget it. I'll marry Maria. Twenty years I run the bank, Max. I'm no trouble. No one asks me nothing. I throw them out. That's what I do. Throw them out. What are you talking about? The bank. Two, three men. From a government, they say. They look into my books. They ask all the time questions a question. Well, you've got the answers, haven't you? Ah, have I? Why, you think I'm a sweating? I've been waiting all week for your call. What made you think I'd call? Still making with the characters. Is that it? What do you want, Max? Why'd you come here? I lost something. I thought maybe I'd find it here. Your umbrella? My girl. Nothing of that description has been turned in. You might try the city pound. I'm in no mood for jokes. How about a shock? How's your heart? Come on inside. Danny, this is Max Monetti. I told you about him. Yes, I remembered. Glad to see you, Mr. Monetti. Get out of here, Mr. Blow. It doesn't be a proof of me. It doesn't look like it, does it, darling? Are you leaving or am I throwing you out? Now, just a minute. I can handle this, Irene Eze. So can I. For once in his life, he's not going to have things his way. This isn't Mulberry Street, Max, and you're no longer Il Duce. You're not giving orders. You're not even wanting it here. Danny and I are getting married. It's still being done, you know, outside the jungle. Well, you heard her. Look, sucker, she's in love with me. She knows it, and I know it, and you ought to. She's making a chump out of you. Look who's calling who, chump. Get out of here, Max. Get out. Just like that. Just like that. Strange kind of finish for us, baby. All right, I'll go. But remember, you're stuck. I'll remember, too, when you come calling back. Period. Wait a minute. What for? Your father's been calling here all day. I don't know what it is. Something about the bank. I thought you'd better know. Thanks. Twenty years, I run this the bank, and never no trouble. Now, the government say, I don't know how I cannot run money on a people only on a property. Collateral. You know what this is? A collateral. Would you have a store today if I'd done a loan you $1,200? No collateral, but I give you money. You, copetia, how you get started, I believe in you. I give you $3,000. No collateral. No government says wrong. Is to break the law. I say it right. Law is no good. Talk it to them at the bank. I tell them truth, and they beat me up. Tony, much. What's the matter, Tony? Your hand is shaking like that. Nothing, Pa. I get hit on the head. You nervous like a woman. It's their fault, Max. How's the head part? Never mind the head. How's the bank? It's a mess. The head is not good either. I can't understand how you got in so deep. Your records, Joe. Half the transactions aren't even recorded. I didn't keep the records parted. In his head. In his vest pocket. In the back of envelopes. I just stayed in my cage. Pa, have you read the new banking act? I don't even read the old one. Why? Well, we might as well face it. It's called usury and misapplication of funds. Smart lawyer like you, Max. You ought to be able to find a fix somewhere. This is the state government. Square Apple's all the way down the line. They don't fix, period. I think we can save the bank. In fact, it's good they closed us up. Lots of banks are having runs. This gives us a chance to liquidate and start over with a clean slate. I sent the house. I sell automobile, furniture, diamond ring. Everybody get the paid back. But that only saves the bank part. How do we pull you through? How? Me and my four sons. We find the way. Yes, it's possible we can split it up. You, Joe, Tony, Pietro. Divided responsibility. Nobody knows who did just what. Nothing definite they can pin on any single one of you. How about it, Joe? It'll be easier on par that way. But I never had enough responsibility to divide. What do you say? I say I'm a clerk. I get $65 a week. Not enough to go to jail for. What's that got to do with it? Joe, Gino Monetti, he don't ask a nothing from no clerk. Not when I got the four sons to help me. You, my oldest son. Since when? You mean I've been around the longest, that's all. More time to wait on you like a servant. Push down, humiliated. Since when have I been your son? Joe, for a few more dollars a week I could have a good son in you, eh, Joe? The first time I learned this. You, Pietro, how much you want to be my son? Joe said it for me. What was I ever to you? A dumb head. Ever since I was a kid, dumb head, dumb head. Who's going to pay any attention to a dumb head? To a guard and a bank. If I was not your father, you would not even be God. You don't want to study. Four, five school, they throw you out. All the time a price of fighting. That's all you're good for. Yes, dumb head. Tony. No, don't get me wrong, Pa. I don't want to see anything happen to you, but I don't want to stick my neck out. Why not? What's so good about your neck? Well, well, it's just that... Well, how do I know it's as easy as Max said? And if anything goes wrong, I won't know what... The doctor just telephoned. He came by in one hour. Ah, doctor. We're just in time, Mama. Did you know you brought up a house full of strangers? Eh, is it true? Strangers. For who do you think I build a bank? Eh, for who do you think I work and build? For me, for Mama? We cannot live long enough to spend what we got long time ago. For what then? For my sons. For you, Joe. It's good I pay you little. Then you know what is to be poor. You remember when you rich? Pietro, I call you dumb head. It's good I call you dumb head. Muscles is not something to be proud of. Gorilla got the muscles bigger than anybody else. Maybe you learn to use your brain. And you, Tony, weak, all the time, would dress up a clothes of gorils. Everything but the bank. The bank of Gino Monetti and his sons. Eh, now I have the strangers. Go on. Get out. Gino. Get out! We'll beat it without them, Pa. I'll get some sleep. We've got a lot to do tomorrow. Oh! Ah, Mama, you don't cry, Mama. We have plenty good time again. Soon Maxi fix everything like he say. Then you and me, we take a little trip, eh? Palermo, you like once more to go back, Mama? I wish we never leave old Conte Gino. Oh, don't say that. We have a nothing there. Here we got everything. Here we got nothing. What do you mean? This is a fine big house. A money, servants, diamond, necklace. You call this nothing? We poor Gino. When we only have barbershop, we rich. We love each other. The boys, you, me. Now there's no more love. It's only hate. Italian banker indicted, faced a speedy trial. State cracks down the Manetti, charges 22 violations. Fun to defend banker, profiteer asking for maximum sentence. Hey, Mr. Manetti. Now, most of the people who live on the east side are poor, aren't they? Yes, and they're low. Exactly. Depending on whether they lend money or borrow it. You know how hard it is for these people just to make a living. It's not easy, no. Then how could you ever expect them to pay the exorbitant rates of interest you've been charging? Oh, I wait, and no hurry. I wait until they have it. Most of them never have it. But the interest goes on and on and on. How many homes have you foreclosed? How many salaries have you gone a sheet? I instruct the witness not to answer these questions. The facts are all in the bank record. I answer everything. I'm not afraid. The questions are improper. You don't have to answer them. Let him ask. I tell. I got nothing to hide. You say you loan money on people, not collateral. When you foreclose on collateral, all you take away is a man's property. But when you're gonna see a man's wages, you take his sweat, his blood, the bread out of his children's mouths. You call that helping people? I call it usually. A disgrace to every decent Italian American. I just mean that, please, you're... Don't talk like that to Gino. No one talk to Gino like that. Sit down fast. Shut up. Please. You shut up. He's a free country. I should like to remind the defendant and his attorney that this is a court of law. But your honor, the defendant is not aware of the implications of... The defendant appears not only willing to speak, he demands to be heard. I say only this to judge you, to lawyers, to people. I do what I think is right. And what I think is right is right. I don't care what anybody says. That's you, not you, not you. I, Gino Monetti, no one telling me what to do. We met here, Joe, instead of home. No point in getting a mama any more upset than she is. Well, what do you think? Well, the old man's just asking for it. He acts like he's crazy. I can't let him get back on the stand tomorrow. He'll rip in the pieces. How can you stop it? Well, I've got an idea. It's a long shot. It's dangerous. I think we've got one of the jurors on our side. Only once the other eleven start working on it, she'll never hold out. Go on. The idea is to see that she does hold out. How? Well, somebody's got to get to her with cash. Talk to her now, tonight. Is this the secret of Max Monetti's success? Excuse me while I drink my beer. Who's going to talk to that juror? Not me. Tony and Pietro aren't smart enough. You're smart enough? I thought of that. I may not be able to get near her. If she turns me down, the old man will really be nailed. You, she doesn't know. What do you say? I've said it many times. But I'll cut you once again. The old man got himself in. Let him get himself out. Thanks, Joe. This time I'll remember. Sure. Good luck, Max. Waiter, give me the check. Joe, Miss Monetti, only there's a girl just come in. She wants to see you. Got a minute? What's on your mind? I've been watching the trial. I know I saw you there. Where's your husband? Well, Danny, in Chicago. Taking a big chance, isn't it? What if you get lonesome? As a matter of fact, I am. I don't handle that kind of work these days. Oh, Danny and I aren't married. Not married? We had it out that same night. I didn't love him. I was just trying to use him to cut out something that was hurting me. But no use, Max. It still hurts. Maybe I can help. Better? That Monetti touch. They'd only let you kiss the jury. I've got a call to make, baby. I'll pick you up in an hour. Very. Not tonight. Can I call it off? I can't. What's it about, Max? Business, nothing to worry about. I'll drive you there and wait for you. No, I'll take a cab and meet you later at your place. I'm driving you, period. Come on then. He's going to try to bribe that woman on the jury. Maybe he'll get away with it, Joe. Maybe not. Give me the police. Listening to a radio adaptation of another famous screenplay from the Broadway Playhouse. We'll proceed with the next act after a brief intermission. It's a very curious fact that the international communists are using the word freedom in their propaganda. Using the word freedom and describing the advantages of their form of government, the communists probably have taken their cue from a children's book entitled, Through the Looking Glass. In this nursery tale, if you can recall, it was Humpty Dumpty who said, When I use a word, it means just what I choose it to mean. With all of their Humpty Dumpty double talk, the communists have changed the word freedom to mean just what they want it to mean. Many international communists actually take over a country. The very first things they deny to the people are freedom of speech and freedom of the press. The iron curtain falls and the people lose their voice. In losing freedom of speech and freedom of the press, the individual loses the rights and the dignity of man and becomes a dumb animal. He must, for to speak out against the restricting measures imposed by the communist leaders would be treason. So one by one, the freedoms quietly disappear. All protests are locked within the sullen hearts of the silent people who have lost their freedom. In our American democracy, we have learned that freedom of man begins with freedom of speech and freedom of the press. In our American democracy, we have learned that freedom is everybody's business. Here again is our producer, Mr. William Keely. The curtain rises on Act 3 of House of Strangers, starring Anne Baxter as Irene, Richard Conte as Max, and Thomas Gomez as Gino. Of Jimpty House, Max Manetti sits in the living room. His eyes fixed on a portrait of his father. His mind far back in the past. Back to a time when his father was fighting for his freedom. Back to a night when Max did what he thought was the only thing left to do. May I come in, Mrs. Jensen? Why, you? You're Mr. Manetti. But you shouldn't be here. You know I'm a member of the jury. Not much of a place you've got here, especially for kids. This is the best I can do since my husband died. I've never done this before. Do you believe me? Yes. Sending my father to prison isn't going to make this a better world. What are his chances? I can't tell you I'm under oath. You're a good woman, aren't you? A good mother? I try to be. How much do you make a week? Thirty-two fifty. Here. This envelope is for you. Take it. No, I can't. I won't. Oh, it hurts. All right, for your children then. Oh, please go present. Take this back. I don't want it. Well, I... You must love your father a great deal. I'm all he's got. Good night, Mrs. Jen. This Manetti attempts to bribe juror. It's out of a jury fix father gets new trial. He gets seven years for trying to frame up. This is the visitor's room. The guards give you ten minutes. I come sooner, Max, only I don't feel so good. You should feel fine. You beat the rap, Far. You're a free man. What good to be free, Max. I got nothing to do, nowhere to go. How's the new bank coming along? My mother's bank, not mine. I give to mama, mama sign everything to them. But it's just in their name, that's all. It's just a way to protect the asset. No, no. It's a way to throw me out. Joe say I'm an old man now. He say go sit in the park. He says buy peanuts, feed the pigeons. He steal the bank from me, Max. I'd like to sit in the park and feed the pigeons. You think? Feel the sun on my face? Get up, walk around when I want. You're stuck in prison here like a rat in a trap, huh? Max, who put you here? The sovereign state of New York. No, no, your brother Joe. Your brother Joe go call the police that night. You're all mixed up, Far. Even Joe wouldn't do a thing like that. When you go see the lady that night, who knows about it? You and the Joe. Nobody else, huh? When you come out, the police wait for you. Who else but Joe? Besides, someone tell me it was Joe, someone who hear him talk. Who? Who told you? Maria. She also asked me to give you this Max engagement ring. She cried, Maria gonna marry Tony now. Tony, new vice president at bank. Pietro too. Not bad. You don't let them do this to us, Max. Someday you get out, we take back the bank. Everything they rob from us, you get back Maria. I don't want Maria. When I get out, I want to forget the whole thing. No, no, Max. No, not forget. You got to make them pay. They steal from me what I work my whole life for. 16 hours a day. I do without everything. I wear one pair of shoes, one suit. I save up for years for what? The bank. The bank is of my life, is of my blood. Pa, please. They kill me, Max. They take away my blood. I can't live much more. I can't fight much more. I got nobody left, only you. You got to fix them, Max, for me. You got to do this for me. You got to make them pay. Don't worry, Pa. They'll pay. Max, Max is my son. Come to see me again, Miss Bennet. Nice. You sit down, huh? I was up to see Max yesterday. So, he's all right. You feel good? What's that you're writing? Another letter? They open a new bank tomorrow. Me, they don't invite. They send Pietro down to say I'd better keep away. I write these things to Max. Why? I tell Max everything. Why? Because these things he must know. What do you use for ink? To bring poison to some special kind. Isn't it bad enough for him? You want to drive him crazy with your letters? Joe, Tony, Pietro, Max hate them. I want he should never stop. What a treasure you leave to the world when you die. Four men full of hate. These are my sons. These are none of your business. One of them is? I love Max. I want him to love me, to be able to love me. These are none of your business. Don't write that letter, Miss Bennet. Give him a chance. Stop filling him full of poison and hate. I don't know what Max should forget. I write him today, tomorrow, every day. I don't want Max to forget. You go now. Go. Then tell Max about me, Mr. Manetti. Tell Max his girl hates his father. Tell Max his girl wishes his father were rushing in jail. Get out! You think of that sometimes, don't you? That you belong up there instead of Max? Get out! Get out of my house! Sleep well, Mr. Manetti. Let's go, Manetti. The warden wants to see you. What's up? You've got an 18-hour pass. New York. What are you talking about? Sorry, Manetti, but we got word your father died. You've got permission to go back for the services. Sooneral is over, Max. Now you go back to prison. Yes, Mama. Sure. I watch you today. I watch your eyes when you look at Joe, Tony, Pietro. Now you go back to jail and make more plans, eh? How to kill Joe. Once I have a husband, Max, I give him four sons. Now I have nobody. No husband. No sons. Go away, Max. That's about it, Pa. That about brings us up to date. Seven years in prison. And now I'm out. I went to the bank, Pa. I didn't stay long. Just long enough to watch them start squirming. They're worried, scared. That's good, huh? I could start with Tony. I could take Maria away from him. That would break him up. Take his kid away, too. The kid always goes with a mother. Never at least Tony only with a jar of the bank. The bank comes next. We'll start an investigation. Maybe even get an indictment with a grand jury. That'll take care of Joe. Elaine would leave him cold. With the bank gone, Pietro will wind up a bum in no time. Pietro with a dumb head. You'd like that, wouldn't you, Pa? Never forgive, never forget. Well, I got news for you, Pa. Tony can keep Maria. Joe can have the bank. Pietro can have his vice presidency. Me? I've got Irene. I lost seven years with her. I bury them with you. But that's all you're gonna get, Pa. Not one more second. You can still make that plane. Come and get me. I'm at the old house. What's the matter? Can't you hear me? Well, say something. I'll make it faster, baby. Period. Welcome home, brothers. I'm glad you've come. I've got news for you. You'd still be here, Max. Pietro, you know where the wine is. Get it out. We'll all have one last drink together and brotherly love. It's a pity Pa isn't here to see it. Huh? Give us a bad time this morning, Max. My stomach's been upset all day. You need a new diet, Joe. Look at me. Heart of the rock. Seven years, no pastries. That's what does it. I like to sleep nights. Life isn't worthwhile if you've got a worry. If you're worried about me, you can stop. All of you. You're never gonna see me again. Change of heart, is that it? A change of mind, Tony. Oh, just like that, huh? Who do you think you're talking to? You're no different than the old man. I'll never change, neither will you. I've got an appointment. You're in my way. Get him, Pietro. Yeah, okay, Joe. Now, you listen some more, Max. We were all born in Mulberry Street. We can be tough, too. He can't hate. He's out. One thing the old man taught me, when you got a guy down, finish him. That way you don't have to fight the same guy twice. In some ways, the old man was right. He's coming around. He's moving. Joe, Joe, don't you think... We decided on it, didn't we? There's no other way. Pick him up and come and wait for you downstairs. Well, there's nothing like him, do we, sir? Okay. Wait down there. Joe. You hear me? I said throw him over the balcony. Joe, he's hard enough. You want to keep your job in the bank? Do you want to live? Then throw him over. I said over, dumbhead. Dumbhead, dumbhead, dumbhead! You two? You two now? What do you think you're doing? That name, just like Pa. You call me dumbhead just like Pa? I'll kill you! I'll kill you! Don't do it, Pietro. Let him go. No. No. It's Pa driving you. Pa wants you to kill Joe. Be smart. If you kill Joe, you do it for Pa. Oh, yeah. That's what he'd want. Let him go. Yeah. No more, Joe. No more. He'll get it. Get it all. That's why you're wrong, Joe. So long, Pietro. No, no. You don't believe me? I believe you when we're on that plane. Then let's get going. Out of the jungle, man. Out of the jungle, baby. Period. Here's Mr. Keely with our stars. We call our stars back for a well-deserved curtain call, and here they are. And Baxter, Richard Conte, and Thomas Gomez. An adaptation of a successful screen drama with some of the world's most famous stars from the Broadway Playhouse. This is Tom McKee inviting you to join us again next week at this same time for another great play from the Broadway Playhouse.