 Lux presents Hollywood. The Lux Radio Theater brings you George Raff, Franchotone, and Lynn Barry in each dorm I die. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. This Hollywood of ours is more than a place. It's an idea. An idea that embraces all America. We plead no special interest and ask no special consideration. We are democracy in action, to provide entertainment for the whole people and by the whole people. Take the case of the Lux Radio Theater tonight. Our stars are George Raff, Franchotone, and Lynn Barry. They hail from New York City, Niagara Falls, and Roanoke, Virginia. And the rest of our cast represent 12 more cities, from the Atlantic to the Pacific, and the families from which they come are rich and poor and in between. The play that brings them all together is the Warner Brothers' success, each dorm I die. It's the story of a man sent to prison for a crime he did not commit, and of the girl and the gangster who give him courage when he needs it most. We were encouraged this week by a letter from a lady in Ohio, which adds another chapter to the adventures of Lux Tarlet soap in faraway lands. It seems that the lady has a daughter and the daughter has a fiancé who's a soldier somewhere in North Africa. One day he developed a desire for oranges and approached an Arab who had some understray, knowing that it's more fun to barter for something than just to buy it. He'd come prepared with a cake of Lux Tarlet soap, which he'd received in a Christmas box. After bargaining for a few minutes, the soldier unwrapped the soap and let the Arab smell it. The Arab immediately offered three times as many oranges as he had before and the exchange was made. Our thanks to the lady for the information. I predict that if that soldier ever meets the Arab after he's tried Lux Tarlet soap, he'll have orange juice for the whole regimen. It's curtain time now for each dorm I die, starring George Raft as they say, Franchotone as Ross and Lynn Barry as Joyce. A hilltop on the outskirts of a great city. On the side of the road, a car stands facing down the grade. To this car come two shadowy figures, supporting between them the unconscious form of a young man. He's heavy as lead. Get him in behind the wheel quick. Okay. Lift his legs here a little. You got that bottle of liquor? Yeah. Let's close with it and throw the bottle in the back. That's a waste of good booze. Hurry up. Okay, okay. Now release the brake and get out. Here we go. Up off. With an unconscious man at the wheel, the car glides downward. At the bottom of the grade, the traffic light blinks red at the crossroad. The car hurtles toward it faster and faster. Then swerves madly into the cross traffic. To Frank Ross having been found guilty of a crime of manslaughter, it is now my duty to pronounce sentence. There can be no excuse for leniency in your case, as you should be well aware. Since you have as reporter for the Daily Record, often denounced drunken driving is the most ghastly of crimes. A view with which the court agrees entirely. And when such drunkenness results in the slaughter of two young innocent citizens. I didn't kill those people. I wasn't drunk. I wasn't even driving that car. When the accident occurred, you were behind the wheel. The court has found that to be sufficient evidence in spite of the fact. But I tell you, I was framed. I was framed by that eminent public servant district attorney, Hanley, and is equally eminent and equally crooked assistant, Howard Grace. Your Honor, I protest. Framed? Because they knew I could show them up for the dirty grafting rats they are. Silence! Silence! Frank Ross, you are hereby sentenced to the maximum penalty the law provides. Imprisonment in the State Penitentiary's Rocky Point, for five to twenty years. Court adjourned. All right, Ross, this way. Five to twenty years. Frank! Frank! This is your day of choice. Five to twenty years. For something I didn't do. Darling, it's not over yet. We're going to fight this. We'll be working for you every minute. We'll get you out, darling. Twenty years. I'll write to you. I'll write every day. And you write too. Please, darling. Sure, sure. Come on, Ross. We've got a train to make. You ought to eat, son. It's on the stage, you know. I don't eat with a carload of ten-cent crooks. I'd rather be hungry. Who's that ten-cent crook? I am, Monaghan. Well, Stacy, though, they're taking you back to school, huh? Yeah, for a while. I'm getting a degree this time. Oh, who's your friend, Monaghan? Name's Frank Ross. Ross? Oh, yeah, I know him. A reporter, isn't he? He's wise, guys. That's always writing about how crooks are yell at. And crime don't pay. I guess the D.A. didn't like that because he knows better. Well, what'd they give you, Mr. Ross? Five to twenty. But I won't be there long. No, you don't say. Going in and out, just like that. Clever boys, these reporters. Say, write a piece about me when you get out, will ya? The name is Stacy. Life Sentence. I like to see my name in the papers. You'll see it in the obituary column. You don't shut up. Why, you scare me, sonny. Monaghan, change my seat, will ya? He plays too rough. Oh, we got a real killer in the crowd, boys. Ran over a couple of kids so he thinks he's tough. Well, how tough are you, sonny? Listen, yo. Sit down, Ross. Yeah, come on and show me. Cut it out, or I'll let you have it put on you. Now get over there, Ross. Sit down. Let him go, Monaghan. I'll tear his head off. You shut up, Stacy. Where'd you go picking on him for? I don't like reporters any more than I like cops. If I report I hadn't stuck my tan all over the front page, I wouldn't be here. And now I got all the trouble of crashing out. Yeah. Don't forget to send us the date. Yeah, and don't bet that I won't. Keep your arms folded. It's a new arrival, Gordon. Not all new, I see. Hello, Stacy. Hi, Gordon. Man, I have much to say to you. Stay on your good behavior, and you'll get along a lot better. You get into trouble in here, and you'll become second or third grade prisoner, according to your offense. More serious offenses are punishable by solitary confinement. Or as we call it here, the whole. I don't recommend it. Hey, Warden, I'd like to speak to you for a minute. Keep your arms folded. What do you want to say? Well, I'm here on a political frame, but I didn't... The man is legally convicted and sent here. We assume that he's guilty. Feed him accordingly. That's all. All right, men. Left turn. This way, men. Where does it take us now, huh? In the cell? There's such luck, brother. That jute mill. Hey, Pete, ten more men here. Okay, I'll take care of them. Well, if it ain't Stacy again, couldn't bear to be away from old Pete, huh? What's he got this time? A hundred and ninety-nine years. Well, now that's real generous of the judge, huh, Stacy? And just to show you what a nice welcome home you're going to get, guess who's in here doing the book, too? Your old friend, Lippie Julian. Julian? In here? Yeah, I thought that'd get a rise out of you. Hey, Lippie, come over here. You want me? Yeah. You know this fella? Yeah. I guess so. He ought to know me. I gave him that limp the time he tried to double-cross me in the Danimora break. I know you. And you ain't gonna forget me. Now, boys, don't fight on Mr. Stacy's first day back. Stacy, over to that breaker and get to work. You go with him. Wait a minute. What's your name? Ross. Say, sir, when you're dressing officer, and fold your arms. Are you here? Yes, sir. Go on over there and join Stacy at the breaker. Rest of you, get over there and help stack them face. Stacy, hey, fellas, look who's here. Hello, Mugs. Oh, it's just a visit. Oh, this is Frank Ross, boys, a gentleman of the press. He's a killer, so hang on to your hair. Oh, sorry, we ain't got no typewriters on this machine, nor no yellow ink, Mr. Ross. Well, what do I do? I flap your ears and wish you was a swallow. Hey, Gossky. Gee, it's quite a sea, Stacy. Never mind that now. When did Olympie come in? A month ago. What's he in for? Right her second degree. He's doing life. Look, Gossky, you know it's Olympie on me, don't you? Yeah. Well, it ain't gonna be me. How much time did you get her? A tray. I'm out in two months. Oh, good. Keep your nose clean so there's no slipper. I might need you on the outside. Okay. But listen, don't turn your back on Olympie. He's got a knife stashed and he'll use it. Don't worry. I'll watch him. Stacy, Gossky, what were you talking about? Come on, what were you talking about? Ain't there a rule against talking in this jug? Yeah, you broke it. Let me hurt you. Come here, Olympie. What'd they say? I couldn't hear them, but they was talking. Why, you low-down crawling. Get back! Break it up, you hear? Look out, Stacy! You can do it on my. Where'd that guy? I'll kill him! Get back! Look out, Stacy! Now, get back to your machines, all of you. Go on! Come here, Ross. That was your trip, Olympie, wasn't it? Wasn't it? Well, he had a knife. I don't like to see anybody get cut up. You're running fast, ain't you mugged? Look, I'm no mugged. And I don't like being called one. Oh, you don't like it, huh? Get over to the captain of the yard. You too, Stacy. We'll see if a month from third grade will take some of that guffawry up. Go on, feed it. I'll tell you something for tripping Olympie. It was a nice job, I get it. You had your first day in this hokey-pokey and you're tangled with feet. Trip up his prize rat and you'll lose your privileges for a month. Oh, you got the makings of a swell con. Not me. I'm not staying long enough. Yeah? Well, I'll tell you, do leave us. Let me give you a little advice. You know anything about Olympie, Julian? No, he's just another con to me. Well, remember this if you want to stay healthy. He's a killer. The toughest kind there is, too. The kind who kills a guy because he gets a kick out of it. Yeah? Well, I'll let you worry about Olympie. I got my own trouble. What's that? What's that? Don't look now. Is there a knife sticking in the wall about two inches over my head? I'd say about one inch. Yeah? Hmm. Olympie's aim is improving. All right, you guys. Keep moving, will you? This is supposed to be an exercise period. We're moving. We're moving faster. You'll be getting flat, Stacy. Yeah? You got a cigarette, Ross? Yeah. Thanks. Well, by the way, whatever happened to that plant of yours be getting out of this place. I hear they turned down your pardon, Ross. Yeah? That gives you a year and a half before you can even ask again. Well, the paper's working on a new angle. If the boys dig up some evidence, they'll get a new trial. Sure. I knew a guy like you once, sir. He's waiting for a new trial, too. He waited 30 years. Did he get it? Yeah, they found him guilty again. Well, hi, Ergoski. Hi, Stacy. Hey, listen, I just got ratted on. What about? They can't have soda you slipped me this morning. They saw me using it. That means the whole. Who ratted? Olympie and his new pal, Feather. Well, what's wrong about soda? Well, you mix it with salt and damp tobacco powder, and it makes snuff. It's forbidden. Have you got it on, Ergoski? Yeah, but Pete's looking for me right now, and I can't get rid of it. Sliver to me. To you. Stacy, they'll put you in the hole. Come on. Come on. You're going out on parole next week, ain't you? You can't afford to go out of circulation now. I need you on the outside. Slip it quick. And here. Keep this knife. Before I come out. I may want it. You ever been in the hole before, Stacy? Sure. Twice. Been in for 60 days? No. Right here. Nice place. Yeah. You know, guys as sucker taking a wrap like this for something you didn't do? Yeah. I've seen guys go half nuts in here in 30 days. In 60, they go all the way. Well, that's cause they ain't smart. I am. Close the door. Okay, sucker. Stacy's out. He's out of the hole. When did they let him out? An hour ago. I seen him taking him to the office. How'd he look, Red? Like a ghost. His eyes were so shot like... Like the light hurt him. So he's out. Well, we'll find out pretty soon who wins the blood sweep. You got a bet on a deal? Yeah, plenty. You got a bet, Ross? No, I don't bet on one guy killing another. That ain't it. Limpy says he'll get Stacy before he's out of the hole 48 hours. But you got to call the hour. I got two cans of tobacco that says one of them gets it in 12 hours. Look out. Here comes the guard. Hiya, Ross. Hello. Put me in with you. Mind? Why should I? I took that dump there. I didn't know. That was mine. Oh. It's okay. I'll just move your stuff. Wait a second. Leave it alone. Hey. What's that? I told you to leave our stuff alone. You got a knife, huh? Yeah, I got a knife. What about it? Nothing like this. I'll be handy down there. I can't take it. Need anything? Soap? Tobacco? A toothpaste? All right. Listen, Ross. Forget about that shiv. What shiv? Never heard the word before. This shiv. The knife. I don't see any shiv. There you go. You all right? Hello. Hello, Warden. This is Gallagher. Listen, Warden. We've had a killing. In the theater, a killing. We had the men there to see a picture. And all of a sudden, this guy... What? It was Limpie Julian. Yeah, somebody stuck a knife in you. Hey, Ross. Yeah? Come on down to the end of the yard. I want to speak to you. Okay. Hey, do you work for Julian any good? Well, they're trying. You've been here for four months. Well, it takes time. A bum rat, wasn't it? I told you that. They're trying. They're trying? You've been here for four months. Well, it takes time. A couple of times. All right. Look, if you could get out, would you be able to crack down the guys who framed you, wouldn't you? Sure. They are not out. I'm in. What do you want? Listen, Ross, I didn't kill Limpie. Sure. All right. Whether you believe it or not, I didn't. I meant to. I was afraid the screens might set him. So I passed the ship on to another guy. He loved Limpie like I did. So Limpie collected him. Okay. But that don't make any difference between us. You saw me with that ship. And you thought I did it. You and I'd be doing the book in the hole, and you'd probably be partying. Forget it. I'm all right. I don't forget it. You kept your mouth shut. Now you're plenty for that, and I'm going to pay. Ross, did you ever figure that I was out? I could find out who framed you and get you sprung? How? I got ten actions. I can find anything out by putting Joe in the right places. So all we've got to do is get you out. That's a cinch, isn't it? Listen, this is no screwy idea. I can get out. If you'll help me. How? Look, you're killing some guy. I knew you tried in the courthouse. I'm doing what? A hundred and ninety-nine years. So no pardon, no parole. I can't pass over these walls in a million years. So the only chance is to get to the courthouse and try it from there. It'd take an army to get you out of that courthouse. A lot of guys have tried it. They tried it alone, and they didn't plan it. Listen, remember Gossky went out a couple of months ago? Well? We figured this out together. I let someone wrap to the warden that I slumped that night in Limpie. I get indicted. Gossky follows the case through the papers and gets me a mouthpiece. He knows the day I'm going to be tried. He knows the court name. He makes all the arrangements. What word do I come in? Well, the only guy I've met that gave me a break without putting the B on me for dough. So now I'm giving you a break. Go to the warden and tell him about me having that night. I told you I wasn't a rat. Look, I'm asking for this. It's my only chance. I won't do it. You say you didn't kill Limpie. Well, somebody did. Then they got to get the right guy. Limpie was killed, murdered. And that still means something to me. Oh, would you listen? Ross! Frank Ross! Yeah? Get over to the warden's office, Ross. You got to visit her. That's just so terribly. I tried to come up a week ago and the week before that, but I couldn't get a pass. Sure, I know. Let me look at you. Frank. Yeah, I look great, don't I? Oh, it's so horrible like this, talking through a screen. I want to say so much and I can't. Is there anything new? Only what I wrote you. You haven't found those guys that put them in the car? Not a trace of them, but we're still working. And a lot of the boys in the AP are working with us. We'll find them, darling. We will. Yeah, I guess so. Oh, Frank, don't give up hope. Please don't. Hope? There's no hope in this place. Is there anything I can do for you? Is there, Frank? Yeah. Don't come back anymore. Frank. Don't come to see me. I can't stand it. Not like this. It only makes it worse. Darling, please, I've got to come out. You'll have to leave me. I'm shooting down at the courthouse. Now, are you sure? I don't want to pull out on my names. Will you give me your word? What's worth to you? Sure. Okay, Stacey, I'll say it with you. Great. But remember this. After this, they may take you in. I'll throw you in the hole. You may have to take a lot of punishment. Don't mind. But don't talk. Once it's done, keep your mouth shut. That's the tough part of this. I know. You were. Those guys on the paper got any line on who framed you? There's only one lead. You ever hear of Shake Edwards? Yeah, a rat. Well, he was in front of the newspaper office when I came out that night. He was the finger man, I'm sure of it. Shake Edwards, I'll find him. And I'll get you out. Remember that. No matter how bad things look. But if it takes a long time, I'll get you out. Believe me. All you got to do is look up to the tell the warden you saw that knife in my bunk. Well? All right, Stacey. Good luck. So long, fella. Thanks for everything. After a brief intermission, we'll hear George Raff, Franchotone, and Lynn Barry in act two of Each Dawn I Die. And now, greetings to Libby Collins, our Hollywood reporter. Libby, here's what I guess you'd call a leading question. Do you think a woman can really improve her complexion? Well, I not only think she's fine, but I think she's foolish not to try, Mr. Kennedy. It's just a matter of determination. Determination and, uh, lucks toilets up, Libby? Naturally, Mr. Kennedy. There's an unbeatable combination. But improving your complexion is like exercising to reduce your waistline. You start with a flourish, keep out it a few days, and then... I know, Libby, I know. But as a matter of fact, complexion care really is a lot easier. And will women are lucky to have a real beauty soap to help us? Luck soap is that. Pure and mild, truly gentle. Which is why, of course, nine out of ten screen stars use it. Yes, I've heard many a star say she wouldn't be without luck's toilet soap. Screen stars just had afford to take chances with complexion loveliness. And now they should any woman. Because every woman can be attractive if only her skin is fresh and smooth. Just ask any man if there isn't something irresistible about her lovely complexion. Well, ask me, Libby. I'd say yes. Decidedly, yes. Well, screen stars certainly know the appeal of soft, smooth skin. They would agree in the skipping their daily beauty care. Part of Goddard tells me she uses luck's toilet soap every day. Always takes a thorough act of lather facial at bedtime. She smooths lots of the lather well in, rinses thoroughly, and casts with the soft towel to dry. Now that's a very simple care, but it works. I know that from my own experience. And I feel it so strongly I want to say it again. The women with average features can look simply charming. It should just make the most of the look and give her skin a chance to be fresh and lovely. Well, now I'll bring my little sermon to her clothes, Mr. Kennedy, with these words. 30 days of regular luck's toilet soap care is a way to new complexion beauty. There's a tip straight from Hollywood. Right, Libby. And a mighty good one. Lovely ladies everywhere depend on luck's toilet soap, the beauty soap of the stars. And if any one of you ladies hasn't tried this fine white soap yet, why not make a note to get some tomorrow? Now, our producer, Mr. DeMille. That, too, of each door and I die. Siring George Rafters Stacey, Franchotone as Ross, and Lynn Barry as Joyce. From behind the bleak walls of the state penitentiary, a convict in the know can occasionally smuggle a note to the outside world. Such a note was written by Frank Ross. Passing through a dozen pairs of hands, it finds its way at last to the office of the Daily Record. What's the Stacey trial? Have reported photographer there. Big story. Say nothing to anyone. Destroy this at once. Let me see that note, Joyce. It's Frank's writing, Mr. Mason. Stacey trial. What are you talking about? Is Stacey's case up for appeal? No. The only thing I can think of is the trial and the prison itself. But what for? I don't know. All right. There's nothing we can do now except wait. If anything breaks, take a camera and get up there yourself. Yes, sir. That's a story, Frank. I saw you with that knife. I didn't see you're not limping off what I can identify tonight. Right. Fire down there! You got your plans all set? Yeah. Oh. I think that the trial boss is coming along with something. This in the garden park, just blow the courtroom in the valley. Just blow the toilet seat. Call me to the stand. When that happens, I've got a guy out the window to give me a signal. The motor's picked all of a sudden. The gate's open. He's got the truck out. I start walking toward the witness stand. Only I don't stop. Why'd you get in the truck? Oh, I told you it's parked just under the window. Yeah, but that window happens to be three stories up. Did you know that? Sure. I know. So what? You mean you're going to jump? Sure. The truck will be filed with law like a feather. I hope. Just one thing. The window. It'll probably be closed. Who's going to open it? Who? Me, on the way through. You identify this night of the one you saw in Stacey's bunk? Yes. Why didn't you tell me about this before? Oh, I didn't want what Limpie got. Why this sudden courage? It isn't courage. I... I just want to get out of here. Now, I see. I suppose you figure that if you squeal down Stacey, you get a break from the parole board. Got it? Yes. Yes. I suppose you will. I hope it makes you happy, Ross. You talk like you don't want the guy who murdered Limpie. Sure, we want him. And to get these guys, we have to deal with rats. But that doesn't mean we like it. Take him out and get Stacey here. Under guard. Stacey Trial, set for 28. On the 28th day of this month, a notorious gunman and bank robber will stand trial for the murder of a fellow convict. If the verdict go against him in the trial, the sentence of 199 years will be changed as well. Stacey will finish his life sentence in the electric chair. Yeah. If I'm still here, I'll sit in it. Mr. Ross Hart, are you prepared to sum up for the defense? Not just yet, Your Honor. With the court's permission, I should like to put one more witness on the phone. My client himself, William Stacey. While I was standing the traffic, it seemed to be a little hard to move. I realized that. Only to the stand. That happens. I've got a guy at the window with a signal. Truck is parked just below the courtroom. In the alley. Trial and laundry, just below. In the alley. Park just under the window. Three stories. Sure. I know. Three stories. During the process of five to twenty years for manslaughter, I now call William Stacey as witness on his own behalf. William Stacey takes a stand. They call me to the stand. I start walking toward the stand. Only I don't stop. I'll stop walking. Don't stop. Don't stop. Don't stop. Hey, get back here. Stop in there. The window. I told you. I don't know what to say. You testify against Stacey. Bring him to trial. Your newspaper covers a successful prison break with pictures of the criminal escaping, and you know nothing about it. Well, nothing to say, Ross? Nothing. Gallagher, bring Feather Miller in. All right, Feather. This way. Come here, Feather. Yeah, warden. You know this man? Yeah, Ross. Repeat what you told me this morning. Well, I... Go on, Feather. Go on. That was the day he squealed on Stacey. I fought him together in the jute mill, and they were standing behind some bales and they were speaking. And they shook hands, and the day after that, Ross went into your office and he squealed on. You're dirty little... Cut it! Well, Ross, still got nothing to say? That's right. Okay. That break you were going to get from the parole board seems to have backfired, Ross. But I'll give you one more chance. You give me the lowdown on Stacey's escape, and tell me who helped him. I'll give you your first grade stripe and put in a word for you, for the board. If you don't talk now, you'll do your 20 years, Ross, every minute of it. All right, Gallagher, take him to the hole. You haven't got anything on me. I don't know where Stacey went, but I'm glad he made it. I'm in here in a foamy rat, and I'm not taking a sing from anybody around here anymore. Rules don't mean a thing. Come on. I'm going to be just as mean and dirty and hard to handle as the worst con in the joint. And I'll flood the first guy's rat or screw that crosses me. Come on! Stacey, do you want me to open it? Wait a minute. Get over there and cover the door. Johnny, you beat it in the bedroom. Right. All right, bud. See who it is. Who is it? It's me, Lockhart. I've got the girl. Lockhart, the girl. Open up. Get in, Lockhart. I brought the girl with me, Stacey. Yeah. Sit down a minute. All right, Groski. Take the tape off her eyes. Put your head up, kid. OK, they're young. My lawyer said you wanted to see me. Yes, I do. What about her? I'm Joyce Temple. I work for the Daily Reds. That's no recommendation. I was engaged to Frank Ross. Yeah? Well? Stacey, you've got to get him out. What am I supposed to do? Send him a pair of wings? What's the matter with his old pals on the newspaper? They're smart, aren't they? They help keep him in, can't they? Work in reverse? I don't know what you're talking about. Rosswood. He said he'd keep his trap shut. But he didn't. He tipped off the paper to the courtroom as crummy-wood reporters and photographers waiting for their break. He had to let his paper, though. He's a reporter. Well, being a reporter blew him right into the hole. I hope he ruts there. You think he double-crossed you? Well, I think he's like every otherwise guy. He had to have a pay-off to dummy up. You don't believe that there's anyone, man or woman, that money won't buy, do you? Well, is there? Look at Garski. Look at Bed. Weasel with a punk cigar. He just pays you to suck out that window. And look at Lockhart. Look at me. I am looking at you. And it's making me sick. What do you mean by that last crack? Now you're out of town, Garski. Go on. Let him beat me up. That's right in your line, Stacy. Standing by while your gunman do the dirty work. I'll listen. You listen to me. Frank's been up there for five months waiting for you to help him. Five months in the hole while they try to make him talk. Well, he hasn't talked. But you didn't pay him to keep quiet, did you? No. He kept his mouth shut because he trusted you. He thinks you're his friend. He doesn't know you never heard of the kind of loyalty that money can't buy. He doesn't know you're just a dirty, cheap hoodlum who never did one decent thing in all your life. Whoever done anything for me. Frank Ross. He's doing it right now. In the hole at Rocky Point. I met Ross. I thought he was square. But first on the level guy I ever knew. He is. Then I wasn't so sure. What did he tell us paper for? Because he couldn't help it. Because it was a great story. Yeah. All they would have me do was a picture of the truck and the driver. It wasn't a picture that sent him to the hole. There was a convict who saw you in prison and Frank talking. His name is Feather Miller. He told the warden. Feather? Are you sure? I got the story last week. A man who just got out. You know what would happen if Frank talked? Garski's been seen around. He told them Garski helped you. They placed inside of a week. That's why you've got to help him because of what he's doing for you. Put the tape on her eyes. Oh, listen up. Put the tape on her eyes and get her out of here. Come on, kid. All right. There's just one thing. Don't talk, kid. You know what's good for you. Don't talk, kid. Don't talk, kid. Don't talk, kid. Don't talk, kid. Don't talk, kid. You know what's good for you. Go ahead, Lockhart. Give me your hand, Miss. How do you like that dame? Walking in here and shooting a... Shut up, Garski. Huh? And listen. If I ever catch you raising your hand to a dame again, I'll back your brains in. Well, for the love of... Shut up, I said. Johnny. Yes, I see. There's a guy I want to see. Go out and bring him in here. His name is Shake Edwards. I don't know. You leave me, Stacey. I don't know anything about it. I didn't have anything to do with it, don't it, Stacey? I'm waiting, Shake. Who are the guys who stuck Ross in that car? I don't know what I tell you. I... You want me to refresh your memory? Now talk. Don't... Don't, Stacey. Talk. All right. All right. I'll tell you, Stacey. I'll... Go ahead. There... There was two of them. They put Ross in the car on top of the hill and busted the bottle. They put Ross in the car on top of the hill and busted the bottle of booze all over the bank. Who are they? One was Charlie Lang. He skipped out to the coast. He'll never find him. And the other guy? Come on! It was Feather Miller. He's in Rocky Point. Yeah. That newspaper is making things hot. The D.A. sent him away on an old wrap to keep him out of the way. All right. Putting him in a safe. That's all I know. You can't blame me, Stacey. That's all I know. Yeah, Brad. Toskey. Call Lockhart. Get the boys in. I want to see them. In Rocky Point. That's not going to help much, Stacey. We can't get at him. What do we do now, Stacey? We get at him. What do you think? Oh, sure. We just take off the kelly at the prison door and say, please, can I talk to Mr. Feather Miller? It's too hot, Stacey. It's the frozen. We do get the guy. Where's the pay off? The pay off. We get Ross out. That's the pay off. Why don't you take it, Stacey? Yeah, that's what I say. Go fool around in Rocky Point. We'll get paid off with a slug in the belly. And I ain't taking that to Ross nor nobody. Okay. Get out of here. Beat it. There's not a thing you can do, Stacey. Not legally. They never let me get near that Miller guy. All right. So why should I suddenly get legal? I've been doing all right the other way. I don't get it. Look, most of the guys in this world are a bunch of heels. You included. Yeah? I always said if I could find one right guy, I'd do anything for him. Well, maybe I got my chance. How? I'm going up to Rocky Point. Myself. Listen, Stacey, don't be a fool. I can reach Miller. You mean you're going to give yourself up? Yeah. You're getting bright. Look, Stacey, I'm your lawyer. But if you pull a stunt like this, I'm through. I don't want anything to do with it. Sure. I told you you were a heel. Listen to me. They'll throw you in for life, Stacey. They'll shove you down in the holes of your rock. I'm warning you. Don't be a sap. I broke out of that pen once, and I can do it again. They haven't built the jug yet that can hold me. I'm going to give you a little bit more station identification. This is the Columbia broadcasting system. In just a few minutes, George Raff, Franchotone, and Lynn Barry will return in Act 3 of Each Dawn I Die. And now, I don't think you'll find it hard to guess who this might be. Man, what an afternoon. Working right up to six, and now I've got to change and get to the canteen by 7.30. Well, that could be any woman in the country. It might be a famous Hollywood star who's just finished her day's work at the studio and is going to be serving sandwiches at the Hollywood canteen tonight. And whether she lives in Hollywood or Chicago or Cleveland, this busy lady is very likely to say, Oh, I'm glad I'll have time for a good, relaxing, locked toilet soap bath. This I treat myself to a nice new cake. And if it happened to be Barbara Stanwick or Irene Dunn or Marlena Dietrich, for instance, I've always used our complexion soap as a bath soap, too. Lux soap makes a wonderful beauty bath. Busy women everywhere have discovered something. That creamy lux soap lather seems to float away dust and dirt in the twinkling. Leaves my skin fresh and sweet so that I'm sure of dangerous. Yes, active lather does the trick. It's thorough, yet it's gentle, too. When you step from your lux toilet soap bath, your skin feels satin smooth, exquisitely fresh. Women say this fragrant relaxing bath is wonderful as a quick beauty pickup. They enjoy the delicate lux soap perfume, too. A perfume like the fragrance of many lovely flowers. And here's a thrift tip. Lux toilet soap is hard milled. That means each smooth cake can be used to the last thin sliver. Why not get some of this fragrant white beauty soap tomorrow? Now, Mr. DeMille returns to the microphone. I'm going to bring the stars out to the play. But now here's the third out of each door and I die. Sarring George Raft, Franchotone, and Lynn Barry. With a life sentence hanging over him, Stacey walked through the gates at Rocky Point and gave himself up. Stacey's back. Stacey's back. He walked in the front gate like he was going for a stroll. He's a treasure, not Stacey. Stacey's down just carelessly in an armchair. The cigarette dangling from his lips. He's very sure of himself. Cool and arrogant. Why'd you come back, Stacey? I like it here and I got lots of them for my friends. I'm afraid you won't see much of them for quite a while. You know what this means, Stacey? Sure. It means the book and the whole according to the rules. But not that it works out. Now, do I get that push-line cell in solitary or don't I? Anytime you say. Thanks. Oh, by the way, are you still holding Ross in solitary? Yes. Why? Well, I sort of figured you could let him out now that I'm back. I mean... Why are you so interested in Ross? Well, I'm not. But I don't like to see a guy taking punishment for nothing. Did Ross help you make that break? You're still myself all right Stacy what happens to Ross I'll let him out of the hole and you go in okay Stacy I guess you know the way don't you yeah looks familiar what are you doing this time the wardens as the book you never can tell Ross all right Ross come on you're out you're out you've got new tenant for this place hi your Ross oh so they caught up with you they slammed you right back where you belong didn't they yeah well I'm glad I'm glad they got you here sure that's all right take it easy kid come on Ross inside Stacy okay lock it up good and tight I might decide to go for a walk I mean to say you didn't know Ross I thought they caught up to him caught up to him nothing he gave his son with why what for a red you saw him and they tell you no he didn't say a thing yeah watch yourself Pete's looking okay listen everything's set yeah what time three tomorrow afternoon I didn't the Jude mill it's the best place Joe's gonna be on the door at three o'clock they open it for a couple of bales move over and stall around until we get him open to be guns inside how many I don't know but enough wait a minute is this a break yeah it's a break didn't you let him in red I didn't know what he wanted we want every guy in the middle except for the right told you that we need him well you'll have to get along without me to yeah why because I think you're nuts what chance have you got suppose you do bust out of the mill there's still a wall to get over we'll take care of that when we get to that's a great plan run up against a wall and then figure a way out are you with us or not no I'm not even if you had a chance I wouldn't be with you what do you want to do rot in this place I'll rot before I see you send every man out there to get a slug in his head all right Ross but I'm warning you if you know what's good for you don't talk 30 seconds more 36 suppose the guns are late they won't be I start walking to the door and keep your eye on feather Miller if he makes a move safe on top of the machine on an oil engine that goes the door that's a bail the second one but a boy's moving yeah where's Pete over the left all right start over in the bail yeah come on come on tight I got the rope twisted right now get over here screen the bail as much as you can here they are they almost a Tommy down here get it out quick let me up I'll take that hand it over here's Pete quick grab a gun and you're going to run out bail get away from me I'll let you have it why you all I hate get out of the hole keep over through the gate you guys with guns take care of the guards remember get every gun you're going to get out of the pieces before you get to the main game shut up along with you if he tries anything funny put a slug in and then Mr Mason a break in the jute mill at Rocky point prison break get a hold of Jerry tell him to beat it up there Jerry Phillips quick they've got the warden locked in his office they're holding him as a hostage any of them get out yet no the state guards been called they're surrounding the prison hello hello Jerry get a car and meet me downstairs we're going up to Rocky Point wait a minute Joyce I didn't say you I'll call you as soon as I get there crazy all of you put up those guns they'll call those men back out of the yard I'm giving the orders warden you're going to call the main gate and tell them to let it through you're digging your own graves you do as we say you're digging yours listen big shot you somewhat a couple of your guards just got I give that order and quicker I'll blow your hair all over the ceiling go ahead and kill me you're still can't get away with this all right one Joe I'm going down to the yard if those gates aren't open in 10 minutes knock them on yeah a pleasure we see it your warden warden well let's install for time they can't win I'm glad you're not in on this Ross you're using your head I'll make my own break when I'm ready I got the keys Stacy what goes we've got the warden we're holding him in the office some picnic huh who's running deal come on Ross with you in the office yeah and listen I got two guys watching something you said you wanted to see him yeah I do you got a gun red yeah give it to me I'll be in the warden's office it's better and bring him in there how's it going fellas having fun they went down the yard he's going to stall the warden over there listen Stacy you've got brains tell these guys they haven't got a chance let's take it up later Ross I've got some business to take care of they got the state guard all over the place even if they open the gates now they'll never save it hi your warden I suppose this break was your idea Stacy no but as long as it happened I figured I'd play along and you're through you might as well hand over those guns shut up I will finish you right now you better not show you'll need him for dickering later on get up to that window see what's happening you want to yet you make out where out through the back door where they carry the steps all you got to do is pick the screws off the wall get some rope from the twine there and lamp over it's too late for that dales plans didn't cover the back door no too bad I wasn't around to help close that door wait a minute let me through let me in come on in red you're here Stacy oh hello feather how are you look Stacy I'm not on in this I want to get out of here go over there and sit down come on it's up to you you know any prayers no bother the Sam they won't do you any good now warden come here well sit down and write a note tell them we'll release you if they give us a chance to come out alive my orders in case of Ryan are to keep firing regardless of the safety of any official or guard those orders will stand okay Joe here what he wants here's a chance to be a hero Joe get out the back and across the rivers in charge of that twine no on the ceasefire and we surrender I ain't going I'll be killed you'll be knocked off in here to know I won't do it I'll open the door for you beat it no listen Stacy come on now I told you Stacy you can't get out there you yeah looks like they don't want to play what's the matter you hit yeah how bad bad enough I guess come on pick him up put him on the couch dollar don't move me isn't there anything I could do not a thing it doesn't make much difference anyway hey wait where's that feather guy you want him Stacy where is he feather come here hurry up I haven't got any time to waste funny yet an hour ago I had a hundred and ninety nine years to do now I got no time get over here feather hold on where I can see him what's the matter Stacy hand me a gun before well right caught up with you at last they done nothing don't shoot me Stacy I ain't done anything I know I know Gordon is a bird wants to sing about Royce he gets snapped I don't know what you mean Stacy I was just a sample feather off by an inch the next time I won't miss listen Stacy I don't know what you're talking about come on come on no don't shoot don't you're ready to talk yeah yeah okay warden this is a confession and it's going to spring oh remember okay start sing frame Ross I did but I didn't mean to have nobody get killed how did you frame I knocked him out and then drove him off for a couple hours and planted the liquor in the car here and started the car down the hill and jumped out yeah but I didn't mean anybody get killed shut up hit enough for one plenty okay let the wrap go you can go in Ross Stacy wants to see you thank you what may I go with him to you miss Temple I just like to thank him for what he's done very well go ahead Stacy it's me Ross Ross yeah who's that with you your girl huh I wanted to thank you get it you want to get out of us in a couple of days that's that's great I'm going out to my way but you can pull through this if you want to try Stacy will you know I'm glad for one thing I finally met a square guy so long Stacy funny I was saying just a couple of days ago they haven't built the jug yet that can hold me I was right wasn't I exciting is the word for each door and I die and exciting is the word too for the performances given by George Raft Franchotone and Lynn Barry and here they are at the footlights now thank you CB and glad to be back with you again that's good George because I have an assignment for all three of you starting tomorrow what's the name of the play CB that isn't the play front Joe it's a victory garden when George Raft growing vegetables is something I'd like to see what's wrong with that Lynn I've got a lemon tree in the backyard right now now look George if you're a little shorter space I got an idea you can take care of my gardener I'll give you half of stuff just think of all that good spinach spinach are you kidding I'll throw in a few eggs I got some chickens to watch you're awful in wait till I've got a garden how do I find out what and when to plant Mr. DeMille well you you can write to victory gardens Washington DC or get it from the newspapers or magazines Lynn now George I'll make you an offer you take care of my garden and you can have all the food you can use at your house and I'll give you a cow to all that's pretty generous CB I accept what kind of a garden have you let's see there's about ten acres of corn about ten acres of squash about ten acres of potato and there's about a hundred wait a minute the deal is off but I haven't told you about the carrots and the peas and the beans and the cabbage yet nice little garden you have there for it it's really a farm franchise you eat some of my vegetables at the Paramount Commissary I'd like to urge everyone who can plant a garden to do so but it's it's a little let's not be grim about it because it's a lot of fun there's no reason under the sun why everyone can't sell part of his own food problem in his own backyard and have a good time doing it but if I'm going to plan a garden I'd better get in an extra supply of luck toilet soap I'll bet it feels better than ever after a day in the garden and your complexion will certainly need the right care by the look of things you and luck soap have been very happy together Lynn well what's on the fire for next week CB something very unusual French off because next Monday night one of Hollywood's newest finds will star in one of our plays before he appears on the American screen his name is Pierre or month and within a few weeks you'll hear a great deal about his screen performance in the new Metro Golden Mayor picture assignment in Britain it he came to watch the play tonight to see how we do things so right now I'd like to have you all meet Mr. Pierre or month thank you very much in the middle I think you have forgotten the most important thing however oh yes of course of course ladies and gentlemen next week in the Lux Radio theater this fortunate young man is going to play opposite Miss Lana Turner you see what I mean before the war Pierre was one of the big stars on the stage and screen in France on the day war was declared he reported to his command in the French tank car I'll ask Pierre himself to tell us the story of what happened to him after that tragic month of June 1940 when France fell to the Nazis well most of my comrades were taken prisoner but I was lucky enough to escape I went to Morocco and then to Lisbon and then I caught a boat the United States and when in New York Harbor I saw the Statue of Liberty life began again for me and three days after I was signed by Miss Catherine Cornell and I had the great privilege of appearing with her and then came Hollywood I'm sorry our audience couldn't follow your career from the beginning but suppose we start now by taking a scene from next week's play so that that scene in the police commissioner's office all right ready ready a man called Jean Pelletier is under arrest in the dim light of the police station he faces his accusers they have told you that my name is Jean Pelletier that is true they have told you I am a criminal that is true on March the 14th 1921 I was involved in the robbery of a bank messenger but they have not told you I was also involved in his murder I am confessing now because because I can't go on knowing that I helped to murder a man I have lived with my thoughts for 15 years I can't live with them any longer you may have recognized the play by now it's Crossroads the Metro-Goldwyn mayor dramatic hit our stars will be Lana Turner and Hollywood's latest discovery Pierre O'Mont CB if it's like the sample you just gave us I'll take a full order and good night and good luck to you Pierre thank you very much good night good night good night don't forget that victory garden our sponsors the makers of lux toilet soap join me in inviting you to be with us again next Monday night when the lux radio theater presents Lana Turner and Pierre O'mont in Crossroads this will be the mail saying good night to you from Hollywood George Raff will soon be seen in the Warner Brothers picture background to danger Franchotone's next picture is the Paramount production five graves to Cairo Lynn Barry appeared tonight through the courtesy of 20th Century Fox studio and will soon be seen in their Technicolor production hello Frisco hello heard in tonight's play where Norman Field is warden Dick Ryan is feather and Leo Cleary Art Gilmore Mac Gray Stanley Farrar Griff Barnett Charles Seal Cliff Clark Crayon Denton Ken Christie Eddie Maher Tyler McVeigh Boyd Davis Warren Ash and Fred McCarre our music was directed by Lewis Silvers and this is your announcer John M. Kennedy reminding you to tune in next Monday night to hear Lana Turner and Pierre O'mont in Crossroads before the war three out of four Americans didn't get enough vitamins with food shortages and rationing you're more likely than ever to be vitamin deficient so for extra vitamins get them follow these two simple rules rule one