 Hollywood, California, Monday, August 31st. The Lux Radio Theater presents George Rath in Cheating Cheaters with June Lang. It presents Hollywood. The makers of Lux toilet soap, official soap in all the leading motion picture studios, again brings you an hour with Hollywood's outstanding celebrities. Tonight, you will meet George Rath, June Lang, Cecil B. DeMille, Gloria Swanson, Donald A. Loomis, Lois Silvers, and many others. It is also our privilege to have in our visible audience such guests as Henry Watworth, Dean Janice, Lois January, Maxine Jenny, Sari Maritza, and Virginia Pine, and to all our listeners, greetings from Lux. There's an excellent reason why Lux toilet soap is used by 9 out of 10 screen stars and by lovely women everywhere. This pure white soap with its delicate fragrance and active lather removes cosmetics thoroughly, protects daintiness, and brings you the charm of a clear, smooth skin. It's Hollywood's beauty care, yet it's so inexpensive that everyone can enjoy Lux toilet soap every day. And now our producer. At present engaged in making his 63rd picture, he has started more actors and discovered more stars than any man in motion pictures. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. In 1916, the famous Al Woods was a hit and run manager with a hit on Broadway that ran for many months. Also enjoying his run in those days was a delivery boy by the name of George Rath. Many times, young Rath passed the theater where Mr. Woods' company was performing, but the play Cheating Cheaters meant no more to him than he did to the swirling crowds on the busy streets about him. But tonight, 20 years later, George Rath stars in Cheating Cheaters in the Lux Radio Theater. Born and raised in Hell's Kitchen, the handsome young delivery boy enjoyed his rounds until he entered the ring. Then they brought him nothing but punishment. After his 25th professional bout, he woke up in Bellevue Hospital. George was a leading man even then, but he'd been caught leading with his chin and his dream of becoming lightweight champion was over. He next tried baseball as a minor league player, but his hits were all ahead of him because of the batter he couldn't get to first base. But after being fired, he struck out once again, this time for a new profession, dancing. And the feet that couldn't cover the bases or hold him upright in the ring brought him immediate fame on the stage. He starred in musical comedies, introduced a dance called the Charleston, taught King Edward VIII, then Prince of Wales, how to do it, and was the highest paid American dancer to tour the continent. Coming to Hollywood for a vacation, George was seen in the Brown Derby restaurant by a director who thought he'd make an ideal screen gangster. A few weeks later, the delivery boy from Hell's Kitchen was delivering lines in a studio. June Lang, our leading lady, has the distinction of being twice discovered by the movie. A dancer since the age of five, June was given her first part when only 14. Last year her contract expired and she was dropped. But Daryl Zanuck rediscovered her in an old test, called her back, and gave her leading parts in four recent films, Captain January, The Country Doctor, Every Saturday Night, and The Road to Glory, in which she plays the only feminine role, and is starred with Warner Baxter, Frederick March and Lionel Barrymore. Tonight, we hear her in the part of Ruth Brockton, and now the curtain rises on the Lux Radio Theatre, presenting Cheating Cheaters, starring George Rath with June Lang. We're on the boat deck of the liner Argyle, four days out of Liverpool. It's late evening, and in the shadow of a lifeboat, Tom Palmer, played by George Rath, and Ruth Brockton are sitting close to each other in deck chairs. As they gaze out over the moonlit waters, Ruth breaks the long silence. You lied on the crest of a wave. It's beautiful, isn't it? Getting poetical. How little. That's a good sign. How do you mean? Well, now maybe you'll pay a little attention when I tell you how I feel about you. I've been paying attention. You haven't done very much about it. I meant every word I said. Perhaps you did with the ocean and the moonlight. But where do we dock in New York? You'll forget me soon enough. Just like that, eh? Uh-huh. Well, you're wrong. You can't get rid of me as easy as that. I'll make you listen to me if I have to follow you clear across the country. And the villains still pursued her. Right. Oh, Tom, you're mad. Do you realize we've only known each other four days? That's long enough for me. I make up my mind pretty fast. If the steward hadn't accidentally put us at the same table, you wouldn't have had a chance to make up your mind at all. That's right. Remind me to leave an extra large tip for the steward. He's a great guy. Oh, I wouldn't give him all the credit. Who else is there to thank? Well, if my father hadn't gone to Antwerp to add a few jewels to his collection, I wouldn't be on this boat. Three cheers for your father. And if my mother hadn't decided she needed a sea voyage, I wouldn't be here either. Yes, that's so. Well? Go on. Say it. Oh, all right. I'm glad your mother decided she needed a sea voyage. Well, now we're getting someplace. Yes, that's what I'm afraid of. Well, there they are, Mrs. Palmer. I told you we'd find them cruising on the boat deck. Hello, Dad. Hello, Mrs. Palmer. My dear, we've been looking all over the boat for you. What's the matter, Mother? Mr. Bracken was afraid Ruth would catch cold up here, Tom. It's getting terribly chilly. Oh, I'm all right, Mrs. Palmer. Better get a steamer blanket if you're going to stay. There's a fog coming up. Hey, looks like you're all right. There goes your moon, Ruth. Oh, by the way, Ruth, I've quite a surprise for you. Yes? Mrs. Palmer just told me that she and Tom are taking a house in the country. And where do you suppose it is? Where? In Westchester. And if I'm not mistaken for Mrs. Palmer's description, I believe they're going to take the old Bosto mansion. Why, that's only about five miles from our place. Isn't it a coincidence? Well, there you are. Yes, I won't have to make that cross-country trip after all. What's that? Nothing much, Mr. Bracken. Tom, this fog is getting thicker every minute. I think I'd better go down. All right, Mother. I'll take you to your cabin. Good night, Ruth. Good night. See you at breakfast. Good night, Mrs. Palmer. Good night. This way, Mother. Well, Tom... Wait till we get away from here. To get the dope. Shut up, I tell you. You want to crab everything? Say, don't talk that way to me. I'm getting sick and tired of acting the part of your old lady without taking any gup. Listen, Rosie, you're supposed to be my mother, and you'll go on being my mother until I say so. I'll take it or leave it. All right, all right. All I want to know is did you find anything about the Bracken jewels? Yes, Bracken keeps them in a safe at its place in Westchester. Oh, yeah? Well, they've fallen swell for the mother and son stuff. We can move right up there next to them, and they'll never be the wiser. Pretty slick work, Tom. Yeah, maybe it's too slick. What are you talking about? Say, you ain't fallen for the dame, are you? I don't know. I feel like a heel. That's all. Telling her I'm nuts about her than turning around and copping her old man's jewels. Oh, so I was right, huh? You have fallen for her. They get it, will you? Sure. Maybe you better forget it, too. I'm going to my cabin. This fog is as thick as pea soup. See you in the morning. What, the devil? Tom, what's wrong? I don't know. Sounds like they're reversing engines. Root. I've got to find Root. Come on, hurry up. Don't leave me here alone. Root. Root, where are you? We've hit an iceberg. We're the first. Get to the boat. Oh, wait, my boy. Somebody help me tie my sword. You think you need to lift? We're sinking. Root, Root, where are you? Oh, Tom. Are you all right? Yes. Where's your mother, Tom? We're sinking fast. Look, those sailors are launching the boats. They're going down by themselves. Stand back there, you men. Stand back. Oh, find the boat for yourself. Listen, you men, I've got a gun here, and I'm not afraid to use it. Now, stand back or I'll blow you to bits. Now, free that boat. Go on. If any man gets in there before a woman or child, I'll shoot the kill. Root, get in that boat. Let me in, too. Let me in. All right, mother. Go on. Hurry, Root. Tom, what about you? Never mind me. Get in there. All right, men, work fast. Play that boat and lower away. Stand by those naffets. Watch that line. Come on. Come on, you men. Hurry up. The fact that no lives were lost in the Argyle disaster was due chiefly to the heroic work of an unidentified man who induced order at the point of a pistol. That's you. Unidentified? Yeah. All I need is to have my picture spread all over the newspapers. Might start a little excitement, anyway. I'm getting sick of hanging around up here in the wild westchester with nothing to do. It was your idea to take this house, wasn't it? Sure, but I expected a little action before this. We've been living up here two whole weeks and what's happened? Not a thing. We ain't even seen the Brockton's. Take it easy, Rosie. I know what I'm doing. Yeah. Well, you're the only one who does. What would you like me to do? Walk over and ask for their jewels? You could at least go and see the Brockton's. Pay him a little social call. You know, like you dropped in by accident. In society, Rosie, you don't make social calls unless you're invited. Oh, yeah? Since when are you an expert on etiquette? I know enough for that. You must have been reading again. Listen, Tom, my idea is this. Go on over and make yourself sociable. The game likes you. You know that. You can get a line on the joint and spot the safe. Then Mike goes over at night, of course, and cracks it open. That's your idea. Well, why not? That isn't sitting around twiddling our thumbs. We laid out plenty of shekels for this setup and so far, all I've done is act polite to delivery boys. I'm getting fed up. Take it easy, Rosie. Rome wasn't built in a day. There you go, putting on the dog again. Hello, boss. Can I come in? Sure, come on in, Mike. Hey, look, boss, I got a beep. Yeah? Still it. Well, it's easier show for clothes you got me wearing. The colors choking the daylights out of me. Oh, shut up. Who's talking to you? Shut up! Shut up! Keep quiet! We didn't come up here to fight. No, we came up here to lay our hands on a quarter of a million bucks worth of sparklers, but I don't see us doing it. We got the Stuyverson collection in France, didn't we? Say, that job ought to net us a half a million easy. Sure, but I ain't no piker. Besides, those Stuyverson rocks are as hot as a live coal. Hey, that's right, boss. We can't get a fence to touch them. Hey, what's going on? Come on, enjoying the party, Phil. You're looking mad, Rosie. I am mad. Hey, Phil. Huh? Where's your tie? What do you mean? I said, where's your tie? You're supposed to be the butler around here, aren't you? Ah, now listen, I don't mind being a butler, but I gotta have something to bottle, don't I? Yeah, me walking around here's my hands. What am I saying? What am I saying? Get up! Get up! I'm running this deal, not you. Well, let's get started then. We'll get started when the right time comes. As it stands now, we ought to be glad of a chance to lay low. You mugs don't seem to remember there's a dick on our trail. You mean Ferris? I mean Ferris, the best jewel detective in this business. If he ever gets wind that we're after the Brockton jewels, it's curtain for us. And quick. Say, who is this guy, Ferris? Has anybody ever seen him? No, that's just why we gotta be careful. We've gotta watch our step every inch of the way. Well, it's okay with me. Answer that, Rosie. Sure. Hello. Yes, this is Mrs. Palmer. Oh, hello, Ruth, dear, is the Brockton dame. What'd you say, dear? Of course. Just a moment. She wants to speak to you. Give me the phone. Hello, Ruth. Pretty well. How are you? What? Well, yes, I think so. Wait a minute. Mother, Ruth would like us to come over for tea. Do you think we could make it? You bet your sweet life we can. Hello, Ruth. She says she'd be delighted. All right. Thanks. Goodbye. That's Steph, boys. Tea at the Brockton. Stepping in high society, eh? Yeah, put on your best rags, Rosie, and do your best to act like a lady. Don't worry about me. Mike, you'll drive us over. Wait there for us. Oh, sure, sure. And remember, no gassing with that servant. Not even a word. Boy, this is a break. Right in the same house with the Brockton jewels. This may be the big chance you've been waiting for, Tom. Yeah, maybe. Another cup of tea, Tom? Tom. Oh, uh, no thanks. What's the matter with you? Nothing, why? You've been sitting here all afternoon, looking like Blue Monday. All I can get out of you is yes and no. Well, uh, I'm not always as talkative as I was on the boat. Yes, I've noticed that. How does it feel to be an unidentified hero? All right, as long as I'm unidentified. Who would have be such a tragedy if they found you out? Well, uh, you never can tell about those things. Mmm, modest man. I wonder where our respective parents are all this time. I think your father said he'd show Mother the Garden. More than likely he's showing her his jewel collection. She seemed quite interested when he mentioned it. Oh, uh, yes, uh, she's, uh, she's a jewel fancier herself. She seems to be. Dad says she talked nothing but jewels all the way over on the boat. Is that so? She has quite a collection too, hasn't she? Did she, uh, say that? Well, yes, of course. She does have a collection, doesn't she? Oh, yes, the, uh, the Parma jewels. Very famous. I thought so. Well, uh, uh, I think it's time we were going. Tom, what's the matter with you? Why do you act so distant? Am I distant? You were different on the boat. Yes, uh, talkative. Too talkative? I'm afraid so. Oh. Then you don't feel the same. About me, I mean. Sure I do. Only, uh... Only what? Look, uh, let's not talk about it now. Someday I'll tell you the whole story. That yellow diamond is the pride of my collection, Mrs. Parma. Oh, it's beautiful. Tom, you must get Mr. Brockton to show you his diamonds. They're just lovely. Yes, uh, they must be. I beg your pardon, Mr. Brockton. Yes, well, sir. What is it? A telegram just came for you, sir. Oh, excuse me, please. This may be important. Of course. I hope it isn't bad news, Dad. Hmm, I'm afraid it is. I've got to leave for Chicago immediately. Oh, dear. I'm sorry, Ruth, but you'll have to come along with me. Must I? Well, you can't very well stay here all alone. No, I suppose not. Oh, Mr. Brockton, if Ruth doesn't want to go, why can't she come over and stay with us? We'd love to have her, wouldn't we, Tom? Why, yes, of course. Well, I... Well, it's awfully nice of you. If it's not too much of an imposition. Nonsense, my dear. We'd be offended if you didn't come, really. Well, all right. Thank you. Oh, I just thought of something. I can't walk off and leave my jewels here, and the bank vault is closed. Hmm, that's a little difficult. Unless, of course, you'd like to leave them in my safe. That's... of course. Why didn't I think of that? That's an idea, Dad. I could bring them over to Mrs. Palmer's. I'm sure they'd be all right in Tom's safe. Well, I hate to burden you, Tom, with a responsibility like that. Those jewels are worth a fortune. Certainly, that's why we want them. I mean, to keep them safe for you. Very well. It's really awfully nice of you. Oh, not at all, Mr. Brockton. No, not at all. I'll come over as soon as Dad is packed, Tom. And I'll bring the jewels with me. Fine. Well, we'll run along. See you soon then. About an hour. Come on, Mother. Goodbye. And thanks again. Oh, don't mention it. So long, Ruth. So long. Don't forget, dear. Hurry over. I will. Well, it worked. Where's Wilson? It was perfect. Perfect. They've gone on. Come here, Wilson. You certainly made a great butler, didn't you, Ruth? Not so bad. Not so bad. Say, that was terrific. They fell for that phony telegram like a load of bricks. What's the next move, Ruth? I spend the night at the Palmer's. Put our jewels in there safe. Learn the combination. In the morning, we'll have our jewels and the Palmer collection. Well, then I can stop playing popper and have a little fun. Take it easy, will you? We ain't got the Palmer jewels yet. And there's still Ferris to worry about. Oh, stop calamity, Howley. If Ferris was on our trail, we'd all been in jail weeks ago. Well, there's another thing I don't like so much. Letting those jewels get out of our hands. We had a tough enough time snatching them in the first place. I don't like throwing them around like this. Now listen, Ruth knows what she's doing. She's the best little crook in the business. A plan can't fail, can it, Ruth? Hey, hey, what are you dreaming about? I was just thinking. We could hide the same energy and resourcefulness to being honest. We'd probably all be rich. Yeah, well, we'll be rich anyway. Say, Ruth, what's getting into you? Is it that guy Palmer? That guy Palmer, as you call him, is all right. I hate lifting his jewels this way. Listen, baby, you better forget him. You ain't no match for a high society mug. No, I guess I'm not. Well, come on, what's the layout? How do we get the Palmer rocks? Leave it to me. When he puts our jewels in the safe, I'll be right there with him. Get the combination. And you come down in the middle of the night and lift his and ours both. Right? That's it. Swell. You know, it tickles me pink to think of them suckers driving home without a thought in the world. Yeah, I can just see their faces when they wake up tomorrow and find their rocks has gone bye-bye. Say, what fuck are these rockings must be? Laying their jewels right in our lap. Yeah, it's perfect. Yes, you had the right hunch, boss. Laying low like this till the time was right. Yeah, the Brockton jewels are crackly in our pockets right now. Well, it looks like a good day's work for us. Now, before we resume the story of cheating cheaters with George Rath and June Lange, let's breeze over to the Paramount Commissary. It is gay with waitresses in green and orange dresses and extras in costumes hungry for their lunch. Near the window is a very pretty extra with a friend and the extra says... Well, which are you going to pick? The 35 standard? Oh, I guess I'll have to. Wish I could plunge on an expensive lunch once or have somebody buy me a few. Where's Dan? He used to buy you tons of lunches. Oh, he's gone. Oh man, sure are tickles. I heard he's taking Jane out these days. Oh, not really. Jane? Oh, I don't believe it. Well, I mean it will. Jane hasn't a thing to recommend her, except of course her lovely skin. Well, apparently that does the trick. Dan always did notice the girl's complexion. He used to pay me compliments on mine for it went so sad. All men prefer the girls who have soft, smooth, clear skin. A lovely complexion is appealing, so it's important to guard against cosmetic skin, dullness, tiny blemishes, enlarging pores. No need to take this risk if you use luxe toilet soap. For luxe toilet soaps, active lather sinks deep down into the pores, removes every trace of dust and dirt, stale rouge and powder that might remain to choke them. Use cosmetics all you like, but protect your skin. Remove them thoroughly. You do this when you use luxe toilet soap. So make this the beauty care you use. And once again, Mr. DeMille. We continue with Cheating Cheaters, starring George Raft as Tom Palmer and featuring June Lange as Ruth Brockton. Two gangs of jewel thieves working at cross purposes. Each gank intent upon robbing the other of a valuable collection of diamonds. This is the situation as our curtain rises again. It's early evening in the living room of the Palmer home. Tom and Rosie, whom he calls his mother, are entertaining Ruth Brockton. They are more than welcome guests. Mrs. Palmer, your dinner was grand. I must thank you again for letting me impose upon you. No, no, not another word. You're embarrassing us, isn't she, Tom? It's a pleasure to have you, Ruth. Thanks. Oh, by the way, Tom, I do hope you've taken good care of Ruth Jewels. Well, uh, no, uh, not yet. I was going to speak to you about that. I think we'd better put them away. I brought them down with me. They're in this box. My dear, you mustn't let them lie around like that. They may get lost. Tom, open the safe for Ruth. Yes, Mother. Come over here, Ruth. Oh, is it in this room? Yep, behind this panel. Watch. Well, isn't that clever? No thief would ever think of looking for it there. Well, if someone did find it, he'd get a big surprise when he tried to open it. You see, the combination dial is charged with electricity. High voltage. You mean, if he touched that dial, he'd get a shock? A couple of thousand volts. Oh, would it kill him? No, uh, not instantly. Oh, I see. The torch would last about ten minutes unless someone turned off the switch. It's hidden right here in this bookcase, uh, see? Oh, yes. Don't you think you'd better turn it off for a moment? Of course. There you are. Now, just a second till I work the combination. Isn't that interesting? I've never seen a safe open before. This happens to be a pretty good one. Simple, uh, but effective. I can imagine. All right, let's have the jewels, Ruth. Here you are. Are the Palmer jewels in this safe, too? Oh, yes. We're very careful about our collection. Well, if you keep yours there, I guess mine is safe enough. Of course, dear, of course. I beg pardon, Mr. Palmer. Yes, Phil, uh, what is it? Mr. Morton Hanley to see you, sir. Morton Hanley? Uh, the gentleman who's been calling you all afternoon. Oh, uh, yes, uh, did he say what he wanted? No, sir. Just that it was very important. Important? Oh, uh, all right, uh, ask him to come in. Very good, sir. Would you rather see him alone, Tom? I can run upstairs. No, no, uh, don't go. It can't be as important as he thinks it is. If I were you, Tom, I'd close that safe. You never know who it might be. All right, mother, but don't be so jumpy. Well, close it anyway. There. Does that make you feel better? Thank you, dear. Mr. Palmer is in the living room, sir. Thank you. Thank you. Oh, good evening. Good evening. You are Mr. Palmer? That's right. Would you have a seat? Thank you. My, uh, my name is Hanley. I represent the Dexter Hero Foundation. Oh, yes, uh, this is my mother, Mr. Hanley. How do you do? And our guest, Ms. Brockton. How do you do? Ms. Brockton, Ms. Ruth Brockton? Yes, uh, you know her? No, no, not personally, but her name is on my list. You see, Mr. Palmer, I'm gathering testimony from people on board the Argyle. An unidentified man was quite a hero on that occasion, and we really must find him. What for? We're going to award him a gold medal for his valorous conduct. I'm afraid I can't help you. Oh, yes you can, Mr. Palmer. Yes you can. You see, we have it on excellent authority so far that you are the unidentified man. You're making a mistake. Tom, don't be modest. You know it was you. Thank you, Ms. Brockton. Well, your statement completes our chain of evidence. Mr. Palmer, allow me to congratulate you. Just a minute. You said you had other evidence that I was the man. Who told you that? Oh, we have reports from several of the passengers. Dr. Hold, whom you doubtless recall, gave a really glowing statement. But the clearest account of all we receive from a detective, a man named Ferris. Ferris. Excuse me. Did you say he was a detective? That's right. Ferris. I don't recall the name on the passenger list. Do you, mother? I don't believe I do. Well, he may have traveled incognito. Detectives often do one after somebody. Have you seen this, Mr. Ferris? Well, no. I called at his office this morning and one of his assistants told me Mr. Ferris was after a very clever gang of jewel thieves. I see. Very interesting. Well, Mr. Hanley, thanks for calling and please give my thanks to Mr. Ferris when you see him. Thank you. I'll do that. And I hope shortly to have the honor of witnessing the formal presentation of your medal. Well, good evening. Good evening. The butler will show you out. Thank you. Good night. Well, you're going to get a medal. That's exciting. A little too exciting for me. It's given me a sick headache. I think I'll run off to bed. Is there anything I can do, Mrs. Palmer? No, dear. Thank you. Good night. Mrs. Palmer, I'd like to see you before you go to bed. Yes, mother. Good night. Good night. Your mother seems quite upset. Oh, she'll be all right. Well, I guess I'd better run along, too. Wait a minute. Don't go yet. I want to speak to you. I'll be here in the morning. I want to speak to you now. Sounds important. It is. Well? Do you remember what I told you on the boat? Of course. But you needn't worry. I have no intention of holding you to it. I wasn't afraid of that. As a matter of fact, I want you to hold me to it. What? I meant what I said then, and I mean it now. I want you to marry me, Ruth. Tom. Well? Well, are you sure that... I've told you that I loved you. Yes, but... But what? Oh, I can't explain it. It's just impossible. Why? Oh, Tom, you're mad to do this. You don't know a thing about me, not a thing. You're taking an awful chance. So are you. Listen, I've knocked around a lot. More than you think. And I found out something. It doesn't make any difference what a person has been. It's what he's going to be. Suppose you found out something about me that did make a difference. What, for instance? Oh, you can't tell. I might have a secret life of my own that you know nothing about. Maybe I tap every third post or step on every other crack in the sidewalk. For you know, I might even be a thief. You? That's a laugh. Is it? I'm serious, Ruth. We could be married tonight. By tomorrow we'd be away from here. For good. For good? Tom, I don't understand you. Why should you want to leave here? Oh, never mind that. Will you marry me? I can't, Tom. You mean you're not in love with me? I didn't say that. All right. I'm not going to rush you. Suppose we wait till tomorrow. You can give me your answer then. Tomorrow? Well? All right, Tom. Excuse me, sir. Yes, sir. Miss Brockton's butler is here, sir. Oh, yes. I asked him to bring something over for me. Show him in, Phil. Yes, sir. I'll say good night, Ruth. See you in the morning. Of course. Good night, Tom. We'll find Miss Brockton in the living room. Thank you. Good evening, Miss Ruth. Good evening, Wilson. Sorry, I had to bring you all the way over here. Well, that's all right, Miss Ruth. Well, how's it going? Be careful. Everything okay? Yes. Joe's not safe? Of course. You know the combination? I told you everything was all right. Okay, okay. What time do you want me back here? Three o'clock. There's sure to be a sleep then. Three o'clock, right. Well, looks like a good day's work for us. Two o'clock? Well, do we pull the job or don't we? Yeah, what do you say, boys? Yeah, we've been sitting up here for an hour doing nothing. Let's get started. Stay down, stay down. We'll get down for the jewels when I say so, not before. In the first place, we don't even know if she's asleep yet. She ain't no night owl. Shut up. In the second place, I'm not so sure we ought to pull this job at all. What are you talking about? It gave quiet. You all heard what that bird Hanley said. Harris spotted me on that boat. He's got his eye on us right now. Ah, so what? We grab the rocks and scram. Sure. Sure. A lot of smart guys you are. Yeah. She never thought of that. The way I see this is, we lay off the brockton jewels for good. Clear out of here and forget it. And when the fairest thing blows over, we can get together and pull something out. Hey, wait a minute. What do you mean you can get together? Ain't you in with us anymore? Well, sure, of course. You mean we ain't going to grab them rocks, boys? That's what I said. Holy gee, dead hoists. A quarter of a million bucks worth of sparklers, and we got to leave them flat and play tag with a dick. Gee, dead hoists. It's the best thing to do right now. Ah, yes, I guess so. Wait a second, boys. Tom, you ain't fooling me at all. You ain't worried about Harris. No. No, it's that dame. You're soft on her. And you're trying to welch, so she won't have to grab her jewel. What? You're a pretty smart girl, aren't you, Rosie? Smart enough to know when I'm getting a shake down. Hey, now look, Tom. I don't know whether Rosie's got the right dope on this thing or not. All I know is that we sunk plenty of coin into this layout, and there's ain't no time to go back on us. Well, what do you say? Keep your voice down. I'll tell you what he's got to say. He's going through with this deal whether he likes it or not. Because if he don't, I'll queer him with that dame for keeps. I'll tell her what you are. I'll tell her plenty. Yeah, and so lie. You're dirty two-time and double-crossing up. Holy Moses. I warned you to keep your voice down. Now, if you want another snap of that, get up and start yelling again. Now listen, you mugs. I never double-crossed anybody yet. And I'm not going to start now. I'll go through with this job, sure. But this is the finish, understand? I'm through with you, all of you. Now get out of here and let me alone. I told you three o'clock. Is the coast clear? They're all asleep. Well, where's the safe? Over here in the wall. Come on. Use your flashlights. Okay. Did you say on the wall? It's behind the panel. Not bad. Not bad. Now come on, let's get to work. Look out. What's the matter? Don't touch that safe. Full electricity. That's nice. Well, what do we do now? We turn it off, stupid. Look out. That girl. You got the combination? I'll give it to you. Keep your light on the dial. Okay, shoot. 24 right. 24 right. 18 left. 18 left. 6 right. 6 right. Well? That's all. There she is. Wide open. Listen. Huh? There's someone coming downstairs. We better duck. Here. Get behind the sofa. Quick. Don't even breathe. Get out that light, Rosie. Oh, she won't see it. Her room's on the other side of the house. All right, then come on. We'll have to work fast. Well, fuck it. What's the matter? Look at that safe. It's wide open. Somebody's been here. They got in through that window. Look, I didn't get anything. Rosie. All right. We've got to snap into it. Pass that stuff out to me. Come on. Now hurry up. All right. Take your time. Here's the girls, Jules. Now, give me yours. Come on. I got the cover, both of you. Who's that? The Brockton's butler. Wilson's the name, lady. All right, Ruth. Grab those Jules. Ruth, what are you doing down here? She ain't playing marbles. Did you open this safe? Yes, I did. You are a crook, then. Looks like all of us are, Tom. I get it. They're another mob. We thought they were on the level and they're just a bunch of crooks. Hey, watch out who you're calling names, lady. You was trying to swipe our stuff yourself. Another mob. I don't see anything so funny. What's a joke? I'm not sure, but I think it's on me. So that's why you wouldn't marry me, eh? Any objections? I don't see any now. Come on. Come on. Cut out the chatter. We've got to get out of here. Wait. I've got a proposition to make. Yeah? We're all a bunch of clever people. What do you say we team up? You're proud and ours. We'd have a combination that couldn't be beat. But Ferris would never catch up with us. Sure. This is a fine time to offer a partnership when we got the jewels. You haven't got the jewels. Huh? You've got to take them out of here. But you couldn't get rid of them if you went to Mars. That happens to be the Stuyvesant Collection. The Stuyvesant Collection. They're hot enough to melt steel. Well, what do you say? Do we get together or don't we? Oh. What do you think, Ruth? So it's me. Well, now there's all the jewels. I vote we pull the lot and split it 50-50. Okay, but look if you... What's the devil? What's that? Come on, let's get out of here, okay? Hide those jewels. They got them. They're all around the house. Yes. Come on, Ruth, this way. Stand where you are. Everybody. What's the meaning of this? I demand an explanation. Don't give us that. Don't anybody make a move. We've got the whole joint around it. You can't... Come on, boys, round them up. Keep your mouth shut if you want anything to say against you. You sound like an old timer, mister. What's your name? I'll do my talking to the Sergeant. You can bet on that. Well, nice work, boys. You got them all? Yes, sir, Chief. Well, before I grab two of them to the back door, I'd make six, doesn't it? Yes, that's right, Chief, just like Ferris said. Ferris? Oh, so he's in on this, eh? He's had you covered for weeks, all of you. Yes, there you are, Chief. The jewels, the whole bunch of them. Fine. Fine. Well, boys, it looks like a good day's work for us. For station identification, this is the Columbia Broadcasting System. Our play, Cheating Cheaters, continues shortly from the Lux Radio Theater. Eight years ago, a voodoo gymnast injured his back severely while performing at the Hippodrome in New York. He refused to surrender to the doctors who told him he'd be a cripple for life. Instead, he commenced treating himself through exercises. Today he's not only a perfect physical specimen, but he holds what is probably the only job of its kind in the world. He's employed by the Metro-Goldwyn-Mayer Studios to keep their stars in proper physical condition. Ladies and gentlemen, Mr. Donald A. Loomis. Every day I work with such stars as Joan Crawford, Gene Harlow, Louise Reiner, Eleanor Powell, Jeanette McDonald. The beauty and glamour they reveal on the screen are direct results of constant training and strict adherence to regular exercise. The advice I'm about to offer is the same advice I have given to them. I don't mean that if you follow it, a movie contract will be waiting, but I do believe you can develop charm and beauty beyond your expectations. The fact to remember is this. Only through the proper circulation of blood can you have a healthy, beautiful body. And nothing in the world promotes good circulation like exercise. It has no substitutes. It'll take off weight or put on weight. Tone up your skin marvelously and develop a figure such as you now envy in the stars. But you must exercise every day, or at least every other day. Begin gradually, out of doors if possible. For most people, swimming is usually the best form of exercise. But take it easy. Watch your posture. Round shoulders is the most common fault with women. Copy Norma Shearer. Her posture is the best among all movie stars. Cleanliness is all important. An invigorating shower with plenty of lux toilet soap will do two things for you. Free your pores of foreign matter and keep your complexion clear and smooth. I'm glad to say that lux is the soap used by the stars at MGM. Eat, play, and work as you see fit. Don't pass up a good dinner because you're afraid of getting fat, but compensate for the food by proper exercise a little later. Give your body this attention it deserves. And I can safely say that after a few weeks of sensible training, you will feel better, look better, and your whole mental attitude will be completely renewed. You get a different view of these stars than anyone else. Who are the best physical specimens in Hollywood? I'd say Joan Crawford, who has trained faithfully for years. Norma Shearer and Dolores Del Rio. And the men with the best physique, in my opinion, are Clark Gable and Robert Taylor. A couple of weeks ago, Robert Taylor flew 3,000 miles from New York to Hollywood, just so he wouldn't miss a workout. But exercise need not be vigorous. Jeanette McDonald's singing helps greatly to keep her fit. Try singing. It's great for your lungs and chest. And perhaps a little rough on the neighbor's ears. That's why I say never try to do too much of anything at one time. And here's something that may surprise you. When Eleanor Powell does one of her dance routines, she actually uses up more energy than max smelling required to knock out Joe Lewis. That seems to prove that Joe ought to take up dancing. Or that Eleanor should challenge Braddock. In any event, I'm glad to have been here, Mr. DeMille. And if any of our audience would like a little more specific advice regarding exercises best fitted for themselves, I'll gladly try to help. Just address your letter to Donald Loomis, Metro Golden Mayor Studio, Culver City, California. Good night. Good night, Samson. And now we bring you the last part of Cheating Cheaters, starring George Raff as Tom Palmer and featuring June Lange as Ruth Brockton. It's the following morning. We're in the office of the National Detective Agency, where the members of both gangs are waiting for the official proceedings that will put them behind the bars. All are present except Ruth, who is in terrorist's private office. What are they letting us out of here? I'm stiff as a board sitting here all night. Stop beefing, will you? You think the rest of us will sleep me on feather bed? Hey, do you think they got the goods on his force? Enough to send us all up for about 10 years. 10 years? What did you think? That they'd slap your hands and tell you not to do it again? I want to see my lawyer. Say, how did they mad you, Brockton? I thought you went to Chicago. That telegram was a fake. I stayed at the house. Yeah? Well, you see what you get for telling stories. Oh, shut up. By the way, are you Ruth's father? I've never been a father in my life. That's a break for somebody. Hey, just guy Ferris. Is he on the police force? No, he's a private detective employed by the insurance company. Well, good morning, everybody. Hi, Folly. Pull up a chair. Never mind the wife's crack, young fella. Hey, look, Chief, how about some ham and eggs? I'm starved. Oh, you'll all get breakfast over in the tombs. How long do you think you can keep us here? This isn't a police station. It's the office of a private detective agency. That's right. You see, this is just a little stopover on the way to headquarters. As soon as we get a confession, we'll get going. Yeah? Who do you think is going to confess? Well, we're getting one right now. You mean Ruth? What do you think? So she welched on this, huh? Yeah, came through with everything we asked her. You're a liar. What? You heard me, Ruth's no squealer. She wouldn't let us down. Where do you find yourself in the jug, Palmer? Maybe you'll change your mind a little. Hello? Who wants Ferris? Oh, the district attorney. Well, I'll talk to him. Hello? Well, how are you, Mr. Andrews? No, this is Folly speaking. I'm sorry, but Ferris is engaged. Getting a confession. Yeah, Ruth Blocton, head of the Blocton gang. Hmm, she's spilling it now. All right, I'll tell Ferris. We'll shoot the confession over to you as soon as she signs it. Goodbye, Mr. Andrews. Well, excuse me, won't you folks? I am very busy this morning. I'll scream, Palmer. You don't think Ruth is squealing to you, Palmer? Not a chance. That phone call just now was a gag. If we'd only gotten away with this job, I was going to retire. Yeah, me too. It's a dirty shame. Hey, I've got an idea. Yeah, we could use a good idea right now. Well, what is it? When we lifted those stivers and jewels, we broke it all up and had the stones reset, didn't we? Sure, what about it? It's our one big chance. How do you mean? Don't you see? Ferris represents the insurance burglary companies. Now, what's worrying the company's most is how to get back the jewels. Now, with the stones reset, how many of the original owners will be able to identify their stuff? Not one of them. That's why Ferris is keeping us here in this office. And that's why he wants to think Ruth has squealed. Well, that's it, all right. We'll beat the rap yet? Everything depends on Ruth. If they break her down, we're late. But... She can't break down. If she does, she'll land in the dug herself. No, she will. None of you will. But you've got to let me do the talking. Now, look. I'll ask to see Ferris. It's natal cup, boys. All right, miss. Come in here, please. What do you want me to do? Be careful what you say, Ruth. Quiet, you. All right, miss. Now, if you'll identify these people, I'll call them off in the order in which they're named in your compression. Compression? She squealed on us. I said? Ready, miss? I'm ready. Good. George Brockton. That's George Brockton over there. You cheap squealer. You're not fit to associate with others. Take him away, men. Keep him outside. Come on. Let me go with you. Come on. Now, Steve Wilson and Phil Davis. That's Davis and there's Wilson. And I thought you was reggae. Outside, you two. I'll get you half the swing for this. Rosie Snyder, next. Alias Rosie Palmer. That's Rosie. All right. I'm going. Mike Donovan. Well, that's me, I guess. Come on, boys. See you up above. Yes. One more. Tom Palmer. I'd like to speak to him, please. Alone. I want to see Ferris. Hold your horses. Okay, miss. You can talk to him here. I'll go out and take care of the others. Thank you. So you squealed on us, eh? You let us down. I'm sorry, Tom. I had to. Pretty low, even for a crook. You hate me, don't you? I knew it's your fault. I almost went straight for you last night. I would have taken the rap for you today. What do you mean? If I could have gotten to see Ferris before you confessed. I was all set to cover you up. Take the rap myself. You would have done that for me? Oh, Tom, I'm sorry. Oh, watch the youth. It's all over now. Sit down, Tom. I want to tell you something. Something about myself. Forget it. Please, Tom. Well, what is it? See, I used to be a newspaper reporter at $30 a week. On one assignment for my paper, I ran into a gang of crooks and recovered a lot of money for an insurance company. They liked the way I handled the case and offered to set me up in business as a private detective to investigate their thefts. I used the name of Ferris. Ferris? You? Yes, Tom. Well, that just makes everything fine and dandy, doesn't it? I bet you're getting a terrific kick out of putting me behind the bars. Wait, Tom. A minute ago, you said you'd go through for me. Well, I believe you. I'm going through for you. Yeah, how? I didn't look for this job. The job found me. When I got to working with Brockton and the others and to knowing you, I felt pretty cheap. I would have given anything to have been out of it, but I couldn't help myself. Then last night when you asked me to marry you, I thought of our future, yours and mine together. I knew the better side of you, and I wanted to help you find yourself. Why didn't you tell me this before? It's not too late even now. No, what do we do? Set up housekeeping and syncing? Oh, excuse me. Yes, Farley? The rest of the gang want to see Farley. All right, let them come in. Okay. Well, what are you going to do? I said it wasn't too late, Tom. You mean you're going to give me a chance to go straight? I think that's all you need, a chance. Am I right? If you'll stick close to me. I'll never let you out of my sight. Oh, gee, Ruth, I don't owe you. Be careful. All right, boys, come on in. Hey, where's Ferris? Yeah, where is he? He ain't in here. Yeah, we said we want to see Ferris. Just a minute, boys. Let me introduce the head of the National Detective Agency, Miss Ruth Ferris. All right, Ruth, if you're Ferris, I've got a proposition to make. I think I know what your proposition is, George. But let me make one first. Now, boys, you want to make restitution of the stolen property in exchange for a light sentence. Right? Right. Well, I'm going to do better than that for you. I'm going to put you all to work. What? Oh, look, look, look. Did you say what? Oh, this is the end. For a long time, you've been preying on society. Now, I'm going to give you a chance to come in here and help protect society. But let me tell you this. The first time you hear of a job that's being pulled off and failed to report it, or double-crossed me in any way, it means 20 years. She's going to make detectives out of us. Well, I had a good education for the job. Now it's up to you. There's pen and ink out in the front office. I want a signed confession from each one of you. What are you going to do with a confession? Nothing, as long as you remain on the square with me. Now take your choice. The confessions are 20 years. Hey, lead me to the pen and paper. There's plenty of both out in the front office. Hurry up. Well, Rosie, not going to sign? No, I'll sign it all right. Me, a detective. I'll never be able to hold up my head again. Well, Tom? I suppose you want a confession from me, too. Uh-huh. All right, I'll go outside and write it. That's not the kind of confession I want from you. No? I want you to confess that when you told me you loved me, that you meant it, every single word. Guilty. Do you have a couple of witnesses to then? I think we could use them. Sure. Two witnesses. We can let them sign the marriage certificate. Well, it looks like a good day's work for us. Good day's work for us. As Thackeray wrote, the play is done, the curtain drops. The moment yet the actor stops and looks around to say farewell. Great stars George Raft and June Lange return shortly to the microphone. I think that discoveries are accidents designed by destiny. A fabulous fortune and hundreds of the jewels women now wear were found in South Africa because a Dutch farmer happened to notice a group of children playing marbles. The marbles were diamonds and led to the opening of one of the richest minds in the world. It was also by accident that I myself once discovered a diamond in the rough. In fact, it was in the rough and tumble action of a keystone comedy that I saw her. And just the way she leaned against the door conveyed to me an appeal that I knew would intrigue the world. I took her out of comedies and made her the star of 60 mill productions. She was an absolutely new type of heroine because most of the heroines who preceded her were sweet and charming ingenues. While all the sirens were evil women and heavies, she combined the best qualities of both and became the screen's first romantic siren who was not a villainous. This famous young woman was the first of many screen stars who can truly be said to have possessed glamour. She did more than any girl before or since to make Hollywood the fashion center of the world. And she now steps to the microphone just as fascinating as she was then. Ladies and gentlemen, Gloria Swanson. You're very generous. I changed the old adage of hit your wagon to a star and hitched mine to a direct and became a star. That's just modesty, Gloria. You're talking through that pretty little brown and white turban of yours. As a matter of fact, ladies and gentlemen, I just happened to fit into the demil scheme of things which consisted of putting realism, beauty, dials and sophistication on the screen. You're one of the world's most exotic women. It just happens that you're also a very good actress. No, all women are good actresses. And I still insist, ladies and gentlemen, that it was Mr. Demil's daring that made me a star. Until he produced Old Wives for New, every picture followed the same formula. A boy met a girl, lost her for a while and then finished the picture by marrying her. Mr. Demil took the story up from there. Though producers believed that she couldn't make a successful picture about a husband and wife, Mr. Demil made one and thereby made history. It was a great success and introduced the social drama to the screen. It wasn't my daring that people talked about. It was yours. Do you remember the scene in Male and Female? When we duplicated the famous painting, The Lion's Bride and had a lion crouched above you with its claws on your bare back while a trainer cracked a whip in its face to make it snarl. Yes, Mr. Demil, I remember. I've never seen my present picture, but... I'm very sorry, but I'm not as daring now as I was then. Well, you're just as charming. I never saw you look more beautiful. That's the L.U.X. And what's that about? Oh, Shane, go to the bottom of the class. That's the L.U.X. Oh, yes, yes. L.U.X is my favorite beauty soap, and now through its radio theater, you and I meet again for the first time in nearly seven years. Then before we say good night, I'd like to give you one final bit of direction. What is it? Sing for us. Well, I don't pretend to be a singer, but if you're willing to risk my singing on your program, so am I. I'll sing None but the Lonely Heart by Tchaikovsky. Please. The Left and June Lang are a steady in contrasts. So far, June has always played the role of a young and innocent girl while George made his reputation as Hollywood's streamlined villain. George spent most of his life in New York. June has just returned from her first trip to Manhattan. But suppose they speak for themselves and as themselves. Ladies and gentlemen, George Raft and June Lang. Thanks, Mr. DeMille. Well, June, how did you find the old hometown? Oh, easily, George. I took the plane to Newark and drove over the skyway through the Holland Tunnel, and there it was. I mean, uh, did you like it? Oh, immensely. I was fascinated by the New York crowds, and I've never seen so many well-dressed women before. And judging from their wonderful complexions, they apparently used luxe toilet soap just as much as we do here in Hollywood. I even had luxe in my hotel room. It made me feel really at home in New York. In New York, George was the most popular boy in his neighborhood. The other kids would do anything he told them to. Incidentally, George's grandfather owned the merry-go-round on Coney Island. My grandfather also was a gold prospector here in California. He made several strikes. New fathered his example as a ball player? I guess you're right. But in pictures, I'm better with a gat than a bat. I don't know why you're a gangster on the screen so many times, George. Oh, I don't know. I like being a villain. I think it's more interesting. I also think it's more true to life. June, down deep, I believe there's a bit of villainy in every man. Even in Mr. DeMille? Why not? I think Mr. DeMille's one of the nicest men I ever met. Now, don't stop, June. I'm beginning to enjoy this interview. Just let me tell you what he did to me one day. Making this day an age? You talked, George, like one of my actors. You weren't even in that picture. Well, one morning when I came to work, my dressing room had completely disappeared. Why blame me? I'm a director, not a magician. The reason I couldn't find it was that DeMille had completely surrounded one of his big sets. Didn't he give you another room? Oh, yes. For two solid weeks, I shared quarters with Tuffy, the collie mascot. But it wasn't so bad. I used to be a mascot myself. George was mascot of the New York Yankees, if I remember rightly. Yeah, I'd chase home runs all over New York City. Tonight you hit one yourself, George, and you too, June. Thank you. It's been marvelous being here. Good night. And all is forgiven, Mr. DeMille. I've had a great time, and I hope to be back again sometime. Good night. Good night, George. Thank you, Mr. Raft and Ms. Lang. Ladies and gentlemen, this is your announcer, Mel Del Rueck. Assisting our stars in tonight's play were Wally Mayer as Mike, Justina Wayne as Mrs. Palmer, Victor Rodman as Mr. Brockton, Lou Merrill as Wilson, Frank Nelson as Phil, Ross Forrester as Hanley, Richard Legrand as Farley, and John Lake and Charles Emerson as police officers. Mr. Raft and Mr. DeMille appeared through courtesy of Paramount Studios, Ms. Lang and Mr. Silver's 20th Century Fox, and Mr. Loomis, Metro Golden Mayer. The music for the new picture, Road to Glory, by 20th Century Fox, was arranged by Mr. Silver's. Mr. DeMille tells us now of next week's program. One of the screen's most colorful figures comes to the Lux Radio Theater next Monday night. James Cagney. You've seen him as a sailor, taxi driver, gangster, g-man and aviator. But you'll hear him next week in an entirely new role. The manager of a prize fighter in the famous comedy, Is That So? by James Cleason and Richard Taber. Robert Armstrong and Boots Mallory will be featured in the cast with Mr. Cagney. Our sponsors, the makers of Lux Toilet Soap, together with Mr. Cagney, Mr. Armstrong and Ms. Mallory, join me in inviting you to be with us next Monday night in the Lux Radio Theater presentation of Is That So? This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.