 Lux presents Hollywood, radio theater brings you Joan Blondell, Paul Lucas and Bill Williams in Deadline at Dawn. Ladies and gentlemen, your producer, Mr. William Keely. Things from Hollywood ladies and gentlemen, perhaps the most ruthless tyrant in the world is time. The inevitable passage of hours that acts like a whip throughout our daily life. And nowhere does time appear more pitiless than in tonight's play, RKO's green thriller, Deadline at Dawn, in which three people have just half a dozen hours to solve a baffling mystery and clear themselves of death's intimidating shadow. Star in our cast is a player that's been my privilege to direct in several of her many successful pictures. The talented and charming Joan Blondell. Co-starred with Joan from the original screen cast are Paul Lucas, recent Academy Award winner, and Bill Williams, for whom this picture was the first of what I am sure will be many starring roles. Some years ago I directed Joan in the Broadway play which brought us both to Hollywood. A date with a double significance for me, but that was the year the Lux Radio Theatre had its birth. The fact that it has continued through the years is testimony not only to your loyal support, but also to your appreciation of Lux toilet soap. You tell us how much you like it in your many letters. Letters which serve to as our guide in choosing the plays and stars you want to hear. And your purchases of Lux soap are what raise this curtain every week. And bring you tonight, Deadline at Dawn, starring Paul Lucas as Gus, Joan Blondell as June, and Bill Williams as Alex. Our curtain rises on Act One. New York City on a steaming August night. In a cheaper apartment on the east side, a hard-faced girl named Edna Bartelli has just received a call. Well, well, it's my dear ex-husband, the celebrated pianist. Hello, Edna. Are you sleepy? Give me my money, Edna. I'm in a hurry. Think it'll rain and cool off? Even your carnations wilted. Don't fool around, Edna, my money. If you weren't blind, you could see that I'm getting it. What are you going to do with all this? It's gone. The money's gone. I said don't fool around. I'm not in the mood. That kid, there must have been that kid. You owe me $1,400 and I need it. A sailor took it. He must have. He was here tonight. All my cash and some checks, too. Edna. Didn't you hear what I said? I've been cleaned out. You'll never change, Edna. I loved you very much, but you're bad. Get out. I'm just too tired to think anymore. You'll be the sorryest character in New York if you don't get out of here. I don't think your heart could stand another visit of my brother. Do you hear me? Yes, I hear you, Edna. A sailor took your money. I hear you. I hear you. I hear you. Would you care to dance with me, Miss? I'm tired, sailor boy. I've got a whole string of tickets. Okay. Come on, Admiral. Walsh me around. The dime of dancing is high-class institution, but don't get any ideas. Well, thanks. Thanks a lot. Do you think it might rain and cool off? Such things have been known to happen. What did you want to do, Miss, when you were 12 years old? Marry John Barrymore. Look, do we have to talk? What are you, an author or something? Oh, no. You know, in the service they give us salt pills in hot weather like this. What for? They say it balances up the system. What system? I don't know. I guess I need some food to settle my stomach. I don't feel very good. You don't suppose you could... Walk out of here with you? Well, it's kind of late and I was thinking maybe you'd like... I'd like to sit down. I'd like to get into a chair and never move for six months. Wait a minute, Admiral. I'll speak to the manager. Terrible sort of person, Miss Gough. Frankly, I can't figure out what I think about you, sailor. Well, I mean about inviting you out for a sandwich and then coming up here to your apartment instead. Now, look, I said this would be better than a hot smelly restaurant and you said you wouldn't misunderstand. I don't misunderstand. Good. So you finished eating. Is your system balanced now? Oh, I'm losing respect for myself and that's the truth. I don't have any confidence in myself, not for anything. Gosh, here we are getting blue this hour of the night. I'm just tired. Oh, it didn't occur to me to look at the time. I... I'm not accomplishmentous. That's me all right. Are you unhappy too, Miss Gough? Now, what could possibly have given you that idea? Say good night, sailor boy, and drop in again at the jungle sometime. That's very nice of you, but my pass is up and I'm leaving on the six o'clock bus. I... I'm very proud to wear this uniform, Miss Gough. Well, why not? That's what worries me. I'm sure they'll nab me before I get back to Norfolk. Norfolk? Is that where you're taking the six o'clock bus to? I was born in Norfolk. You were? Yes, yes, I was. All right, sailor, what's your problem, a girl? No, I... Look, would you do something for me? See my mother in Norfolk. You saw me in a show teller and a good leading part, dancing and singing. Say, I looked happy and I said I'd be home for a visit soon. That wouldn't be telling the truth, would it? Oh, I suppose you'd like to tell her I'm a dancehall girl. That I'm ashamed to go home. Is that what you'd like to tell an old lady? An old lady with one daughter and a son, a belly gunner and a plane somewhere over Japan? Just a minute, Miss Gough. You get out here and I throw you out. Look, I... Well, I've got a lot of money here. Fourteen hundred dollars. It's no good to me. You can have it if you'll go back and surprise your mother. Would you get money like that? I took it. You stole the money? I did and I didn't. She made me so mad I didn't know what I was doing. Are you always like this or does it happen when at the moment it hits a hundred? Who made you so mad? Who? This woman, Edna Bartelli. She and her brother run this restaurant. I went in there to eat about six o'clock, I guess. He comes over the brother and asks me if I like to play cards. We played for about an hour. He was cheating like a skunk. He won all my money. If he was cheating, why'd you stop him? I was too embarrassed and all the time they were feeding me drinks and then the sister asked, would I go home and fix a radio? That's my rating in the Navy. Radio man. Well, I fixed the radio, but I don't know what happened then. I guess I blacked out. Passed out? It was the heat and that awful wine, I guess. Anyway, when I came to, I called to her. I thought it was only fair. She paid me for fixing the radio. Her brother had all my money and well, she wouldn't answer me. Why not? I don't know. She was in her room. Maybe she was asleep and well, that's all I can remember. Until when? Until about an hour ago, maybe. I found myself walking on the street. I reached for a cigarette and I found this. This money in my pocket. $1,400, huh? And some checks. Well, what's going wrong with going back and returning it? Supposing I'm caught. Don't you see what I must have done in this uniform? I wonder if you'd help me, Miss Goff. All you'd have to do is if you just wait downstairs while I... No, I should pay not. I stole this money. I must have. And I should go to jail. Don't just see, Miss Goff. Suppose I was your brother, the, the belly gunner. Suppose he had done... You mean you'll help me? I don't know what I mean. But we'll talk about it on the way to Sleeping Beauty's house. You can wait here by the stairs there, Miss Goff. Call me June. It rhymes with moon. I won't be a minute. If the door's locked, I'll slip the money under the door. I'll be right back. I ought to have my head examined. It took you long enough. Look, I won't need your help anymore. You can go on home. Did you put the money back? No, I, I went in and the woman is dead. You should... Turn the light. Who did it, you? You think I'd do a thing like this? Didn't you? Miss Goff, please believe me. Someone has to believe me. Oh, sure, sure, of course. Why not? They're at the police station across the street. The cops' windows look right into these windows, but you wouldn't think of that. Pull down those shades. Should I turn off the lights? No. What would you want to be when you were 12 years old, old, boob-mick-nut? Well, it can't be suicide. There's no weapon. Strangled? Yes. That's how it looks. Strangled. That man, he's calling her. Shh, quiet. What if he should come up here? Relax. He's walking away now. Should I call the police? Should I? That's your problem, Sailor. But you're much smarter. Tell me, tell me what to do. Cut and run now. Get on your bus. But I don't want him to say I ran away. I thought if we looked around the room, maybe we could... Don't say we. What do you think people do? Leave clues around? Why are you so mad all the time? Oh, because this weather brings me to a boil. Because you're such a helpless baby. Clues. All right, here's a clue. Mentholated cigarettes used by millions or this dead white carnation or a lipstick. You want a clue? This isn't her lipstick. It belongs to a blonde. But a man did it because a woman wouldn't strangle someone. And it wasn't robbery. All her jewelry is still on her. This is the biggest city in the world and somewhere in it, one man or a woman. Oh, I'm sorry. It's no use. I guess you're it. Good luck. Is this her key on the mantel? Yes, I sort of put it there. You're not going. You were going to leave and now you've changed your mind. Why? Don't you see? This is hopeless. Why not admit it? It's not my problem. All right, then it is my problem. My brother's a belly gunner. I'll help you. But how do what? Tell me, what are we going to do? Let's go downstairs. Outside. We'll take the key. All right. We're downstairs now on the sidewalk. Concentrate. On what? Suppose you were the man who did it. You've just come downstairs. What do you do now? Where do you go? I guess I'd go this way. Anywhere away from the police station over there. Would you keep walking, try to get a cab, a subway? I don't know. What's that on the corner? An orange aid stand. I think that's what I'd do. I'd get an orange aid because my throat's so dry. What we'll do, get an orange aid. I'm not thirsty, June. Neither am I. Then let's leave him. Wait a minute. That's exactly what a certain party might do. Oh, mister. Would you settle a bet for me? My boyfriend just bet me. We were the first ones who ever ordered two orange aides and then walked away without even touching them. That happened six times a day. People get things in their minds in this place. Why, just an hour ago, a woman ordered an orange aid, left it. A beautiful blonde. Boy, I nearly fell over when she stepped into the cab. Beautiful and lame. Lame? How lame? Just enough to make you want to treat her like your sister. Oh, thanks. Drop in again, huh? And next time, don't drink our grape-ade. She stepped into a cab of beautiful blonde lame. Is it worth a try, sailor? Whatever you say. I think it might be worth it. Hey, cabby. We're too, lady. Wait a minute. Is this your regular stand? That's right, lady. My sister walked out on me about an hour ago. Did you happen to drive her somewhere? A blonde. She limped a little. Oh, that one. Don't she know life's too short for crying? Where'd you take her, philosopher? Downtown Leaven Street. Drive you down there? I don't know yet, but it might be worth a try. Then we'll go. No, not we, me. I can handle a woman better than you can. Will you be back, June? Well, that's a chance you'll have to take. Thanks, Annie Lee. Be careful. I said, lady, where those people are sitting on the steps too hot to sleep even. Wait here. Yes, I'm looking for... No, we don't have no room. Well, I'm just looking for a friend of mine. She's blonde and she limps. If she's a friend of yours, you should know where she lives. But she told me her number, but it slipped my mind. She probably means Mrs. Robinson, Harry. Yes, Mrs. Robinson. Next house, take the hall. Oh, thank you very much. Is, uh, Mrs. Robinson at home, please? The rubbers is the end of the hall. I'm terribly sorry. You're sorry. I finally get to sleep in your sorry. Question, Helen. Where were you? Well, I told you. I went uptown and took in a movie. Oh, please, you'll wake the baby up. The baby? How about you leaving her here alone for two, three hours? I mean, did Daniels kept an eye on her? Don't I try to be a good wife? Maybe a fest isn't good enough, Helen. Oh, I can't stand this. I can't. I'm going out, Jerry. Where are you going? Downstairs. I'll sit on the stoop and try to cool off. Just a minute, Mrs. Robinson. Oh, what do you want? Just a few words with you. I think I'll join you on the stoop, Mrs. Robinson. I came so nervous. Would you mind telling me? I don't know where you were tonight. I mean, I do know where you were, Mrs. Robinson. Where was I? You, uh, you left your lipstick there. It was on the floor, among other things. I don't know you. What are you trying to tell me? You took a cab from the corner of 51st Street in Lexington. Did I? Yes. You get out of this place and leave me alone. Helen! Do you want him to know? Oh, no. Then sit down and behave yourself. You're going back uptown, Mrs. Robinson, with me. I don't know what you're talking about. Oh, no? Is that why you're acting so nervous? You don't know what you're saying? You know as well as I do that Edna Bartelli is dead. I don't know who Edna Bartelli is. I went to a party with another man. I don't want my husband to find out. Please, he mustn't find out. What party? Where? I knew where you said, oh, please. Maybe I made a mistake. But don't leave the house tonight, unless you want the police at your door. Oh, no, I won't. I won't leave, I won't. Jerry, Jerry, she's been killed. Edna Bartelli's been killed. And you said you took in a movie. And you! Jerry, where were you tonight until 1 o'clock? In just a moment, we'll bring you act two of Deadline at Dawn, starting Paul Lucas, Joan Blondel, and Bill Williams. Meanwhile, here's our Hollywood reporter, Libby Collins. What have you been up to, Libby? Oh, I had quite a fascinating afternoon, Mr. Keely. I had lunch at Metra Goldmayer's Commissary, where you're likely to see lots of their famous stars. And suddenly, from the next table, I heard a familiar voice. And here's what it was saying. A melodious melange of melifluous music? Humbria! A melodious melange of melifluous music. That's a tongue twister, all right, Libby? It was my old friend, Jimmy Durante. And he was talking about his new picture, Metra Goldmayer's Two Sisters from Boston. Just then, Peter Loughard came along, and Jimmy introduced me. Peter's just as romantic-looking in real life as he was in the picture. Say, Libby, did you happen to see either of those two gorgeous girls who play the title Rose in the picture? Catherine Grayson and June Allison. I was certainly in luck, because I met both of them just as I was leaving. Now they make a stunning pair together and Two Sisters from Boston. June Allison, such a beautiful blonde, and Catherine Grayson's a vivid contrast with her dark eyes and hair. I understand MGM gave Catherine Grayson a good chance in the picture to do something she's always wanted to do, sing opera with Lottie's Melchior. Yes, she's especially talented as well as very good-looking. When I complimented them both on looking just as lovely off the screen as they do in the picture, they reminded me they were both ardent luxe girls. They said they wouldn't be without luxe toilet soap for a single day. Speaks mighty well for gentle luxe toilet soap care, doesn't it, Libby? The fact that these two famous stars depend on it. And nine out of ten other Hollywood stars, too, Mr. Kennedy. Screen stars can't take chances with complexion beauty. So there's proof that luxe soap active lather facials really work. In recent tests by skin specialists, actually three out of four complexions improved in a short time with this daily care. I wish you'd tell everyone how simple these beauty facials are to take, Libby. Well, here's all you do. Smooth that rich creamy lather well in, rinse with warm water, splash on cold, and pat with a soft towel to dry. Smoother, softer, really lovelier. That's how luxe soap facials leave your skin. Fine white luxe toilet soap is thrifty, too. Each satin smooth cake is hard milled, can be used to the last thin sliver. That's important in these days of shortages. Why not get some of Hollywood's own beauty soap tomorrow? Here's your producer, William Keely. Act two of Deadline at Dawn, starring Joan Blondella's Dune, Paul Lucas as Gus, and Bill Williams as Alex. Almost an hour has gone by. On the dark, deserted corner, still in the sight of Edna Bartelli's house, the bewildered young Sarah lingers in despair, unaware of the taxi cab parked in the shadows at the opposite curb. Who are you, Mr. Taxi Driver? I've been watching you. What's the matter? It's personal. Everyone has troubles. You're broke, maybe? Maybe. Huh? Sorry, I asked. Forget it. Where are you going? I, uh... I live just down here. Across from the police station? Yes. Any objections? I think maybe it's a good idea that you do get off the streets. I think maybe it's a good idea to mind your own business. I agree, young man. I just felt like talking to somebody. Good night. Good night. She said she might come back. A chance I'd had to take. I'll have to wait up there. There's no other place. No other place. If you hear a peculiar noise, it's my skin creeping. Anything happen while I was gone? Nothing. I didn't have any luck either. I thought for a minute I might have, but I didn't. Turn on the light. You look unhappy, fellow. All I know is sooner or later I'm walking across the street and into that police station. As soon as I can't stand it anymore. But you came back. You didn't have to, which you did. Didn't you kill her, Alex? No, I didn't. I know I... Who is it? Is the sailor boy in there? I was talking to him on the street. What did you tell him? Nothing. Come in. I heard your voices at the door. You must have been listening. As close as I could put my ear. My name is Huffman. Gus Huffman. This is Miss Bartelli. Why were you listening? Because you seem to be in trouble. I thought I could help. Take a hundred percent for trying, Mr. Huffman, and say good night. Now, just between us, your name is not Miss Bartelli. No, I'm not Miss Bartelli. Miss Bartelli is dead in the next room. Oh, I'm very sorry to hear that. Excuse me, I had no idea that... You don't understand. She's been murdered. Say, am I too presumptuous to ask if you've informed the police? It's more complicated than that. Well, I'm willing to listen. June? Oh, go ahead. Well, my name is Alex Winkler. About six o'clock tonight, I mean last night, I went into that restaurant down there. I don't know why, but for some reason it's... Okay, man, just now. I see. Oh, Miss Guff, what are you doing? I just dropped this perfume bottle on a dressing table. Dark mystery, very expensive. And what did you do after you visited the blonde downtown? I came right back here. Now, what about those letters you just took out of the desk? You heard the blackmail? Well, quick glance tells me these letters probably were Miss Bartelli's most prized possessions. But we are wasting time. Why? We have no actual clue to follow. There's this check. What check? I told you, $1,400 and some checks. This one is for $1,000. It's signed Lester Brady, but it's been returned from the bank stamp, no funds. Any suggestions? Yes, let's forget out of here. And the boy gets his bus. I can't leave. But it's only fair for you and June to go away. It's getting so hopeless. He's got a point, Miss Guff. Well, I think we should try it for that Lester Brady. Where's that phone? There in the corner. Maybe she's got a phone book with special numbers in it. Lester Brady's number, for instance. Hey, there is a book here. It's no use. I stole the money, didn't I? I was blank for a whole hour from 10 to 11. If I stole the money, I could have murdered her too. Using the psychology of an outsider, that's nonsense. It's possible, isn't it? I can be wrong. I can be wrong four times out of five. But you're the wrongest guy I ever met. You think he did it? Nobody's such a baby. Please, let's not raise our voices. We are not exactly mice, you know. Do you still think you did it, Alex? I don't know, and that's the truth. All right, all right. June, find Mr. Brady's number. Quiet. Footsteps outside, no. Turn out the light. Get behind those drapes. Don't make a sound, madam. Turn on the light. Who are you? I'm Mrs. Raymond. Welcome to the city, Mrs. Raymond. Where's Ms. Bartelli? She's a friend of mine. A friend of yours, so you walk in and try to steal her letters. Oh, no, no. No, you don't understand. I read the letters. I do understand. Were you here earlier tonight? No, I wasn't. I... Edna. Oh, no. Oh, yes, Mrs. Raymond. Your friend on the floor is dead. Now, suppose you tell us just what happened. Suppose you tell me. Gus, she's got a gun. Go on. Who are you? A detective? Maybe. I know a cab driver's badge when I see one. You better put down that gun, lady. Keep away, sailor. Turn out the lights, Gus, and get down. Tripped over my own feet. I could have had her, but I tripped over my own feet. We'll go after her. She's running loose. Why? In her hair, she was unable to take these letters. You mean she'll be back? These letters are honey. They draw flies. And the town is full of flies. There is one across the street right now. No, don't look. But he's there all right. He's not a policeman, or he'd be up here. The thing is to find out who he is. But not next to the police station. Say, what happens, Gus, if you and I ride off in your cab? The human fly follows us, and Alex goes to see Brady about the check. And if the fly follows us? We stop and swat him. All right, Alex, get Mr. Brady on the phone. I'm calling him now. Well? No answer? Don't hang up. Let it ring. He's there. He just answered. Hello? Mr. Brady? Who is this? I'm a seller, Mr. Brady. I'd like to see you right away. It's very important. What's the matter? I have a $1,000 check. You'd be interested in it. It says no funds. Yes? Yes, sir. It's in the phone book. Alex, don't give him the check, except as a last resort. And remember, speech was given to men to hide his thoughts. Good luck. June? June, I'm almost glad in the way that this all happened. Are you out of your mind? I mean it. If it hadn't have happened, I wouldn't have met you. Oh, sure. Of course, why not? Goodbye, June. We can meet back here if everything goes all right. Goodbye, sailor. June, now before we leave and putting the letters in an envelope, see? I mail them to myself. If somebody should call for them tonight, we might have a potent weapon in our hands. What's that? Thunder. Things will start to cool off now. Every minute brings Alex closer to his last hour of freedom, doesn't it? We'll do the best we can. He's such a baby, Gus. Oh, yes. Now, when we get to the street, don't look around. Just keep hoping we'll be followed. My cabbie's just beyond the door. How long to be a minute? And I want you here. I'm expecting somebody any minute. Would you prefer to read about it in the paper? Edna Bartelli's been killed. What? I've just come from there. She's lying dead on the floor. And I have an idea that you did it. How can you say such a... Sit down there, sit down. You're not calling the police. What do you think I'm crazy? Finding out what Edna's brother knows about this. I'm calling Val Bartelli. Is he following us, Gus? Is that other cab still behind us? Yeah, he's there, all right. I'll stop now. There's a police boot at the corner. It will help intimidate him. Hang on, June. It's all about it. Don't get tough. My fare asked me to follow you. Who is your fare? Ask him. What are you following the lady for? It is a mistake. What do you mean it's a mistake? Come here, June. Following a helpless lady in the night. What kind of a... June, do you know this man? I'm meaning no disrespect. Get out of that cab kind, sir. No, no, I won't. Now, there's a police boot down there. Now, look, Jack. How come you asked me to follow the lady? June, you know him? I'm meaning no disrespect. My admiration for Miss Garthas. Oh, let him go, Gus. No disrespect, you understand? I'm Edward Honig. I am foreign-born, but since last month, a citizen of your great country. Come on, Gus. All right, Caby. Take the American citizen home. Who was he, June, this Edward Honig? Well, early tonight at the jungle, he bought a lot of tickets. Wouldn't let me go. He actually proposed to me on the dance floor. June, you're crying. I thought this was Jason Lee to something. What'll happen to Alex, that poor kid? I don't know. Oh, but he can't take care of himself. Oh, Gus, it's so hot, and I'm shaking. Thunderstorms always give me the shakes. I've been this crazy city gives me the shakes, too, but I pretend it doesn't. Where's the logic to it, where? The storm clouds have passed us. They're over Jersey now. Statistics tell us we shall see the stars again. The misery that walks around in this pretty, quiet night. June, now, the logic you're looking for. But the logic is that there is no logic. The horror and terror you feel, my dear, comes from being alive. Die, and there is no trouble. But live, and you struggle. And at your age, I think it's beautiful to struggle for the human possibilities, and not to say that I hate the sun because it doesn't light my cigarette. You are so young, June. Love is waiting outside any door you open. Now, some people say love is a superstition. Dismiss those people, those Edna Bartellis from your mind. They put poison bottle labels on the sweetest facts of life. Believe in love, and in its possibilities the way I do at the age of 53. Hey, what's wrong here? Good morning, officer. Is this man bothering you, lady? In four years, officer. He's the only man in New York who hasn't. Get going, Hackey. This is no place to park. The manager, I, June, time to go. Get going. Yes. Maybe he'll be back by now, Alex. Come in. All right, Brady. What's on your mind? Now, let's face it, Val. You and I are partners in a $50,000 investment. But if my show doesn't open up on Tuesday, all you own is a piece of dirt. Why won't the show open up on Tuesday? And who is this twist here? Oh, you know Mrs. Raymond, don't you? Her husband's pledged to put up the extra 10 Gs we need. But if he finds out that his wife and I are friends, we're ruined. So you see, Mr. Bartelli, he's not. If she cut off her head, she'd be very pretty. But why should her husband find out? Because your sister, Redna, has some letters that she wrote to me. And your sister says she'll show them to Ann's husband when she gets a piece of the show herself. Yeah. I happen to know you tried to buy those letters back from Redna. Could you give her a bum check? Why shouldn't she get so? Val, I don't know how to tell you this. But we've got to get those letters. Right now, is your sister's lying dead in her room. Take it easy. It's true. I just came for it. Touch her mouth. Can you hear me? Brady. Val, Val, I swear. I swear my mother's life. I didn't do it. Put down her. Her? Oh, well, she walked in. They tried to hold her up. A sailor and a cabbie and a dame. Who are they? What were their names? You! I don't know their names. Look, the sailor's coming here. He's easy. He's in the other room. Come along, you. Is that the Brady? Come in. All right, sailor. Where's that check? Put it on the table. I may. Later? Oh. I want to be paid first, is that it? I could put you behind bars for a check like this. In some states, they put you behind bars for passing bad checks. Oh, you little. Where'd you find that check? In a cab. He said, where did you find that check? Who is it? Oh. Shut the clansm, Brady, so it don't rain in. Mr. Bartelli. Didn't you go home with my sister tonight? Yeah, she wanted me to fix the radio. You killed her. No. You killed her. You killed my sister! Hold her left and do that. Let him do that. Left and do that. Val, Val, use your head. Put your gun away. There's a public place, a hotel. We can take them there in this place. Yeah. Yeah. Maybe you're right. You look it out of here. Go home to your husband. Do what he says, man. Keep your mouth shut. Yeah. Brady, take a look down the hall. And give me a hand with this punk. But tell me this, Gus. Tell me, how can your love of boy you just met? How can a passing stranger change your entire life? You'd be amazed. My wife and I met and fell in love in a minute, the dentist's office. I love her to this day, June. Though it's 16 years she's been gone. Any children? Yeah, a girl. She's married now. Last year, I put her husband into a dry cleaning business. I had some savings. I would die for that girl. Does she remember her mother? Oh, very well. She even remembers the man. What man? The man married wife for an offer. You won't believe it. But for six years afterwards, I shaved every day of my life. I thought she might come back. Gus. Well, that's that. We have other things to think about now. One more block and we are back at Edna Partelli. There's someone in there. Voices, I hear it. Don't touch the door. Quiet. Man, you got to stop eating them. Let's count the causes, please. I'll stop it. I'll stop it, I will. I've been deep watered there for a minute. I could have killed him. Get hold of yourself, June. I'm going in there. Gus. Drop that gun and don't turn around. Alex. I said drop that gun. Gus, he's, he's. Now, my friends, just stand there and talk. I think June. I think maybe now we'll find out who killed Edna Partelli. Pause now for station identification. This is CBS, the Columbia Broadcasting System. We continue with Act Three of Deadline at Dawn, starring Joan Blondella's June, Paul Lucas's Gus, and Bill Williams as Alex. It's only a moment later, with June desperately trying to revive Alex after his beating by Val Bartelli, Gus Hoffman, the taxi driver, has a few questions to ask. You can turn around now, both of you. Who are you? Who'd like to know? A man with a gun in his hand. Where's the body? I put my sister on her bed. Ah, her brother. And you? I'm a friend of his, Mr. Brady. Mr. Brady. How is he, June? Can't deny that. What did you beat that boy up for, Bartelli? Where are your eyes? He couldn't hurt the fly. Let's face it, Mr. A murder's been committed. And you had a motive, Mr. Brady. Why not call the cops if you are so legitimate? Do you think I need this gun to hold you here? Take your gun, Bartelli. Take it. How'd you get mixed up in this, Hackey? Never mind. You came here for some letters, didn't you? Well, they're gone, or rather, in the mail. But you can get them back. This girl and I, we want only until 6 o'clock to clear this boy. Somewhere in the city, a murderer's running loose. You can help us find him. Well? Wait a minute. Some time ago, Hackey, I see you in the restaurant talking to my sister. I never saw your sister until tonight. Miss Guff, I ask you a question. You're helping exchange for those letters. Who's that? You got me, some drunk on the street. That's that drunk Babe Dooley. Wait a second. He's coming up. Get in the other room. Everybody. What are you going to do? Talk to the milkman. Be careful, Bart. Shut your face, Brady. Get inside, like I said. He's cooking down there. It's Babe Dooley, mister. He says a friend lives here. I'm her brother. All he wants is a drink. All right. Give him this bottle and get rid of him. Sure, mister. That Dooley used to be a wonderful ball player. Seen him play dozens of times. OK. Come out. There's a fat ball player down there who will someday die on the street. And when do we start doing something? Right now. We start with some clues. Now, look around. Here, ventilated cigarettes. Who smokes them? Ocho's gum. Who rides the subway? What about the man who wears a white carnation? Why? Why? Because he was here tonight. There's the carnation. You find this here? Yes. Brady, you come with me. All right, I got a rehearsal at 10 o'clock. You all go, Bart, tell me. Whatever it is. So you all go. Come on, then. There's a certain nightclub. This hour? Yeah, this hour. Maybe a man is there wondering what happened to a white carnation. It's sidewalk. Oh, oh, oh, what's the matter, man? Wicker, Wicker, it's babe, babe, too. Mr. Bartelli, I told you we're closed. This is a private party. Private party for who? I don't know. Some police captain is retiring. They're giving him a party. Then we'll sit down here in the bar. You want to see Sleepy, huh? Sleepy's playing the piano. Don't bother him. It's the sailor boy here. He's leaving soon on his ship. We just want to show him the site. OK, Mr. Bartelli, but no drinks. It's too late. This place crawling with cops. What does he mean, Sleepy? A man named Sleepy who killed my sister. Then why not turn him over to the cops? There are enough of them in there. Why are you so sure this piano player did it? He did it. He's looking this way. He sees us. The piano player happens to be blind. Blind? If I can just get him outside a minute. Blind? Yeah. Breaks your heart, don't it? He'll sleep good in a box. I suggest don't make a fuss in here. Any fool could do. Now maybe you'll shut up. What did you do? What did you do to Gus? I slug him in the stomach. He talks too much. Will he come here for a sit, right? Wait. It's not your nature to wait, is it? Grab, smash, and kill you and your sister alive. What do you know about my sister? You forget I read her intimate correspondence. Highly perfume. Perfume, her perfume. This is her perfume on me now. The bottle spilled, remember? Suppose I walk over to the piano. Suppose I just stand there, and he gets a good whiff. I feel that too. Nothing if he's innocent, but if he's guilty. The girl's got a head. Go on, get over to the piano. Someone standing here next to me? Yes. Who is it? Edna is dead, and you killed her. What did you? Excuse me. I can't stay here. I hear someone. You know who's there. Val, it's you, Val. What did you leave the piano for? I just came out and back here. Breath of Val. Don't lie to me, sleepy. Val, in there a girl. A girl in there. She came up and whispered something. What did she whisper? Edna, she. No, Val. Don't hit me, Val. I didn't do anything. I can't take it, Val. I loved you if I get burned to ashes. Let him alone. You can't see he didn't do it. Let him alone. What's the matter with him? What did you do to him, you gangster? Hey, you. The captain wants to know where is the piano player. Why, guys? Which one of you two mugs just spoiled the captain's party? Lieutenant Cain, homicide. They're sure? OK, thanks. Well, Sergeant, the piano player is dead. Heart failure. We can't hold Bartelli for that. Well, they're all down the hall anytime you want to talk to them. Well, now let's see. Besides Bartelli. A girl, a hacky, a fellow named Brady, and this sailor. You know, it's funny how things happen. Babe Dooley staggers in here and tells us that Edna Bartelli is dead. Just at the moment Bartelli and his friends get picked up in the nightclub. Sometimes we get breaks. Not often, but sometimes. You're still sure the sailor killed Edna Bartelli? Positive. What about the cabbie or Brady? We went through them one, two, three. We're wasting time. Why? Because the boy did it, but we can't break him down. Well, ready for work, Sergeant? Say when, Lieutenant? Same routine? Sure. I'll be the heavy, and you'll be the nice guy. OK, let's go. Hello, Lieutenant. Thank you, Sergeant. I'm Lieutenant Cain. I guess the only one of you I know is Bartelli. How are you, Val? Still making a book? I never had no interest in that, Lieutenant. And you? Are you the boy who killed her? I did not kill her, but Bartelli. I told the sergeant over and over again. Stand up! What did you say? What was that? I said I didn't kill her. Get up! Get out of that chair! No, I'm too tired. Don't yell at me, please. My friends here can tell you. Your friends can wait in the hall all of you outside. Stick to your story, son. Stick to it. Don't let them frighten you, Alex. We'll think of something. The time. Look at the time. What are they going to say when I don't report for duty? Listen to the murder, how it talks. I owe you something, Mr. Bartelli. And sometime soon you're going to get it. A punch on the nose. Come on, come on. Try not to worry, Alex. June, I got to tell you this now, no matter what happens. I don't know how I existed before I met you, and that's the truth. Alex. I said outside, now beat it. See, no friends. A murderer has no friends. Now just a minute, sergeant. You're getting pretty rough. Oh, kids like this, they make my blood boil. Calm down. Bring this land to drink a water. You didn't kill that woman, did you, lad? No, sir, I didn't. Who do you think did? I honestly don't know. We thought it was that man, the piano player. But I don't know. Well, you didn't. No, sir, but. Well, you're coddling this prisoner, sir. He don't deserve it. That'll be enough, sergeant. What what, son? It's just that after a few drinks, I don't know what I'm doing. I get non-compass menace. And you had a few drinks last night. Is that it? Yes, sir. The next thing I know, the money was in my pocket, and I'd run away. And you were unaware of what you had done? Yes, sir. You want to help us find that killer, don't you? I certainly do. Did you do it, lad? I mean, when you were non-compass menace, didn't know that you took the money. Be sincere. It's possible I might have done it not known. You think it's possible? While you were fuzzy in the head, be sincere now. Yes, sir. It's possible. Well, lad, you pinned the tail on the donkey. That's all we want to know. But, Lieutenant, I only said it was possible. That's a technical distinction. It's out of my hands. All right, sergeant, book him on a charge of murder. Looking for murder and keep us waiting here. Cops, I've got spit in their eye. What's so important you got to do? I got to rehearse them in five hours. Gus. Yes? Do you know what this means? I know what it means. There's nothing you can do. Look at me. Your face is very beautiful when it's said. Now, this crime, a certain party is guilty. All night long, he's been sewing off the branch he's been sitting on. Who is it? Come with me, Jew. I want to talk to Lieutenant Kay. So you were busy? Oh, yes, Lieutenant, but I must talk to you. Could be going to your office. Where is he? Where's Alex? What's happened to him? He'll be released in a few minutes. Released? A man who really killed Edna Bartelli is in my office now. They just brought him in. Who? Who is it? If you still want to see me, wait out here. Gusty, I hear him. Alex is free then. What does my wife have to stay here? Why? We have a little baby, and she's all... Relax, Mr. Robinson. I want to appreciate the baby more than I do. Robinson, her husband, the lame girl's husband. Jew, quiet. Quiet. Why did you want to kill Edna Bartelli, Mr. Robinson? I killed her, and that's enough. Now let my wife go home. Do you love your wife? Yes. Did you ever rob a house before? What did you do with Ms. Bartelli's jewelry? Let Helen go home, and I'll tell you anything you want to know. The gun you shot her with, you bought it? Let Helen go home. Yes, I bought it. What's the difference? Well, the difference is that Edna Bartelli wasn't robbed of her jewelry, and she wasn't shot. Oh, it's true, Jerry. It's true she wasn't shot. Well, yeah, how do you know? But... Helen, no. No, keep quiet. Maybe she knows, because maybe she didn't. No, no, she didn't. Mrs. Robinson, how do you know Edna Bartelli wasn't shot? She knows because she was there, Lieutenant. Oh, father. Father, huh? Well, Hoffman, my daughter is innocent. She's protecting me, just as her husband here has tried to protect her. She followed me to the apartment, but she was too late. Oh, father, please. It's all right, Helen. All right. Jerry here. Jerry met Edna Bartelli in the course of his business. Met and was conquered. I visited with the lady and begged her to cut it out. But she refused. My daughter found out, and I saw Ms. Bartelli a second time. But useless. So, last night, I visited the lady again. She was very abusive. And at best, I am not a happy man, but the years bring you discipline. She made me break that discipline. I killed her. And I felt calm and satisfied, as if I had done the right thing. She made too many people suffer. I sent Helen home and sat in my cab. I just sat there. And then the boy came along, the sailor, in a sense personified. Myself, I could have saved a dozen times, but not at that boy's expense. Jerry, take her home. Take Helen home. Cherish her. Cherish anyone who loves you the unselfish way she does. Oh, Father, I tried. I did everything I could. He knows, Helen. He knows. Come now. Come. Goodbye, Helen. Don't cry. I feel strong. I feel good. For the first time tonight, this case is starting to make sense. Now, that boy, the sailor, can't he go now? He's got a bus to catch to Norfolk. The boy is here, Gus. Oh, Alex. And you, June. He has a fine character, June. He'll give you real incentive. Go back to Norfolk together. Yes, Gus. Yes. We'll have to lock you up now, Hoffman. Imagine that my age having to learn to play a harp. June, I just don't know what to say. Well, whatever it is, darling, let's not say it in front of a police station. Time takes so long, and it goes so fast. Look, the sun's coming up. The long night's over. Wait, here comes Mr. Bartelli. I want to tell him something. Mr. Bartelli. What do you want, sucker? It's terrible what happened, all of it. So no hard feelings, huh? No. No feelings at all, sucker. Justice! I promised you a punch on the nose, Mr. Bartelli. I'm keeping my promise now. I guess we can go now, June. What's the matter? You're afraid you hurt him? A man like that, I didn't hurt him enough. I should have hurt him more. We'll have to wait, fella. We've got to bust a catch. To Norfolk, June. Really to Norfolk. To home, Alex. To home. With Alex and June on the way to well-earned happiness, our stars return to the footlights for our well-deserved thanks. Joan Blondell, Paul Lucas, and Bill Williams. I must say, Paul, you made one of the kindest and most reasonable murderers I've ever known. Well, Bill, taxi drivers have to be philosophers. You know, they get so many women backseat drivers. Women aren't all backseat drivers, Paul. Oh, no, some of them just sit up front where they can grab the wheel. Bill, I don't believe many of our audiences know that you probably hold more amateur swimming titles than any other star in pictures. Well, that's how I got into show business, Mr. Keeley, doing swimming exhibitions on Long Island Sound. And now you're in the swim in Hollywood. With all of us looking forward to seeing your next RKO picture till the end of time. But Bill has arrived when it comes to swimming. Joan Blondell used to be the Santa Monica swimming champion. Is that right, June? Well, that was some time ago, Bill. Now I take my exercise just sitting on the beach. Which explains that attractive suntan. Well, Joan, I hope another of your beauty treatments is luck's toilet soap. I use it as faithfully as ever, Bill. Luck's soap and I are fast friends. Say, didn't I hear you have a special treat for your audience next Monday night, Bill? Yes, we do. A four-star cast and a four-star picture. Metro Golden Mayor's delightful screen hit, Music for Millions. That's a great play, Mr. Keeley. Who are you starring? First of all, one of this theater's littlest but greatest favorites, Margaret O'Brien. Margaret was so appealing in that picture, Bill. Who else? For music that will thrill and move you, one of the world's outstanding pianist, Jose Aterbi. Oh, great musician, Bill. And for music of a different sort with rollicking comedy and laughter, the irrepressible Jimmy Durante. Finally, for romance that will really touch your heart, the beautiful and talented Frances Gifford. You'd want to be a great hit, Mr. Keeley. Music for Millions will be enjoyed by millions. Good night, Bill. Good night. Good night, and all our thanks. Our sponsor, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday evening. When the Lux Radio Theater brings you Margaret O'Brien, Jose Aterbi, Jimmy Durante, Frances Gifford, and Marisa O'Brien in Music for Millions. This is William Keeley, saying good night to you from Hollywood. Shortages. Yes, we're all tired of that word. If we all help, though, we can put it out of circulation much more quickly. Here's one important thing every housewife can do. Keep on saving used kitchen fats. Get all the food value from them first, but don't throw away a single drop. The need is too great. Used fats are needed in the manufacture of all kinds of essential goods. They're needed for industrial use to release edible fats for the starving millions abroad. And for our own comfort and convenience, the more used fats salvaged for industrial use, the more fine oils are available for soap making. So it helps all around for you to save every drop. More food to send abroad, more manufactured goods, more soap. And remember, your butcher pays you four cents for every pound of used fats you turn in. Paul Lucas will soon be seen in the international production, Belladonna. This week is Poppy Week, a time especially to remember the men who fought and risked their lives in two world wars for freedom. Buy a Poppy and wear it as a tribute to our wounded veterans. Every cent you give goes to help those veterans and their families. In reviewing the Motion Picture Industry's cooperation with the War Production Board, ahead of that government agency reports, no group has been more patient and understanding and has cooperated to a greater extent than your industry. You've done an outstanding job. The Motion Picture Industry can do more than any other to present to the world the American people and the American way of life. This program is broadcast to our men in uniform overseas through cooperation with the Armed Forces Radio Service. Our music was directed by Louis Silberds. And this is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear Music for Millions with Margaret O'Brien, Jose Itorbi, Jimmy Durante, and Francis Gifford.