 Lux presents Hollywood! Leverbrot, this company, the makers of Lux Toilet Soap, bring you the Lux Radio Theatre, starring Victor Mature, Colleen Gray, and Richard Widmark in Kiss of Death. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. In recent years, a number of Hollywood producers have departed from the field of fiction in favor of portraying facts. Facts filmed where they actually took place. By doing this, they attain a reality that is powerfully dramatic. I'm using the same technique in the picture, which I'm making now. 20th Century Fox employed this factual technique, too, in filming their recent screen hit, Kiss of Death, which we present with its original stars Victor Mature, Colleen Gray, and that exciting new actor Richard Widmark. Kiss of Death is an absorbing tale of love and crime detection based on the original narrative by L.A.'s R. Lipsky, a former assistant district attorney in New York City, where our play unfolds. I think you'll agree there's no substitute for beauty facts, too, which is why screen stars themselves who must be sure of a radiant and lovely skin for camera close-ups depend so faithfully on luck soap care. In fact, I'm sure that goes for lovely women everywhere. I see by the clock it's time for Kiss of Death, and here's our first act, starting Victor Mature as Nick Bianco, Colleen Gray as Netty, and Richard Widmark as Tommy Udo. New York City, the criminal courts building. The office of Louis D'Angelo, assistant district attorney. You can sit down, Bianco. You know who I am? What difference does it make who you are? Never mind getting price, Bianco. I do the DA. Assistant DA. Nick Bianco aged 29 and died of a grand loss in the armed robbery of the Peacock Jewelry. Why can't I have my lawyer here? Mr. Earl Houser? Because I want to talk to you alone. Go on then, talk. You pulled your first job 12 years ago, Nick. You were 17. 60 days in the city reformatory. You've gone a long way since then, haven't you? What are you trying to get at? I want the names of those three men who will with you when the Peacock hold up. Get smart, Bianco. You know what this rap will mean. Six years, maybe 10. But it's possible I can help you. You want me to squeal? You're wasting your time. I've had office before from the DAs, and I haven't changed. You have changed, Nick. You're married now. The parole officer says you have two kids, two little girls. That could change things considerably. I said I haven't changed. Sometimes I think those doctors are right. All crooks are crazy. Imagine a guy with two little girls. Shut up. He don't like that. How old are they, Nick? I'm interested in kids. I've got four of them on. Me? Here. Here's the picture. Can I look at your pictures? What pictures? Pictures you've got in your inside coat pocket. Go ahead. Look at them. Beautiful kids, Nick. Cute, huh? No man's lucky to have kids. When having a father like you, I wouldn't say he's very lucky for them. No, Nick, your kids haven't had much luck. Look, I'll take care of my family my own way. By keeping your mouth shut, by going to prison? Do you know why you're doing it? Because you've got that good old hoodlum complex. No squealing. Go on, let your kids starve. Let your home go to pot. But don't squeal on someone. No good mugs who wouldn't turn a finger for you. I hate crooks. Then why waste your time on me? Because a guy who could have two kids like that isn't a crook. Stupid? Yes. On the wrong foot? Yes. But he isn't one of those mugs that don't belong to human society. Those kids are two normal, decent little human beings. Give me that wallet. And no crook could make them that sweet. You're coming up before Judge Halstead. He'll throw the book at you if you don't cooperate. I said no deal, DeAngelo. And don't ask me again. All right, she'll be taken downstairs. Tell Mr. Hauser I'm sorry he had to wait. Yeah, me too. If you should change your mind later on, Nick, let me hear from you. Remember my name and get in touch with me. I'm your insurance policy. You don't ever give up, do you? I usually do. When I tried a little extra hard this time. So long, Nick. Hello, Mr. Halzer. Hello, son. So you've been talking to DeAngelo, huh? You don't have to worry. Good, Nick, good. Your words, all I need. Not that the boys were worried you'd squeeze. Oh, did they pay you? Everything's been taken care of. Good. Now, uh, I don't want you to expect very much in court, son. We have no defense at all. So what do I do? You trust me. Even when the judge gives you the works, just stand pat and rely on Earl Hauser. That's when I really go to town. On the parole? It may take a while, but I'll get you out, Nick. You won't serve a third of your sentence. Have you seen my family? Yes. And don't worry about your kids. They're fine. Good. If you can rely on me, they'll be taken care of. Thanks, Mr. Hauser. Thanks for everything. So you're Nick DeAngelo, huh? Well, you're a big man. I'm Tommy Udo. Yeah? Imagine me in on this cheap rap, six months, big man like me. Picked up just for shoving a guy's ears off his head. Traffic ticket stuff. You talk too much. You mean these dopey cops here? Just because we're handcuffed to a couple of cops, I should shut up. I don't even know they're sitting here. A real tough guy, aren't you, Tommy? Yeah. Hey, Nick. Nick, today's my birthday. Yeah, today. Congratulations. No kidding. Now tell yourself, big man. I never spent a birthday with a better guy. Yeah, sure, sure. Cheer up, cheer up, big man. It's my birthday party. We get a free feed tonight. Look, I've got a lot of free feeds coming. Eight years of free feeds. You never learn, you guys. You just never learn. Hey, guard. Guard. What's the matter, Bianco? This letter you just gave me. Yeah, what about it? Well, look at the envelope. It says, pointing no longer at this address. That's crazy. She's got to be there. That letter is there, the one I sent my wife. Do you ever think she might have moved? Look, I wonder why she didn't like me. She hasn't written me for a month. It just doesn't make sense. I can do about it, Bianco. Nick, do you get me a word about your wife? No. Watch it, Al. We shouldn't be talking. It's OK. I'm supposed to oil the machines. The kids, you know, she knows how I worry about them. She ought to write. You know Harry Cooney, don't you? What about him? He's in it again. I just saw him. You're in the shop now? Yeah, that's right. Look, Al, get to him. See if he knows what's happened to my missus, will you? I'll try, Nick. I'll try. Thanks. What do you say, Al? Did Cooney know anything? Take it easy, Nick. Your wife, she's dead. Dead? What happened? He didn't know, Nick. That's all he could tell me. Damn it, kids. What's going to happen to my kids? Hello, prison library, Russell. Number 8106183. Yes, sir. What time? 3 o'clock. He wants to look at some newspaper. I'm through with the newspaper, sir. I found what I was looking for, and I'd like to go back to myself. Oh, it's mad at Bianca. Don't you like her library? Well, just a minute. All you looked at is newspapers, old newspapers. Why? I said I found what I was looking for. OK, you can go back to yourself. Check him out, Donovan. Old newspapers, huh? Hey, let this one open. He said he found what he wanted. Hello? This is Russell, sir. Bianco's back in his cell. I thought you might like to know what he wanted here. Go ahead. It's an item in a New York pipe suicide yesterday in her flat at 627 Pearl Street. Mrs. Bianco's daughters, aged 4 and 5, were taken to an orphanage. Neighbors said Mrs. Bianco had been brooding over lack of funds. To visit her, Bianco, you know the rules. 10 minutes. Who is it? My lawyer, Mr. Houser? She don't look like a lawyer to me. Huh? That girl down there. Oh, thanks. Hello, Nettie. Oh, I'm OK, Nettie. How are you? Nick, you... you heard about your wife? Yeah, I saw it in the paper a few days ago. You knew I was living with Marie and the children? In her last letter, she said you moved away. Why did you move, Nettie? We had sort of an argument, Nick. I thought it would be better if I got out. I... I didn't know about what happened to her until a couple of weeks ago. I met Mrs. Harris, you know. She lives across the street. She told you? Yes. Nick, I felt so bad about the kids. I went to the police station. They told me they'd been sent someplace. But they're all right, Nick. The kids, you saw them. Where are they? In an orphanage on Long Island. I was going to write and tell you about it, but I thought maybe I'd better come and see you. I feel so sorry about everything. Tell me about Marie. She wasn't feeling so well when I saw her the last time. What did you fight about? I don't remember anymore. Okay. Well, I don't. Honestly. Was she unhappy? Oh, yes. Drinking? Yes. Anything else? No. No. Oh, no. What really happened, Nettie? You came here to tell me. Why did you change your mind? Was it about me? Marie was jealous. She always thought that you and I... No, Nick, no. Something else? Don't be scared of hurting me. Nothing can hurt me, Nettie. Oh, Nick. I think I know what happened. Marie and another guy? Who was he? Pete Rizzo. Rizzo? I had to come and see you. I don't know why. I'm sorry. I don't want to cry. Nobody's cried over me for a long time? Rizzo. When did it start? About a year ago. No, never mind. I don't want to know. Is there anything I can do for you? Yeah. Would you see the kids again? Of course, Nick. They're such good kids. Tell them you heard from me and tell them I'm working in South America. Yes, Nick. Yes, that's what I used to tell them before I moved away. You're all on your own now? I found a good job in a music store. I live uptown now. Just a rooming house, but it's very nice. I... Nettie, thanks for coming to see me. I'll write you, Nick. I'll write soon. Nettie, I... Bye. Nettie. Yes? Nothing. Fun in, Bianco. The warden will see you now. Thanks. Sit down, Bianco. You haven't been in here before, but I've had good reports on you. Something's gone wrong, though, I suppose. No, sir. Speak up, Bianco. What is it? Well, I used up all my letters for this month, but I'd like to send another letter off. They said I had to get special permission. That's right. Something urgent? Yes, sir. Very urgent. Whom do you want to write to? To the assistant DA, Mr. DiAngelo. DiAngelo? Better let me send it. He'll read it sooner. Yes, sir. You can send it. All you have to say is that Nick Bianco wants to cash in on his insurance policy. Nothing else? No, sir. He'll understand that. DiAngelo? All right, Bianco. I'll write him this afternoon. Hello, Bianco. How are you? All right, Mr. DiAngelo. You remember Detective Shelby? Yes, sir. So, here we are back in my office again. Only this time you want to play ball, eh? Yes, sir. I think that can be arranged. Pearl? Something like that. Can I see my kids, Mr. DiAngelo? I'm pretty sure you can. Okay. Then I'm ready to talk. I want to know something first. We get a lot of offers from men in prison who feel they'd like to do a little squealing. Prisoners go a little cracked. Well, they feel like a ride into town. I'd like to know what changed your mind after three years. Give me a chance to decide whether your story's reliable enough to go to work on. Well, when I got sent up, I told you my family was being taken care of my way. I was wrong. My wife killed herself. My kids are in the orphanage. I see. Okay, Shelby. Oh, about the Peacock jewelry job. Who else was in on it? Eddie Williams. Big Eddie. Yeah. Who else? Tony Mangoni. You know him, Shelby? I know him. Who else? Pete Rizzle. Rizzle, huh? Who else? And me. What about Tommy Udo? Who? Tommy Udo. The tough boy. He was sent up the same day you were. He's out now. I never worked a job with Udo. Okay. Who drove the car? Rizzle. Which one of you saw go man Peacock? Mangoni. He's on the level Peacock's a cinch to identify him. Maybe. Who is the fence you used on this job? I don't know. I was grabbed too soon. Who would have handled it? Rizzle. Would Rizzle have gone to the fence direct? No. You mean you'd called somebody first and he'd tell you where to go? Yeah. Who would you call him? Earl Hauser. Earl Hauser. Another eminent shyster with connections. Nick, I better keep you down here in the city jail for a while. I, uh, I want you to go on cooperating with me. You mean go on being a stoolie? That's what I mean. Okay. If? If what? If I could see my kids once in a while. You can see them. When your pals get pulled in, they're going to be pretty sure you did the singing. I don't care what they think. But I do. No sense in getting you killed. One of two things we can do to throw them off. Uh, what's some job you pulled that you didn't get caught on? You think I'm nuts? You've got to trust me. What? Thompson for a company. Four years ago last March. Were any of those mugs in on it? Only Rizzo. All right, show me. We booked Nick on the Thompson fur job. That's our excuse for bringing back to town. Can I take another wrap? Stop worrying now. We'll drop the case later for insufficient evidence. But why? I'm just trying to cover you up. And I told you why. I want to use you again. And you've got to be in there clear with Hauser and everybody else who knows you. I'll send out an order to pick up Rizzo. No, no, no. Rizzo drove the car. The only one who could identify him would be Nick. That won't stand up. Pick up Eddie Williams and Mancone. Then the mob will figure that Rizzo's the stoolie and that we made a deal with him. You, uh, don't like Rizzo particularly, do you, Nick? No. Anyway, here's what you do. You get hold of Mr. Earl Hauser. Tell him about the Thompson wrap. Tell him you think somebody squeals. Sure. Your side of the fence is almost as dirty as mine. With just one difference. We hurt bad people, not good ones. Yeah, that's right. And watch your step. Just watch your step with Hauser. He's a shop operator. And remember, you're no good to me if he tumbles. He won't tumble. When do I see my kids? I'll take care of that tomorrow. Thanks. Well, I'm a squealer now. Feel bad about it, Nick? I haven't any feelings, Mr. D'Angelo, one way or another. In a moment, we'll return with act two of Kiss of Death. Meanwhile, here's Libby Collins, our Hollywood reporter. Who's in the spotlight this evening, Libby? One of the most fascinating stars in Hollywood, Mr. Keely. Meryl Oberon. Oh, yes, Meryl Oberon. She's an RKO's new picture night song with Dana Andrews. Uh-huh. He plays a part of a blind composer. With Ethel Barrymore and Hoguey Carmichael in the humorous supporting roles. Well, it must have been a lively set to visit, Mr. No, it was. You know, Meryl Oberon, who seems aloof and exotic in some of her roles, I found to be the gayest, friendliest person you could imagine. She has a very appealing role in night song, too, don't you think? Yes. Yes, she plays a young socialite with a rare combination of sympathy and sophistication. Meryl Oberon is a truly glamorous person, exquisitely lovely. And, uh, Mr. Kennedy listened to this. She has very definite ideas about the right kind of complexion care. Well, then I'm sure that smooth, soft complexion of hers gets gentle luck soap care, Libby. It certainly does. Luck soap facials Meryl Oberon finds give delicate skin just the protection it needs. She's used luck's toilet soap for years for her complexion and for her bath, too. And, of course, now she's simply delighted with the new bath size cake. Yes, that big new bath size luck's toilet soap is getting rave notices in Hollywood. Screen stars love it because it gives lots of the creaminess of the creamy, fragrant lather that makes a luck soap bath a real beauty bath. The new bath size cake is available now to women everywhere. The same fine white luck's toilet soap, but in a generous larger size, specially created to make your beauty bath more luxurious than ever. Women love the delicate clinging perfume of luck's toilet soap. And the new bath size cake has that identical flower-like fragrance. Here's a shopping tip for tomorrow. Buy the big new bath size luck's toilet soap. You'll see it in the familiar Sampler Rapper. The whole family will enjoy this generous big luxury cake. Back now to your producer, William Keely. Intermission's over, and here's Act 2 of Kiss of Death, starting victimature as Nick Bianco, Colleen Gray as Netty, and Richard Widmark as Tommy Udo. Nick Bianco has made a deal. He bought his freedom at the price of turning in former. It's the following day, and with the assistant district attorney, Nick is at the orphan home, waiting to see his two little girls. You know, I'm nervous. They may not even know me. They'll know you, Nick. You know, they used to jump up on me and grab my ears, and I used to say, what was the name of that sister? Sister Veronica. She seemed pretty nice, huh? Yeah, this isn't a bad place at all for Ken. Children, Mr. Bianco. Thank you. Well, Ron and children, this is your father. Hello, father. Hello, father. Connie. Rosie. Sister Veronica told us you were coming today. You've been away for a very long time. Yeah, honey. You look different, Daddy. I thought you had FYI hair. No. No, I... Well, aren't you going to kiss your father? Let me kiss him, too. Let me kiss him, too. You kids, you kids. Mama got hurt, Daddy. And we waited for you and said prayers for you every night. And God sent you back. Sure, Connie. Sure. We're so lucky, Daddy. Of all the children, we're the only ones here who have a Daddy. Nobody else has. Just Connie and me. We have a Daddy. I can't go back sometime, Mr. Daniel. I can see him again, can I? Sure, sure. Thanks. There's swell kids, Nick. What I've done, it's worth it. Just to see him again. Nick, as soon as we get back to town, we'll put you in the city jail. You call your lawyer. The Thompson fur job, right? Don't worry. I'll keep my end of the bargain. Meet again, Nick. How are you? Okay, Mr. Houser. When I received your message, I dropped everything. Came right over. Thanks. Sit down, son. Sit down. How long have they had you here? Since yesterday. Well, we can say this much for it. It's a change, at least. I don't like it. Costs not. Costs not. Just making a bad joke. You've had quite a bit of trouble, I hear. Besides this, I mean, your wife. Maybe it wouldn't have happened if you'd done your job like you said. Your parole? Yeah, my parole. Well, I've been pushing it, Nick, and I'm going to get it. I gave you my word and I still give it to you. I'm going to put that parole through. Now, let's hear about this new trouble. Have they made any specific charge? Yeah. The Thompson fur company heist. Four years ago. Oh, that's reaching back, isn't it? Somebody must have had it in for you. That's one way of looking at it. How do you look at it? Like you said, somebody's been doing some squealing. I see. Who's handling this upstairs? The Angelo. Our old friend, eh? Think he's finally got hold of a squealer? That's what I think. Were you under suspicion for the Thompson job at the time? No. Ah. And who were you running around with in those days, Nick? I used to hang around with Pete Rizzle. He was your partner? Yeah. Rizzle was my partner. Pete Rizzle? Hmm. Did, uh... Did Angelo mention him when he talked to you? Nobody mentioned his name. Oh, I don't think they've got much of a case when Angelo finds that he's not going to scare you out of anything. That'll be all I need. Another rap and I'll never get my parole. Everything's going to be all right, Nick. I think I'll do a little checking on Pete Rizzle. Oh, say, if they start roughing you up here, you'll let me know. I can take care of myself. Fine. Goodbye, Nick. And don't worry about a thing. Yeah. Hello? Hello, Arthur. This is Earl Hauser. Let me speak to Tommy Udo. Okay, Mr. Hauser. Hello, early. I want to see you, Tommy. Your office? No, the other place. You know where. I've got a little job for you, Tommy. Now, right away. How's the speaking? This is Tommy. And how do you know that he's going to read? Just as long as you're sure there isn't going to be any more talking. Good work, Tommy. Any time early. Is Nettie Cavallo at home? In just a minute. Now, see. Thanks. Oh, Nettie. If there's a phone call from Nick Bianco, that's me. Will you call me, please? Sure, I'll call you. Thanks. We're out, but when? They didn't tell me last week. I didn't know last week. Oh, it's wonderful to see you like this. Like you used to be. I mean, not inside a jail or anything. I wanted to surprise you, Nettie. I was hoping you'd be home. Oh, I almost went to the movies. Oh, Nick, what happened? I got a parole. No, oh, that's wonderful. It's... Nettie. Nettie. Come here. It's going to be all right, Nettie. Don't cry, honey. Just give me a little time. Nettie, will you marry me? My kids. We'll have a home for the kids. A real home, Nettie. Oh, yes, a real home, darling. I'll be right down. Excuse me, Miss Nettie. Yeah? Okay, I'll be there. I don't attend that Larry Young murder. I'll see what I can do. Goodbye. I've got to leave. Nick, please, don't go away like this. I've got to. I don't want anything to happen, Nick. Look, you've got to trust me. Well, then tell me where you're going. I can't. Look, I don't want you to know. I thought you wanted me. I thought when you kissed me... Look, you thought right. I want you and I want the kids. But you've got to trust me, Nettie. I'm on a job and I might not see you for a while. Hey, hey, hey, stop looking at me like that. Look at me the way you did upstairs. I'll need that look. Oh, Nick. At a girl. I'll see you as soon as I can, Nettie. Now, I still can't figure out how you spotted me over there at the fights, Tommy. I'm Tommy Udo. I got eyes in the back of my head. I'm a big man. Hey, Square Champagne was celebrated. Yes, Mr. Udo. Mr. Udo. How you like that, huh? There's class, huh? Would you like to dance, Mr. Bianco? No, you wouldn't like to dance. Just sit, Buster, and keep your mouth shut. Haven't I met you somewhere before, Mr. Bianco? I said don't stick your nose in. We're talking. We're pants. Champagne, Mr. Udo. No, no, no. That ain't going to be enough. Bring some more, lots of bottles. Don't you worry, big man. You'll be jumping in a couple hours. It's always hard on your busking, not it? Yeah. You gotta low to that music, huh? Sound's great, huh? Right upstairs, right upstairs. Always come here when I get strummed. What a big man at early house, you know? Remember what I told you, Nick. Take your rap and leave it to early. Always gets you out. Oh, that music, that music, that music. What's coming up, Nick? What's on the line? Well, I haven't figured it out yet, Tommy. I've got to have some fun first. You know, I'm three years behind. It's talking, it's talking. You heard about me, didn't you? No, in all papers. Pick me up for a murder rep. Was in all the papers? Yeah. Yeah, sure. Ask her, hey, Busty. Sure. Well, this picture, the one I don't like. What do you mean you don't like? What's the matter with it? I like the one we took together. I don't like it when they show you with a number on. Yeah, who notices that lot of squits? Listen, Nick and me, we're going to be busy. Go home. Wait a minute. Who are you talking to? Get out. I'm with a pair, see? We don't want no old ladies around. You're not calling me an old lady. Get out. You want something? No, I... No, I... Go home and stay there, you hear? Okay, I'll be right back. James and no good if you want to have some fun. Come on, pal, drink up here. Drink up, drink up, drink up. They, uh, let you go, huh, Tommy? Oh, all the bullies. There was a squit, says he seemed to be bending over Larry Young right after he got plugged in. Then he says he ain't so sure it was me, he thinks. Larry Young, he used to own a big cafe when he was a little boy. He was a little boy. He was a little boy. Larry Young, he used to own a big cafe, didn't he? A squit. Pushing the wrong guys around. He got it good, Nick. Him and his college ring. College ring? A ring, a ring, a ring. What you wearing? Your finger with a couple of bucks. This joint's dead, it's sour. Let's go someplace where they got some interest. What do you say, Pear? I'm still three years behind, Tommy. It's a stick to me, big man, you kid. Come on, we shake this dumb joint. We go up, Tom. Tommy Udall, like you said, Mr. D'Angelo, to fight. When they were over, we went to a cafe. What cafe, where? Stasi's, club 66. After the girl left, Udall started to talk. He said he'd done the Larry Young killing. Alone? That's right, Mr. Shelby. He didn't know the guy that hired him. He never saw him before. Did he describe him? No, I couldn't push that. So you got nothing? Go on, Nick. Well, there were two things. He copped a ring off of Larry Young, the whole ring from some college. His girl, Buster, has got it. But she never wears it. It's not worth anything except a sort of a souvenir. Then there's a guy that saw the shooting. A fellow Udall called Sammy. Sort of a panhandler. Udall said that Sammy saw the shooting and beat it. Sammy who? I don't know his last name. Well, that does it. All we've got to do is find Sammy, produce the ring, and we've got a case. Congratulations, Nick. Yeah. You had quite a time, didn't you? Yeah. Wouldn't want to go through that again. I don't think you'll have to. That's all? That's all. You know, you might find out about Sammy by asking similar young friends. Maybe we'll do that. Well, so long, Mr. D'Angelo. Oh, Nick, wait. Everything all right? I'm going to be all right. You're going to get married, eh? That netty girl? Yeah. We're getting the kids out of the orphan home. The first thing. That's fine, Nick. That's fine. Oh, uh, what about a job? I'll get a job. Well, maybe I can help you. Here's an address. I wrote it all down for you. It's not much of a job, Brick Yard. But do your work there, and there won't be any questions. You, uh, think you can take a Brick Yard? After the pen? What do you think? I think maybe everything's going to be OK. Nick, uh, that girl, does she know? That I'm a squealer? Yeah. She knows. I had to tell her. Yeah. Good luck, Nick. You know, netty, there may be worse jobs than in a Brick Yard, but there ain't any dirtier. That must be awful. Yeah. That's not really awful. Hey, give me a towel. Here. Kids still roller skating? Yeah. They met me down at the corner. How have they been today? Wonderful. As always. Anything wrong, netty? Oh, no, darling. Except, worries me sometimes. What worries you? You, working in that Brick Yard all day, coming home every night to just nothing. Yeah. That's right. No excitement or anything. Every day, just like every other day. Nick, please, don't make me worry too much. But that's what I need. Someone to worry about me all the time. Don't you ever let me get away for one minute, honey. Or maybe I'll start busting in the jewelry stores with a rod in my hand. Is that what you think? Oh, no, Nick, you wouldn't. Maybe I wouldn't, but you'd better hang on. Oh, I will. I'm mad about you, Nick. You're all I think of. I've loved you ever since I was a kid. And I feel the same way now as I did then. Every time you kiss me, I... Ah, that's pretty silly talk for an old married woman. No, it ain't. Well, get out of the kitchen. I gotta make dinner. I'll watch you. You go get the kids. They... Oh, I forgot. There's a telephone call for you. Who? Mr. D'Angelo. What did he want? He wants to see you Saturday afternoon. Did he say what for? No. He didn't say anything wrong, though. He was very nice. I haven't heard from D'Angelo in weeks. Something's cooking, Eddie. Something's gonna happen. That's the situation, Nick. I grabbed you two a few days ago. It goes to trial on Monday. I've arranged for you to get off from work. You said you had a sure case against you. Well, I wouldn't go to trial otherwise. Then what do you need me for? I need your evidence, Nick. I'm building my case that way. Evidence from a stoolie, a squealer? That's not going to help. We've got that ring. We've got Sammy. And they'll verify everything you say when we introduce them. Look, I've got to go on the witness data. Yes? What if I don't? You haven't any choice, Nick. You mean if I don't, the DA will kill my parole. What would you expect? Look, I've got kids. I've got a home up in Nayak. I don't care about myself, but why do you have to take it out on them just because I was a mug once? Will you listen to me? Go ahead. It makes no difference. I've got no other way out. You're talking like a fool. At your job in your town, you're known as Nick Cavallo. I've got a school under that name. Who's going to connect you with Nick Bianco and how? My pictures in the newspaper. We'll see that no pictures are taken. Well, that'll help. Well, what's the matter then? Well, I... Nothing. I was just thinking of Udall. When Udall finds out that I... Look, I know it's going to be pretty tough. It isn't going to be any fun. But remember this. When it's over, you'll be through, clean. Yeah. That's something. I'll try and remember that when I'm on the witness stand looking at Udall. PA, confident conviction at Udall murder trial. Bianco testimony vital, blow to the fence. Udall jury is still out, verdict is expected tonight. Hello? Nick? Yeah. Still here. Young's college ring didn't help. How's it get over the point that there were 400 rings just like it made for Young's graduating class? Jury went for it. Not guilty. Udall went free as soon as the verdict was read. Got a tail on him, but he's pretty fast. Udall might shake him so we'll keep your eyes open. He'll be looking for me. I squealed on him. I tried to send him to the chair. You better come in and see me tomorrow, Nick. We are ready to do everything we can to help you. You'll need protection. Yeah. Goodbye, D'Angelo. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll return with a third act of kiss of death. Tonight it's our pleasure to introduce to you Miss Randy Stewart, young 20th century Fox starlet. Who, like so many successful screenplayers, began her career in the theater. A good preparation for the screen, isn't it, Randy? I think so, Mr. Keely, and so do other Hollywood actresses. June Havoc, for instance, made her first great success in a New York musical. And now she's playing an important dramatic part in 20th century Fox's new production, Gentleman's Agreement. The day I dropped in to visit my friend June Havoc on the set, I was introduced to Dorothy McGuire and Gregory Peck, who played a leading role. Both stars said how thrilling it was to appear in a picture that dramatizes the fight against intolerance. Without doubt, their portrayals help Gentleman's Agreement win the New York Critics Award for the outstanding picture of 1947. June Havoc proves she can handle a serious dramatic role, too. Yes, indeed. When I watched her do a scene with Gregory Peck, I was impressed again with her beauty. Mr. Kennedy, there's a luxe girl for you. Indeed she is. June told me she never realized till she came to Hollywood how demanding camera close-ups can be. She was grateful that she'd always given her complexion the right kind of care. Nine out of ten Hollywood stars have discovered those gentle luxe soap facials really do the trick. They give million-dollar complexions such gentle protecting care. Screen stars use their complexion soap as a bath soap, too. I just love that new bath-sized cake, Mr. Kennedy. Thank you, Mr. Stuart. I'm sure women everywhere will be delighted with the new bath-sized Luxe Toilet soap. This generous big cake gives you lots of the rich, creamy Luxe soap lather as the same delicate clinging perfume. For a truly luxurious beauty bath, try this new size. Look for the big bath-sized Luxe Toilet soap with the famous sampler wrapper when you go shopping tomorrow. We return you now to William Keely. We continue with the third act of kiss of death, starting victimature as Nick Vianco, Colleen Gray as Netty, and Richard Widmark as Udo. A few hours ago, a psychopathic killer was given his freedom, and Nick Vianco knows that sooner or later, Tommy Udo will find him. It's late at night, and in his home some 50 miles from New York, Nick enters the bedroom. Nick, where were you? I just went in the kid's room. I thought I heard something. Are they all right? Yeah. But I know I...listen. Oh, that's just the screen door, Nick. The wind. You haven't slept all night. What is it? I can't go to sleep. That's all. Ever since Mr. D'Angelo phoned. Nick, if something's happened, I'll read about it in the papers. Maybe I can help you. Don't forget about it, will you, honey? You've been listening for something. All night you've been lying here listening for something. Yeah. You're right. You'll read about it in the papers. Maybe you can help me. They let Tommy Udo off. Oh, Nick. He's loose. After what you did. Yeah. Listen. Nick. I can't help it. I'm jumpy. The police. We'll call them. The police can't help me. I've got to go downstairs. Then I'll go with you, Nick. Nick, this isn't like you. For one thing, he doesn't know where we live. You'll find out. Not in time to come tonight. Nettie. I've got to talk to you. No use hiding it. He's going to come sometime. You can go away. Pete Rizzo went away. Remember what happened to Rizzo's mother? Tommy Udo did that. Yeah. We can all go away together, Nick. No. Some other town. No. All the heisters I've known since I was a kid. They don't stay in one place. They're in every town coming and going. The minute they saw me, they go straight to Udo. Wherever we went, we'd be just like this, waiting and sitting and waiting for it. What happened? We won't let it happen. Take it easy. It won't happen if you will help me. Anything. Anything. Then start packing, Nettie. Turn on the lights. That's a car. Listen. It's all right, Nick. Just the people next door. Start packing. You and the kids. You take a train first thing in the morning. The country. I don't know where. Just some place. Anywhere away from here. Stand away from the tracks, children. The train will be coming soon. Not a soul around, Nick. There's a guy sitting in that car. He's probably waiting for the train. I'm going to find out. Nick. It's all right. I've got a gun. Watch the kids. Hey, buddy. You calling me? Uh, do you happen to know what time the number 12 gets in? Oh, I'm sorry, but I... Well, that sounds like it now. Yeah. Thanks. Come in. Be careful. Stand back. Yes. Okay, Nettie. Nettie. Remember now. No letters until I call you. I'm to wire Mr. D'Angelo and tell him where we are. Yeah. Take care of the kids. Yes, Nick. And yourself. Nick. Nothing's going to happen. Let the kids think it's a vacation. I'm going to have a good time, Nettie. I know you'll always give them a good time. Can we get on the train now? Can we get right on? Yeah. Just give me one great big kiss. Goodbye, Daddy. Goodbye, Daddy. Look, I want you two to be good, you hear? And have fun. And always remember to mind Nettie. She's your Ma and do what she says. Uh-huh. Up you go. Bye, Daddy. Bye. Bye. Better get on, Nettie. Goodbye, Don. Goodbye, Don. Walking up and down. Jumping at every sound I hear. I got a gun. You don't have to be scared with a gun in your hand. Six shells. I ought to have more. No, six ain't enough. Six hundred wouldn't matter. A hundred in my own house. Why do they come and get over this? I would not speak to them. I feel good. I feel better than I felt ever since, D'Angelo. Shelby. You weren't lost in waiting the car. Better give me that gun, Nick. Yeah. Why didn't you come to my office today like I told you? I had things to do. Sent your family to the country. Oh, so that was your guy in that court, the station. Yeah. Nick, a man lost you two early tonight. I came as soon as I heard. Sorry, but I've got to take you in. For what? For protection. I'll protect myself. It's him or me now. I can't connect with murder, Nick. Yours or his. Look, if it's me that gets him, it'll be self-defense. You're wrong. I was having a thing on Udo now. He was acquitted. If you kill him, the jury will call it murder. Use your head, Nick, and you'll be safe. My wife and kids won't be safe. I'll make you think he'd go after them. Rizzo's mother. We can take care of your family, too. Yeah. You mean lock us all up for the rest of our lives? Only until Udo makes his next mistake. Until he knocks off somebody else. Until he does anything. He's a three-time loser. All we've got to do is catch him with a gun on him, then we can send him up for life. And suppose he don't make a mistake. He didn't the last time. You made the mistake. You had the perfect case and he beat you on it. You couldn't even keep a tail on him. He's nuts and he's smarter than you are. Sooner or later, he'll trip himself up. You've got to trust me a little. I am through trusting you, the police, or anybody but me. There's only one way to get Udo, and that's my way. I'm sorry, Nick, but you're under arrest. This gun, violation of parole. Well, I guess that's that, then. That's better. It won't appear on your record, Nick. You came to us for protection, and we... I didn't want to do that, Mr. D'Angelo. I really didn't want to hit you, but that's the way it had to be. I'm finding Udo myself. I don't think we got any tables tonight, Mr. Bianco. I'm not looking for a table. Is Tommy Udo here? No. Thanks. I'll see you again. Take a tip, Bianco. Don't ever. Come on, step aside. I got a date here with Tommy Udo. Udo ain't here. Okay, I'll wait for him. Udo ain't here. Hello? Mr. D'Angelo? Nick, where are you? We've got a general alarm out for you. Never mind that. I'm on him. Where is he? I told you you were going to play this my way. Udo's my job, Nick. You keep out of this. Take it easy, Mr. D'Angelo. The 37th Precinct Police Station. Bring some men along. If my plan doesn't work, I'll be calling you there. How long will it take you to get uptown? About 20 minutes, but Nick, listen to me. Look, I'll give you a half hour. When you get to the police station, just wait for my call. Hey, you? I said, okay, if you want to use the telephone, you may stay, but you're too late to eat. We closed at 12. You see, there's nobody here. I'm looking for Tommy Udo. He's not here. I saw him come in a few minutes ago. You don't want a couple of others. There in that room back there. Just tell him that Nick Bianco wants to see him. My pay. Hello, Tommy. I'm sorry. I'm sorry. My pay. Hello, Tommy. Tommy, I got to talk to you. Go ahead, talk. I'm listening. I'd like to talk to you, not these characters. Are you crummy? Who asked you anything? My pay wants to talk to me. Go on, beat it, both of you. Wait over here, Tommy. Okay, pal, what's on your mind? I've got to square myself with you, Tommy. There's nothing to square. You're my pay. You're smart, too. I didn't know how smart till I saw you in court. You fooled me, Nick. And that takes a big man. Yeah, a big man. Okay, play it straight, Tommy. I squeal on you. You got a right to be sore now. What are you going to do about it? I ain't going to do nothing. You did nothing to me. They let me off, didn't they? We're going right on being pals, you and me. We're going to have some fun together. Lots of fun. You got a wife and kids, ain't you, pal? Yeah. They're going to have some fun, too. I'm going to enjoy meeting your family. Lay off of them, Tommy. Why, huh? Kids like to have fun. You and me and your wife and your kids. From now on, lots of fun. I'm telling you, lay off of them. Is that all you've got to say to me? I thought you'd listen to reason. But if it's trouble you're looking for, you're going to get it. Leave me and my family alone, or maybe I ain't through singing. What of it, pal? I'm clean. They can't try me twice on the same round. No, no, not only are they a young killing. Maybe I know some other tunes. When we were together, you told me a lot of things. You got your eyes full of smoke and you talked plenty just like the squirt that you are. You talked your full head off and I ain't forgetting any of it. You sure, huh, pal? You gave me enough to burn you a hundred times over if I couldn't get the other witnesses to back me up. You even gave me a pretty good idea where to look for those other witnesses. Take your hand out of your pocket. You're dumb, you little but you're not that dumb. You'd get life if they found a gun on you. Now, remember this. Touch my family. And you will hear singing like you never heard before. Now, beat it. Pedal your papers. Go on, blow! Luigi. Yes, sir. This is my pal, Mr. Bianco. He's a big man, biggest man in town. I want to show him what I think of him. I want you to give him your deluxe short dinner. Oh, no, sir. The kitchen is closed. Then open it, you squirt! Yes, sir. Yes, Mr. Yoda. Nothing's too good for my pal. Your best short dinner and a bottle of that good wine. Yes, sir. Right away, Mr. Yoda. Enjoy yourself, big man. Enjoy your dinner. Everything's on me. I just talked to Tommy Udall. I tried to scare him off, but it didn't work. There's only one thing for me to do now. I'm going to give him to you just the way you want him with a gun in his hand. Nick, for the love of heaven, where are you? We'll come and get you. I'm setting him up for you, Mr. D'Angelo. He's waiting for me outside this place in the Black Sudan. I've needled him to the point where he's got to get me. It'll take you two minutes to get here. In exactly two minutes. I'm walking out to that Black Sudan. I'm having this call, Trace, Nick. You might as well tell me where you are. I'll tell you. Udall will shoot to kill. Maybe he does, maybe he doesn't. Come in from both ends of the street. Forget the sirens or he'll throw his gun away. Now get it. The name of the place is Luigi's. It's on 125th Street just around the corner from where you are. Luigi's, okay, Nick. Then come on. You've got exactly two minutes. Don't miss. Luigi. Yes, your dinner we've fixed it now. Eat it yourself. Something wrong with me? Here. Gone? No, no, no. Give me a gun. Take it. I won't need a gun anymore. Keep it as a souvenir. And in case anybody asks you, remember I gave it to you. What's the matter, big man? You turned yellow? You used to do your own shooting. Just say the word. Start the car. Give me that gun. All right. I'll start running. Why? Why, he says. Why, he says. Yes, yes. Quiet. Get out of the car. Come here, shall we? Is Nick all right? Is he dead? No. Get an ambulance. Yes, sir. Nick. Nick. Did you get him? Yeah. And alive. Thanks, Nick. I'm glad you got him, Mr. Bianco. I came as quickly as I could. Where is he? In the operating room. Is Nick... He may die, I don't know. The doctor will only say he has a 50-50 chance. Nick would settle for that. Yes, I think he would. Sometimes out of the worst comes the best. You got what you wanted, Mr. DiAngelo. Nick got what he wanted. And I got all I ever wanted. I got Nick. Nick is an exciting drama brought to life by brilliant acting. And I'm sure that all of us are eager to hear again from tonight's three stars. Who return to the footlights and answer to your curtain call. Victor Mature, Colleen Gray, and Richard Widmore. I'm sure our audience will long feel grateful to you for tonight's performance. Well, Mr. Keely, tonight's show was certainly a pleasant contrast to what we went through when we made the picture. Well, I can imagine it was pretty rugged. Shooting scenes in places like the New York tombs and sing-sings. The first time I've ever put behind bars for acting. No, you couldn't even send out for a sandwich without getting the warden's permission. Well, I imagine you and Dick Widmore have been going through a pretty tough schedule on your new picture, Bill. The street with no name. Yes, for nearly three weeks now. We've been filming scenes from seven at night till five in the morning. In fact, we're off for a downtown location as soon as we leave this stage. Duck to dawn. Sounds like a good cure for insomnia. Yes, sir. In one picture, they keep me in jail all day, and in the next, they keep me up all night. Well, for that matter, Vic Mature went through a pretty rough shooting schedule in his latest 20th Century Fox production, purely at Furnace Creek. That's right, Bill. This picture business sometimes makes me wish I were back in that soft job of selling refrigerators. If Darryl Zanuck is listening, I'm only kidding. Sometimes it makes me wish I were back in Minnesota. There, that we'd never stand for, Colleen. I'd hate to deprive picture-goers of the chance to see that lovely luxe complexion. You're right about the luxe complexion, Mr. Keely. I use luxe so faithfully. It's a wonderful beauty care. What's luxe presenting next week, Mr. Keely? Next Monday night, we have the kind of play that luxe is always proud to bring its audience, one that I'm sure every member of the family will crowd around the radio to hear. It's Metro Golden Mare's great-screen version of the yearling. That's a great story, Bill. Say, I hope you have the original fine stars of the yearling. Yes, all three of them. Gregory Peck, Jane Wyman, and Claude Jarman, Jr., who, incidentally, won a Special Academy Award for his performance. Marjorie Rollins' book was always one of my favorites, Mr. Keely. An MGM has done a magnificent job of faithfully bringing this warm drama to the screen in what was selected as the best picture of the year by the school children of America and their parents. Well, that's something to tell your friends about, Mr. Keely. I'm sure nobody'll want to miss it. Good night. Good night. Good night, and many, many thanks. Leave a brother's company, the makers of luxe toilet soap. Join me in inviting you to be with us again next Monday evening when the Luxe Radio Theatre presents Gregory Peck, Jane Wyman, and Claude Jarman, Jr. in the yearling. This is William Keely saying good night to you from Hollywood. Colleen Gray appeared by arrangement with 20th Century Fox. Producers, if you were meant for me, join us again next Monday night to hear the yearling with Gregory Peck, Jane Wyman, and Claude Jarman, Jr. Pepsidon 1 by 3 to 1. Yes, in a recent survey, families throughout America compared new Pepsidon toothpaste with the brands they'd been using at home. By an overwhelming average of 3 to 1, they preferred new Pepsidon witherium over any other brand they tried. They said new Pepsidon toothpaste tastes better, makes breath cleaner, makes teeth brighter. Yes, with families who made comparison tests, Pepsidon 1 by 3 to 1. Be sure to listen next Monday night to the Luxe Radio Theatre presentation of the yearling with Gregory Peck, Jane Wyman, and Claude Jarman, Jr. Stay tuned for my friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.